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Inside Dayfiction’s ‘Divine Intermission’: Post-Punk at Its Most Restless

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There’s a constant sense of motion running through Dayfiction’s Divine Intermission, even in its quietest moments, the record feels like it’s trying to outrun something. Maybe it’s adulthood. Maybe it’s isolation. Maybe it’s the overwhelming monotony of modern life. Whatever the target, the Virginia post-punk outfit attack it with sharp songwriting, towering atmosphere, and an intensity that rarely lets up.

The five-piece have moved quickly since forming in 2024. Early releases hinted at a band still tethered to garage rock spontaneity, but over the course of 2025, Dayfiction transformed into something far more focused and emotionally expansive. Their recent material has steadily embraced mood and tension over raw immediacy, culminating in an EP that feels both cinematic and deeply claustrophobic.

That contrast defines Divine Intermission. Written during a period where friends were leaving, routines were changing, and frontman Evan Solomon found himself trapped in emotional limbo, the record captures the strange disconnect of transitional periods. Solomon’s lyrics often feel observational and fragmented, as though documenting emotional fallout in real time rather than reflecting on it from a distance.

Instrumentally, Dayfiction thrive in friction. The guitars scrape and swell with controlled chaos, often sounding on the verge of collapse before pulling themselves back together. Hannah Johnson’s drumming gives the songs a relentless pulse, while Jackson Prior’s basslines provide a sense of gravity beneath the noise. Together, the band create a soundscape that feels urgent without sacrificing atmosphere.

There are echoes of post-punk greats throughout the EP, Gang of Four’s rhythmic tension, The Cure’s emotional depth, Shame’s explosive energy, but Dayfiction avoid falling into imitation because their songwriting feels so rooted in present anxieties. Divine Intermission isn’t nostalgic. It sounds like five people trying to process uncertainty as it unfolds around them.

As the band continue building momentum between Richmond and New York City, this release feels like a defining step forward. Divine Intermission captures Dayfiction at the exact moment where ambition, anxiety, and artistic identity collide, and the collision makes for some of their most compelling work yet.

 Instagram, TikTok, Spotify | PR: Decent Music PR

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Host Bodies’ track ‘On A Roll’ Gets a Psychedelic Reinvention from Soul Glitch

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Ten years after Host Bodies first released the album Daily Apparatus, “On A Roll” has found a completely new groove.

For the Daily Apparatus: 10 Year Remixes project, multi-instrumentalist and producer Nicholas Hasty, under his Soul Glitch moniker, takes the original electronic-rock track and pulls it into deeper, more psychedelic territory.

The remix keeps the energy of Host Bodies intact while opening up the track with new beats, electronic textures and expressive saxophone solos. Electric guitar, bass and layered production give it a rich, genre-blurring sound that sits somewhere between indie electronic, jazztronica, soultronica and alternative dance.

There’s something particularly satisfying about hearing a decade-old track treated not as a relic, but as raw material. Soul Glitch reshapes “On A Roll” , finding new spaces within the original and bringing his own musical language into the mix.

The result is energetic, sensual, psychedelic and unapologetically expansive.

Ten years on, “On A Roll” proves that sometimes the best way to celebrate where a song came from is to find somewhere completely new for it to go.

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