Q&A: Introducing Dayglow for the First Time, a Second Time
“NOTHING WILL EVER BE THE SAME” FOR DAYGLOW — as he sings on “Cocoon.” And yet, the indie-pop artist makes a return to familiar sounds that launched his journey years ago. When constructing his self-titled album, which was released on lucky Friday the 13th of this month, Dayglow used his debut album, Fuzzybrain, as a reference. At the same time, he left behind his iconic synths, choosing to peel back sonic layers to present an intelligent reflection on growth that is both simple and nuanced.
Dayglow is an album of contradictions. It is classic Dayglow as if nothing has changed, but it’s entirely new — this time, there’s an equal integration of Sloan Struble, the innovative brain (and warm person) behind the project. The perfect example of this is the opening track, “Mindless Creatures.”
It was the first song Struble released as Dayglow, and this new 2024 version of it exhibits how the creative project has evolved. “I was just 18 with a fuzzy brain,” he sings on the new release, implying a new-found maturity. Sonically, too, the song has matured. While the original begins with a sequence of notes on subtle keys, it now opens with gentle electric guitar strums and low vocals that replicate contemplation.
Lyrically, new words are mixed with old ones. The original starts with “No, I don’t want to / I don’t want to grow up but I have to” while the new version starts with “Remember when I could barely believe in it?”
“It’s so special and full circle,” Dayglow says about the revamp of the song. “I think for fans that knew about the song, it’s a cool moment.”
His observation can be applied to the entire album. Similar to the 2021 album Harmony House, fans will recognize themes of both uncertainty and moving forward on “Cocoon” and “Broken Bone.” They’ll revisit a world like Fuzzybrain with the single “Every Little Thing I Say I Do.” But they’ll learn so much about Struble for the first time on unguarded songs like the love song “Silver Lining” and “Nothing Ever Does!!!” which is about panic attacks. Dayglow is an album that deserves more than a few listens because it is so subtly complex, especially for listeners who have supported Dayglow through the years.
Whether it’s hearing hits like “Hot Rod” and “Can I Call You Tonight?” on social media, finding inspiration in his DIY creative process for your own artistry, or appreciating his significant contributions to indie music, Dayglow is an artist who many music lovers have memories with.
We had the pleasure of speaking with him about his self-titled fourth album, which he describes as a long-awaited proper introduction to both Dayglow and Sloan Struble. Read the conversation below.
Credit: Luke Rogers
LUNA: This is the self-titled album — you typically only get one of those. What about this collection of songs made you decide this would be Dayglow?
DAYGLOW: It was a full-circle moment where I looked back at who I am as an artist and where I began making music. I tried to embody and reference that as much as possible to make an album that sounded like Dayglow. I felt like I hadn’t really introduced myself to the world, but I think I have a very identifiable and distinguished sound and vibe. It felt kind of ambiguous how it was existing in pop culture. I kept changing my sound and my albums so much that I felt like it was time to just be Dayglow.
LUNA: I love that the cover mirrors Fuzzybrain, but it’s the real you this time.
DAYGLOW: Both visually and musically, it’s an actualization, like how Pinocchio becomes a real boy (laughs). It’s like the musical version of that, where Dayglow isn’t an abstract concept anymore — it’s real.
LUNA: Something really special is the opener, “Mindless Creatures.” I was thinking about it not only in terms of the original, but also in conjunction with songs like “Like Ivy” and “Junior Varsity” — the ones that thematically discuss growth and change. Having experienced those then looping back to the first Dayglow song, it’s very nostalgic. How did the makeover of the song come to be?
DAYGLOW: There’s so many layers to why the song matters to me. It only felt right that if I was going to do a self-titled, it would open with “Mindless Creatures.” It’s funny because I didn’t plan on doing that! The song kind of has two different choruses. The first half is like the original “Mindless Creatures” melody, but then the second half is a whole different [new] chorus. When I was recording it, it just fit and made so much sense. The [lyrics of the] original are about being a jaded old man, and it’s very sarcastic. But I had found myself feeling really burnt out and jaded, literally, so I rewrote the song from the present. It’s about change, how much I have changed, and I could go on and on about all the different angles of how I could look at it.
LUNA: I love the cut from “Mindless Creatures” to “Every Little Thing I Say I Do.” The final word on the song is “now,” which draws us out, then we’re literally into new and now. You also directed and edited the video for “Every Little Thing” and it’s classic Dayglow, always very fun. Visually, this new phase of Dayglow has been clear and sure of what it is with a lot of consistent red. What are the visuals telling us about Dayglow the album?
DAYGLOW: I want everything to feel really fun, bold, and colorful. It’s both child-like and mature. I’m really inspired by Andy Warhol and early pop art, so those are the references — bold and identifiable shapes and colors. With the album, I tried to do that musically, too, so it’s loud but easy to understand what’s going on musically and lyrically. It’s like how in a photo you can [enhance] the sharpness. I was trying to do that with the lines of what Dayglow is and figure it out for myself.
When I had shown the demos to some friends, before I was fully sure that I was going to do a self-titled, everybody was like, “This really sounds like Dayglow.” I was like, “What does that even mean?” It’s kind of a vibe — a tonal, sonic thing. It just makes the most sense visually to stick to really bold and primary colors because it’s what feels the most natural to me to pair the music with.
LUNA: In my opinion, you’re a very cinematic artist. Not just because of what we’re seeing but because with a lot of your tracks, I can visualize them in my mind or imagine them being part of a moment. You have an ability to create feel-good sonic memories. When you’re writing, how do you approach world-building or atmosphere?
DAYGLOW: I’m naturally drawn to music that would be in a movie or credit sequence. I just tend to like songs that feel dramatic and have their own definite life. I tried to do that with this record by making each song feel like its own thing with the through-line being that it’s an obvious Dayglow song. I don’t even know how to explain that verbally — it’s just naturally what I make. I see music creation really holistically. To me, the way that a song is mixed and how it’s produced is so incredibly important. I think it’s just as important as lyrics and it’s important how [a song] is presented to the listener. So I try to care about every detail and make sure that my personality is in every part of it. I’m glad that it comes across as cinematic!
LUNA: So, it’s intuitive.
DAYGLOW: Totally. I’m very detail-oriented. I’m the only person that makes the music, even mixing it, so it’s useful to have someone look at it from the outside. For me, it just kind of comes naturally.
LUNA: Let’s talk about “Cocoon.” It’s another song that adds to a self-referential quality of the album. The video mirrors the video for “Listerine.” It starts with the very endearing “Wake up, Mr. Glow.” Since Fuzzybrain, what is an element of Dayglow that you feel you’ve outgrown or evolved from, as “Cocoon” suggests?
DAYGLOW: “Cocoon” is referencing a lot of fear in my life. I’ve always struggled with calling myself an artist and feeling like I’m cool enough or valid enough. I feel like there are always tiers you can put yourself in [considering] other bands, other artists, people in history. I always felt like I didn’t fit in fully, so with “Cocoon,” I’m shedding that skin and addressing the new confidence that I’ve found as an artist. And being proud of where I’m at. There are growing pains with that. I feel like people think a caterpillar transforming into a butterfly is a beautiful process, and I don’t know if there’s any science behind this, but I imagine it might be painful to completely change what you are. Big changes come with growing pains. The song addresses and faces them head on.
Credit: Luke Rogers
LUNA: With the next track, “Old Friend, New Face,” what stands out immediately are some of the unconventional word choices in the lyrics. It’s not a first. I remember observing the same on “Nicknames” off of Fuzzybrain. Tell me about “something preposterous” and “in the premonish” and “halls of plasticine.” In your opinion, what effect do certain word choices like these have on a song overall?
DAYGLOW: I feel like it’s fun to add quirky words, and it’s just fun to say. A lot of times when I’m writing, lyrics come last to a song. I’ll already have a melody, and then once the song is produced I’ll put a vocal track where I’m mumbling and use what works. And I try not to fall into patterns because it’s easy to say the same thing over and over, and return to the same vowels. A lot of those funny words come from me mumbling and I try to say something weird which ends up working. I think it’s fun to add random words!
A band that I love is Phoenix, and their song “Lisztomania” is such a weird song lyrically but people sing it and they often sing the wrong lyrics. But it’s like the spirit of the song still gives everybody the same feeling. For me, music is more melodic than it is lyrical. I really care about my lyrics, but I want my songs to be good even if the lyrics didn’t make sense.
LUNA: The guitar really goes on this album. “What People Really Do” is easily an on-repeat song because of that. “Broken Bone” is a good example. “Every Little Thing” is another, and you mentioned your Fender Bullet in your “How I Made” video for that song. Instrumentally the guitar on this record is just perfect for the upcoming tour. What are some more elements of the show people should look forward to?
DAYGLOW: The tour is going to be very much a rock show where it’s practical and easy to identify lots of guitar. We’ll have huge amps. And that’s the idea with the record. The guitar is my main tool. I love the guitar — that’s my first instrument that I learned. I always used to be insecure about my guitar skills. With this record was a feeling of, “I don’t have to be the best guitarist. It’s how I play guitar and I’m going to make more guitar-focused music again.” So it was really fun and this show will be guitar driven, really present, no tricks.
I think the reason to go to a show is the communal environment of being present, dancing, and having fun. It’s not as much a spectacle as the People In Motion show, where I was specific about setting the scene. The production is going to be awesome, but it’s more like an in-person experience, really tangible.
LUNA: People definitely associate your sound with synths, so this is different.
DAYGLOW: I’m not even touring with any synths. It’s all guitar and drums. I use a lot of crazy pedals for our guitars so they can sound like synths. But we’re not even playing keys — it’s all rock ’n’ roll.
LUNA: I mentioned the “How I Made” video. I checked out a couple of those and it’s amazing how many of the comments express that those videos are something to hold hands with while people are embarking on their own journeys as artists. It’s total motivation for these lovely people, and a great way to stay connected to your community. What value does staying connected to your community in this way hold in your overall artistry?
DAYGLOW: It’s everything. It’s so incredibly important. While we’ve all kind of societally agreed that people shouldn’t be on social media a ton, it’s still how you have to reach people now for the most part. So I love that the “How I Made” videos, long-form content, connect with people because it’s really encouraging. It feels more honest and direct. It’s inspiring how many other artists like the videos and that it’s useful. A lot of my creative decisions are made based on the idea of wanting to make things that I wish existed already. I wish that my favorite artists would make these videos, so I run off the assumption that there must be other people who want me to do that.
LUNA: It’s inevitable that tiny pieces of Dayglow, or the memories people are making with your music, will end up in their own sound, at least for those who are artists. It’s quite beautiful, the generational contribution that keeps certain elements of music alive. That’s genre, after all.
DAYGLOW: Totally. Everything is so accessible now, [including finding] how to make music. I think when it comes to production and how to record things, although those are really creative decisions, they’re still just tools to make what exists in your head real. [It’s less important to focus on] the synth that I used because those are instruments made by companies. They’re just tools to carry your spirit into your art. Hopefully I can help people do that.
LUNA: “Silver Lining” is a love song, but I think it’s also a great representative of what Dayglow means. That being, prioritizing optimism but always being realistic and truthful about the journey it takes to get to the good things. On the journey of creating Dayglow the album, what was one challenge you stayed optimistic about? And obviously triumphed, because it’s done!
DAYGLOW: A challenge is being vulnerable and honest, and not doing it through any facade. You have to remove so many layers and be self-aware to know what you’re doing out of habit. We’re definitely creatures of habit and there are so many things you do that you don’t even realize until years later. I look back at old interviews and notice how my voice sounds different, the way I’m holding my mouth sounds different, because there are so many things you can do to protect yourself. So I tried to strip back and figure out what the truest form of who I am as a person and an artist is. I used to think Dayglow was a facade that I could hide behind, and then there was Sloan. The more I’ve grown up, I’ve realized that’s not true. It’s completely me. So for this album, I severed ties with anything I was hiding behind and made it feel like myself. It was great to do that, but it’s hard. There’s a lot of self-discovery you have to go through. Like the growing pains I was talking about, you’re growing but it’s painful.
LUNA: The scariest things are often the most rewarding.
DAYGLOW: Absolutely. I think that’s almost always true. You have to take risks — that’s what makes things worth it. I felt like, “Now is the time I have to do it.”
