B-Side Guys

Within the indie rock landscape, certain songs become portals to deeper philosophical questioning rather than mere entertainment. Brooklyn trio SAVAK’s “Tomorrow And The Day After” exemplifies this rare achievement, creating music that functions simultaneously as thoughtful meditation and compelling composition.

The track opens with a lilting guitar line that immediately recalls early R.E.M.—creating melodic framework that feels simultaneously familiar and fresh. This distinctive pattern establishes perfect foundation for Sohrab Habibion’s vocals, which deliver the opening observation “I’ve been writing in books/But just in the margins” with conversational directness that belies the statement’s thematic significance.

This seemingly casual reference to marginalia serves as entry point to the song’s core exploration—the tension between preservation and personal interaction with art. Habibion has explained the song emerged from witnessing a student annotating a paperback, triggering memories of his mother considering such acts “desecration.” This conflict between reverential preservation and active engagement becomes powerful metaphor for broader examination of opposing viewpoints.

The composition’s structure reinforces this thematic territory. Rather than following predictable verse-chorus patterns, the track moves through distinct sections that create musical conversation between its elements. The rhythm section of Matt Schulz (drums) and current bassist from their rotating cast (they’ve employed twelve and counting) provides subtle propulsion that enhances rather than dominates the arrangement.

When the song reaches its central refrain—simply “Tomorrow/And the day after”—the melody achieves particular poignancy through its directness. This phrase, echoing Macbeth’s famous “Tomorrow and tomorrow and tomorrow” soliloquy, transforms Shakespearean meditation on time’s relentless march into more contemporary contemplation of perspective’s mutability. As Habibion explains, “The way we see history is likely quite different from those who experienced it.”

Production choices enhance this philosophical exploration through careful balance of clarity and atmosphere. The “mellotron haze” mentioned in their press materials creates subtle textural depth that complements rather than obscures the song’s emotional core. This approach reflects SAVAK’s decade-long evolution—maintaining their post-punk foundations while expanding their sonic palette.

As preview of their forthcoming seventh album SQUAWK! (releasing May 30 on Ernest Jenning Recording Co./Peculiar Works Music), “Tomorrow And The Day After” positions SAVAK as band continuing to refine their considerable strengths. For a group composed of veterans from Obits, The Cops, Holy Fuck, and other notable projects, their continued creative evolution demonstrates rare commitment to artistic growth rather than nostalgic repetition.

In an era where literary censorship has resurged with alarming vigor, SAVAK’s meditation on the tension between preservation and engagement carries particular relevance. Like marginalia itself, their music creates meaningful commentary alongside cultural artifacts—inviting listeners to participate in ongoing conversation rather than passive consumption.