Boston-based alternative rock band Video Days return with their latest single, ‘Split’, an immersive slowcore anthem that melds delicate spoken-word vocals with an eruptive wall of noise and chaos. The track marks an evolution in the band’s already dynamic sound, fusing shoegaze, noise rock, and post-rock influences into an emotionally charged sonic journey.

Following the breakout success of their debut EP, sungazing — which saw singles Bleached and When You Loved Me propel them to nearly 1 million monthly Spotify listeners — Video Days have been meticulously crafting their highly anticipated debut record. ‘Split’ serves as a thrilling first glimpse into this new era, switching from the band’s low fidelity roots to hifi music, showcasing the band’s ability to navigate between minimalism and intensity with precision and raw emotion.

Opening with a sparse yet mesmerizing guitar melody and front-centered drums, the track is anchored by Emma’s hushed, spoken-word vocals, evoking the understated power of artists like Wednesday and Low. As the song unfolds, the atmosphere shifts dramatically, exploding into a ferocious noise-rock climax—an all-encompassing wave of distortion, energy, and catharsis that firmly places Video Days among the most compelling alternative rock acts today.

“Split was the band’s first true collaborative work,” shares Video Days. “Tim started with the main riff, and then Sam and Jacob layered in contrasting lead guitar parts while Emma crafted the lyrics and vocal melody.”

The song has then evolved through a year of live performances, refining itself into a piece that fully defines the band’s new sonic identity. Lyrically, ‘Split’ delves into themes of inner turmoil, self-reflection, and the struggle of confronting one’s dual nature. The song’s shifting dynamics mirror the emotional weight of these themes, making for an evocative and thought-provoking listening experience.

With ‘Split’, Video Days set the stage for what promises to be a massive year for the band, who are seeking a new direction with their debut album. Their fearless approach to sound and storytelling solidifies them as one of the most exciting rising acts in the U.S. alternative scene and beyond.

Q&A

You mentioned ‘Split’ being the first truly collaborative work of the Video Days. Have your past releases felt more like a back-and-forth exchange of songwriting?

T: The process for a while was that one of us would bring in a complete or near-complete song, and we would refine and brainstorm. When we first started working on this album, my aspiration was that this new system of equal collaboration would reveal a new path for us sonically and stylistically.

E: Before Split, all past VD releases were written by Tim. This album was the first time the four of us collaborated on something and Split represents the first time we really came together as a band, combining all of our strengths.

J: Yeah, usually someone would just have a complete idea and bring it to practice and just work it out with the band. This was one of the first times that everyone had a hand in making the song from start to finish, pretty much.

Emma- What kind of headspace were you in when you wrote the lyrics to ‘Split’? Did it feel like writing music, poetry, or a little bit of both?

E: Split moved through a lot of different stages for me. It started as poetry, then was a song that was supposed to only be for myself, then poetry again, and then a video days song. Maybe it was always meant to be both.

You guys are known for having a lush, shoegazey sound. What FX/pedals do you like to use most often?

T: I personally prefer to keep my pedals to a minimum for the sake of my sanity, with a rotation of maybe 3-4 pedals at a time. I use Oceans 11 for my reverb/delay and either a Blues Driver or DS-1 for fuzz/distortion.

J: Tim and I both use Ocean Eleven reverb pedals, and for distortion, I like Pro Co’s The Rat 2. The goal is to keep it pretty simple.

‘Split’ details a sort of double-sided feeling. What two contrasting things is this person or character expressing and experiencing?

E: The person in Split is reckoning with what happens in between the version of yourself you present to be and the true version of yourself that lies deep beneath — the one you might have trouble reaching. It’s about frustration and alienation from the self. It tries to dive down into the crevice between a mythical ‘true’ being that’s obscured from others and even the self, and the person you see in the mirror that still feels like a stranger.

‘Split’ has a lot of sonic contrast as well. There are these quiet self-reflective moments, which then (so easily) swell into this gargantuan, distorted peak. How did you approach crafting such a wide dynamic range? Was it crafted structurally, or on instinct?

T: I always had the desire to explore more extreme contrasts and dynamic ranges, something I thought was lacking in my previous projects. So while deliberate, I did trust my intuition heavily to guide me towards this new sound.

E: The song itself is about the two faces of things, so that’s reflected in the sound. It wasn’t totally intentional at first, but I think the song kind of found itself based on instinct. We followed where it felt it was naturally going. The song especially kind of forms itself after playing it over and over again until it morphs into what it’s meant to be.

S: tried out different configurations at shows, arrived at this.

J: I would say instinct more than structure, personally. I just tried to make sure every note was intentional, and I wasn’t just playing to play.

The song feels both romantic and dirge-like, raw but ethereal. What was the original intention for the finished product?

T: Looking back, I believe there was no original intention but rather intuition. As soon as the song was written, we spent the course of a year performing it live before anything was recorded. We wanted the song to evolve naturally through time and deliberate performance.

E: We didn’t have a specific intention or vision for the final product but the song is a process of a lot of workshopping and playing together, really feeling out what makes sense.

S: to be dramatic

J: Honestly, I don’t remember the original intention of Split specifically, I’m sorry. One key idea for writing was wanting the songs to connect to commitment and the sacrifices that come with it, so we tried to show that through our writing/lyrics.

Finally…Where was the city where the photo for this single was taken, and who processed it to give it that washed-out, dreamy, exposed look? Why was this visual piece chosen to accompany this cathartic song in particular?

T: The photo was taken in Boston, where we are currently based. The photographer Deniz Bagci (@denizenbagci) is a good friend of ours who has been a big part of this band, helping us out with visual content, photography, and any other creative mediums. I was initially drawn to this photo due to its overall simplicity and restraint, something I believed would be an interesting stylistic contrast to the track itself.