Multifaceted musician Dayglow (Sloan Struble) first began making music as a teenager, releasing his first project Fuzzybrain in 2019. Several platinum hits and projects later, Dayglow is now 25, and is uncovering his artistic path by reflecting on his beginnings. With a freshly developed prefrontal cortex and stronger guitar chops, he revisited Fuzzybrain and created Dayglow, his self titled album out September 13th. On a journey to discover the true essence of Dayglow, he pulled back from the synthesizers that made up most of People In Motion (2022), returning to his roots in every sense. Using a similar setup to what was used during the creation of Fuzzybrain, this new album captures the nostalgic spirit fans initially connected with 6 years ago while also highlighting his growth as an artist. Dayglow is a celebration of everything that Dayglow encompasses: the music, the fans, and Sloan Struble himself.
Dayglow is a one man operation when it comes to his music: the songwriting, production, recording, and mixing is all done by him. His creative vision extends beyond the studio as well, as he directs and edits his music videos. One of the most intriguing aspects of Dayglow as an artist is his YouTube channel, where, in addition to music videos, he shares song breakdowns that detail the creation of his hits. Fans and creatives can see firsthand how the songs are made, something that a lot of people have really connected with. Known for his incredible live performances, Dayglow is preparing for an upcoming headline tour in support of his latest album..
Ahead of the album release, I was able to chat with Dayglow (Sloan) about personal and artistic growth, how this album feels different than his past projects, the upcoming tour, and really explore what this new era of Dayglow is.
Brigid: Thank you for taking the time to speak with me today! As of today, we’re 10 days away from the release of your album. Walk me through the emotions you’re experiencing right now, how are you feeling leading up to the release?
Dayglow: I feel like anytime releasing an album… you just can’t really think about it. It’s too confusing to process. Especially an album with a tour, there’s just so much disassociation between like, all this work you’ve been doing… for me, all by myself in this room for the past 2 years. To be out in 10 days… and then I’m gone for 3 months. I’m just trying to get people to notice it, you know? I can’t really think about it too much. This is actually my last day at home, I’m packing and everything today. I’m just in this headspace where I can’t really think too hard about it. But, I’m excited, to say the least! I think this is my best album, I feel so much more confident in myself and as an artist. Hopefully that comes across in the music. I’m stoked.
B: This project is self titled, how does it feel different from your past 3 projects? What about this collection of songs made you say: ‘this is Dayglow?’
D: When I first started writing the record, I didn’t think I was going to do a self-titled thing. A lot of my music is really self reflective, and really looking back at where I’ve been and where I’m going as a person growing up. In doing that, it felt like I was, for the first time, really making music that felt really personal to me. I was referencing Fuzzybrain a lot, obviously that album means a lot to a lot of people in a lot of different ways. For me, it just totally represents a time in my life where I was making music solely just for fun. I didn’t have all this gear and all these things, I was naive in a good way. With this record, I started out with the same set up I had for Fuzzybrain, and I tried to creatively come from that same place. Making music for myself. In turn, that ended up feeling like: oh yeah, this is the kind of music that I make. More than anything, I’m a producer, and I love mixing music. I love the process of making it. With my past two albums, they were concept albums. They were really niche. Harmony House, I was like, I’m going to make a yacht rock album! Which didn’t really make sense, but it’s totally fun and I love it. People In Motion was more designed for the show we created, it’s like LCD Soundsystem, all these things. It’s music that I love, I wanted to challenge myself to see if I could make it. This record, I kind of let go of all that experimentation and references. I kind of just referenced myself. I’m like, I’m making a Fuzzybrain part 2. In simple terms. It ended up feeling like… people hear it, and they go, ‘oh, this sounds like Dayglow.’ That was kind of the feedback that I got. No one could really explain what that meant. I was like, well I just need it to be self titled then. If this is what Dayglow sounds like, then I’ll put a stamp on it
B: With those tie ins to Fuzzybrain, was the Dayglow album cover a reference to the Fuzzybrain cover?
D: Yeah, totally! It was a direct reference, and it’s symbolic in a ton of ways. The Fuzzybrain album, I think I was a much more insecure person. It’s a clay version of myself. With this record, I’m like Pinnochio, turning into a real boy. It’s like an actualization of Dayglow unapologetically in the world, this is the real me. That’s the idea. It’s also like, the adult version of myself. Dayglow now as an adult. Whereas with Fuzzybrain, a lot of the songs I made when I was like, 16.
B: Do you feel like this album is a full circle moment for you as an artist?
D: I think so, I definitely think so. It feels like, in a lot of ways, I’ve woken up. I’ve let go of a lot of worry and anxiety. Which was not an easy process, but I think that’s what’s happened with this record. I just found confidence in being myself, as cliche as that can kind of be sometimes. I’m just so stoked. I’m so proud of it. I think… I’m not trying to be anything, really, on the album. There’s no tricks. No production tricks, I’m not hiding behind anything, you know? For a while, that’s what I thought Dayglow was. This kind of alter ego, where it’s like, there’s Sloan and there’s Dayglow. As time has gone on, I’ve realized there’s no difference. With this album, I wasn’t doing any pop star stuff. This is who I am.
B: I have to ask you about “Mindless Creatures,” it’s so sick that this song that was the beginning of Dayglow is having this moment, being released as track one on the album. Can you tell me about that decision to release that track on this album?
D: There’s so many things I could say about it that feel symbolic, from a psychological level. But, I think first and foremost, fans knew about it. It was kind of this deep dive Dayglow fan thing, where they really liked this song. My initial reaction to them wanting it was kind of that thing that happens as an artist, where you’re like, ‘but that sucks, I made that when I was 16. I’m not going to release it because I don’t like that song anymore.’ It kind of made me annoyed that people liked it. But then I was like, why is that making me mad? Even though it was me when I was younger, it was still me. That kind of started the process of looking back on Fuzzybrain, and admiring that time in my life, and trying to rechannel it. “Mindless Creatures,” the original version, is a song about being a jaded old man. Thinking that everyone around you is losing their mind. I think I found myself feeling like a jaded old man already. I kind of rewrote it, realizing that about myself. It’s very self referential and self aware. It’s just like a full circle Dayglow thing that has so many layers to it. I’m stoked for it to finally be out. I think it’s such a special moment. It only felt right for it to be the opening track for a self titled record, you know?
B: Absolutely. When it comes to your music, you do it all. From production, to writing, to mixing, etc, your songs are made completely by you. Do you feel that your approach to your creative process has evolved over the years? Things have changed in terms of gear and setup, but do you feel that your motivation to create has remained the same, or has it changed as you’ve progressed through these different Dayglow eras?
D: Totally, yeah. I definitely fluctuate between being a minimalist and a maximalist. I am totally extreme, and it depends on what time of life that I’m in. I think I’ve kind of settled on being a minimalist, that’s the better option that feels more like me. Kind of like Fuzzybrain, where it’s like, stripped back. The things that are there have substance, rather than having just a bunch. People In Motion, I built this synthesizer thing. I was trying to make it intricate. But it’s like, no one cares. No one cares about that kind of stuff. It’s the soul behind what you’re doing. From a technical standpoint, I still make the music completely by myself, and I mix it by myself. Nothing’s really changed. But I try to make every single detail have it’s own place where it matters. Like on this record, I was like, I’m going to have to get good at guitar. I have to get better at guitar. That was my focus on this record, was that it’s electric guitar driven. Everything is easily identifiable. There’s the bass, it has it’s own bassline. There’s the guitar, it’s doing it’s own thing. Doing that in the biggest but simplest way possible I think was the goal.
B: When it comes to your live show, is that going to be the set up? 4 or 5 piece band, or are you bringing those synthesizers back from the last record? What’s it going to look like on this tour?
D: Yeah, for this show it’s totally rock and roll. Straight to the face. The reference is… it’s not a total reference of this, but early 2000’s Strokes. Electric guitar, rock, loud. Just fun. It’s actually a 4 piece [band], there’s no synth stuff at all. It’s all guitars, bass, drums, and vocals. I mean, we’re doing some crazy stuff with our guitars, pedals and all that, so there’s stuff that sounds like synth. But it’s definitely a rock band on this tour. On my last tour, it was really video heavy. I had this epic LED wall behind us. The production for this one… I have production rehearsals next week, so we’ll see if this is happening, but the plan is we’re going to have this huge amp wall behind us. It’s all really practical, all in the room. Rather than watching cool video stuff, I’m relying on earlier technology. Confetti, strobes… rock and roll is the idea.
B: I love that you brought up The Strokes, I definitely picked up on some of those vibes on the record. “Old Friend, New Face” reminded me so much of “Automatic Stop” by The Strokes.
D: Oh yeah, heck yeah!
B: It’s such a cool vibe to bring into an album, and a live show. Especially after exploring the synth heavy route, bringing it back to that classic sound is really awesome.
D: Yeah, and that’s what I love. That’s what I listen to, and what I feel is me to my core. That’s kind of what I landed on, this is what Dayglow is, this is kind of what it sounds like. I think me and Julian Casablancas are pretty different people when it comes to the energy of The Strokes, but I think the same thing is kind of there. We’re drawing from a similar type of source. I’m kind of like, the Nickelodeon version, maybe. More approachable. But yeah, love The Strokes.
B: I wanted to talk a bit about your Youtube channel, where you upload videos breaking down how you make some of your songs. What motivates you to share those things with your audience? Is making music production and creation accessible important to you?
D: Yeah, I definitely think so. A lot of my philosophy behind making art and making music is that I want to make music that I wish existed already. I wouldn’t feel the need to make music if I felt like it already existed exactly the way that it is. That’s kind of my… if I have an idea where I’m like ‘oh, I wish someone was doing this already,’ then I just kind of do it. So as a producer and songwriter, I wish my favorite artists would make those videos. So I just make them, because I assume somebody else is thinking that about me. That’s kind of why I started making those. People have really connected with it, which is sick. I love sharing secrets and whatnot. There’s some type of gatekeeping that’s good, it’s good to have secrets and have mystery to what you’re doing. But, I think the true essence of a song is much deeper than just the microphone you use. If people want to know the technical stuff, then I’m already onto the next thing. You can learn how I did my past songs.
B: You were a teenager when you were making Fuzzybrain, and I’m curious: knowing what you know now, what advice would you give to a teenager making songs on Garageband in their bedroom right now?
D: I feel so lucky… I mean, Youtube was a thing, and Vine had just died, I guess. So like, it’s hard to remember how people even promoted indie music in the way I was promoting it. I was really focused on Youtube and making funny music videos. I was emailing blogs and stuff, sending them my music. It’s so much more complicated now, in order to promote music. I think that’s really changing how people make it. I don’t even know how to make something successful. I’m trying myself. I’m trying to promote this album. It’s really a tough beast, to promote music, to integrate it into your career. I think if you love making music, really hold onto that. Try not to rely on your references too hard. I think that’s probably good advice. Just have fun, and take things slow. I think virality is really intriguing. It would be nice to go viral, but things fall as quickly as they rise. If you stay true to what you’re doing, and slowly grow, [you’re] probably better off in the end. Don’t focus too hard on Tiktok and all that. Yeah, that’s what I’d say.
B: You’re right, having a viral moment doesn’t necessarily translate to longevity, totally. Looking back on this album creation process, do you have a favorite memory or moment? Maybe a session that stands out to you?
D: It felt really spiritual and therapeutic to finish this album. It really does feel like I shed this skin of my youth. That was kind of a gross way to say it, but I feel like… I just turned 25, my prefrontal cortex is done developing. And like, I’m here. I feel so confident as an artist, that’s something I haven’t really felt. I could be like, yeah, I can be a musician! This is my job! I love being an artist! When fans come up to me, that’s an interaction that really matters. I think… I couldn’t believe this was happening to me for like, six consecutive years. I finally just stopped, I was like: stop doing that. At some point, you’re going to have to just embrace it. With this album, this headspace that came with it. Let me think of a favorite musical moment… It’s really hard to pick a favorite on the record. I know people say that, but I think every song… there isn’t necessarily a deep cut. I tried to make the album really fast and concise so that it all feels like one thing. I want this album to feel like one thing entirely. So it’s hard to separate the songs in my mind… I’ll say “Old Friend, New Face.” That song… when I was writing that, it happened really fast. That song I made and recorded with the same setup as Fuzzybrain. I had the old interface that I used, one microphone, one guitar and a bass. I was in an Airbnb. That was just a really fun song, kind of at the beginning of the record. It really set the tone of the rest.
B: For the record, my favorites are “Old Friend, New Face,” of course, and my other favorite is “Weatherman.”
D: Okay, nice! Yeah, I was going to say, writing that guitar bridge was definitely an epic moment that I was stoked about.
B: My last question to wrap up here today is: what do you hope listeners take away from this album?
D: I hope people think that Dayglow is awesome, and think that the album rocks, and that it’s really cool.
B: Yes!
D: That’d be nice! But, emotional takeaways… I want it to feel mature and full of depth, but also fun. I think that’s also another one of my main challenges with Dayglow, to make fun be cool at the same time. There’s no edge necessarily to what I’m doing, there’s no provocative nature with Dayglow. It’s relatively wholesome, but I think cool at the same time. I hope that can be the takeaway. You can be wholesome and cool, you know? If that can be the message, that’d be awesome.
Listen to Dayglow here!
