We’re in our Sunday best
We’re not praying
We’re medicating
There’s a moment many people recognize: when something feels wrong, but not urgent enough to confront, and it becomes easier to tell yourself that it’s fine, that you’ll deal with it later, that getting through today is enough. You soften the edges, lower expectations, and learn how to stay functional without asking what it’s costing you. That quiet state of denial—where self-protection becomes self-destruction—is exactly where New York City’s Some Days Are Darker positions their latest single, “Take Me Anywhere.”
Musically, “Take Me Anywhere” arrives as a guitar-driven, crooning gothic rock piece in the vein of The Mission—cinematic and brooding—with vocals worn openly on the sleeve as the song swells into heartbreaking grandeur when the central lie finally lands.
Lyrically, the song traces the small lies we tell ourselves to keep going. Reassurance is repeated until it starts to sound convincing, even when it no longer holds. Fleeting comfort is treated as enough—just enough—to make it through another night. These are not grand delusions, but minor bargains: fragments of optimism used to justify staying numb a little longer, choosing temporary ease over the discomfort of looking too closely at what isn’t working.
Here, that emotional avoidance is mirrored outwardly. When the song pairs composure with self-medication, it links inner shutdown to outward presentation—being put together not as belief, but as a form of maintenance. Wearing your “Sunday best” becomes a way of signaling stability, of appearing fine enough to move through the world without inviting concern or explanation. Survival, here, takes the shape of performance: keeping time, holding form, and managing appearances while doubt and desire are quietly kept in check.
That logic reaches its breaking point in the song’s most devastating moment. When love is denied, it isn’t framed as cruelty or indifference, but as avoidance. Saying no becomes a way to stop things from deepening—to prevent attachment, expectation, and the exposure that comes with wanting something fully. Desire is there, but it’s overridden by the urge to keep damage contained. This cruel lie creates distance, but that distance doesn’t protect anything in the end—it quietly erodes the possibility of connection, doing more harm than it was meant to prevent.
Recorded at Rancho De La Luna with David Catching, “Take Me Anywhere” carries a late-night, road-worn ease that suits its subject. Catching—whose work spans Queens of the Stone Age, Eagles of Death Metal, and Arctic Monkeys—allows the song to sit inside its own atmosphere, favoring space and patience over dramatic release. The result feels lived-in and unforced, attentive to the emotional patterns the song is quietly documenting.
The black-and-white video extends this feeling visually. New York slides past without destination—bridges, tunnels, subways, windows streaked with light. The camera drifts and tilts, never settling, as if balance were provisional. We observe from a distance as someone moves through a city that rarely stops and almost never pauses to ask how you’re doing. There is no arrival point here, only motion, and the sense that motion itself has become the strategy.
Watch the video for “Take Me Anywhere” below:
“Take Me Anywhere” is the second single from Some Days Are Darker’s upcoming LP, Black Box Warning,
Listen to the song below and order the single here.
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The post NYC’s Some Days Are Darker Explores the Sabotage of Self-Escape in Video for “Take Me Anywhere” appeared first on Post-Punk.com.
