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Dayglow – Then It All Goes Away

June 2022 single from People in Motion, Texas one-day write

Sloan Struble records as Dayglow mostly alone in Texas, stacking parts until the groove locks. Then It All Goes Away arrived as a single on 21 June 2022 and sat on his third album People in Motion, released 7 October 2022 via Very Nice / AWAL. The track opens on a syncopated clean guitar lick, then adds bright synths and a dry snare. The bass keeps a steady walk; nothing rushes. Struble has said he started that bass part over morning coffee and finished the full song the same day.

He learned 80s pop by ear as a teenager, then studied advertising at UT Austin while writing in his bedroom. That DIY habit shows here. Synths sit in the midrange like old radio textures; the vocal stays calm and a little sad without pushing for drama. In 2021 and 2022, playlists swung between very loud produced pop and sparse songs made in a bedroom; Dayglow kept offering clear verse-chorus songs with guitar upfront. This single found airplay, late-night playlists, and short video edits without chasing those formats on purpose.

The lyric treats a relationship fading as something ordinary. The chorus repeats in a tight loop; the words do not explain much, and they do not need to. Guitars stretch a little, keys answer in short figures, the mix stays open. By the fade, the song stays personal and does not announce a bigger statement. It is one solid entry in a catalog of bright, mid-speed tracks that work on speakers and headphones alike, and it still sounds like the afternoon it was written in.

People in Motion followed Fuzzybrain and Harmony House, the records that took Dayglow from bedroom uploads to festival bills. Then It All Goes Away was the announcement single that framed the album’s theme of motion, doubt, and dancing through ordinary conflict. Struble plays and produces nearly everything: drums tidy, guitars exact, synths bright without crowding the vocal. Short-form video helped the hook travel, but the song’s structure is old-fashioned verse-chorus craft rather than a clip-first sketch. At roughly three minutes it behaves like a radio single even when it lives mainly on playlists.

I started writing the bassline during my morning coffee and I finished the full composition by the end of the day; it felt so fresh and natural to write.

(Sloan Struble, Ghettoblaster Magazine, 2022)

Live and online, Dayglow’s audience responds to that same ease. The songs sit next to older jangle-pop and soft new-wave references without quoting them note for note. Then It All Goes Away shows how Struble works: write fast, keep the drums tidy, let the hook carry the mood.

It remains a small durable hit in his set: radio-friendly length, memorable guitar figure, chorus that loops without clutter. The chorus does not need a bigger ending. The bassline written before lunch still does the job.

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