Texas day, coffee-break bassline
Sloan Struble recorded Then It All Goes Away the way he built the rest of Dayglow: alone, mostly in Texas, stacking parts until the groove locked. The track opens on a syncopated guitar lick, clean and exact, then adds bright synths and a snare that hits dry. The bassline 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. You can hear that speed in the mix: no wasted layers, no big vocal runs, just a mid-tempo chorus built to stick on first listen.
He has talked often about learning 80s pop by ear as a teenager, then studying 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 slightly sad without pushing for drama. In 2021–2022, while playlists swung between hyper-pop maximalism and sparse bedroom minimalism, Dayglow kept offering clear verse-chorus songs with guitar upfront. Then It All Goes Away fit that lane and found airplay, late-night playlists, and short-form video edits without chasing any of those formats on purpose.
The lyric treats a relationship fading as something ordinary, almost casual. The chorus repeats in a tight loop; the words do not explain much, and they do not need to. Struble’s strength is leaving space: guitars stretch a little, keys answer in short figures, the mix stays open. By the fade, the song feels personal without pretending to be a manifesto. It is one solid entry in a catalog of bright, mid-tempo tracks that work on speakers and headphones alike, and it still sounds like a single afternoon caught before it slipped away.
J’ai commencé à écrire la ligne de basse pendant mon café du matin et j’ai fini la composition complète le soir même ; ça s’écrivait avec une fraîcheur et une naturalité incroyables.
(Sloan Struble, Ghettoblaster Magazine, 2022)
Live and online, Dayglow’s audience responds to that same ease. The songs do not demand a scene; they sit next to older jangle-pop and soft new-wave references without quoting them note for note. Then It All Goes Away is a good example of how Struble works: write fast, keep the drums tidy, let the hook carry the mood. No cosmic closing statement is required. The track did its job in 2022 and still plays like a clear, sunlit pop single with a concrete origin story and a bassline written before lunch.
What remains is a small, durable hit in his set: radio-friendly length, memorable guitar figure, and a chorus that loops without clutter. Dayglow keeps expanding the catalog around that method. This song sits near the center of it, not louder than the rest, just solid enough that you remember who wrote it and how quickly it came together.
