To see the big picture, Sloppy Jane went underground
Realizing big ambitions and singular visions in DIY fashion seems to be a yardstick for Dahl, 26, who started Sloppy Jane 11 years ago as a high school student in Los Angeles. A boyfriend at the time gave her a Roy Orbison CD which was so well loved it was scratched to the point that a peak in “Only the Lonely” distorted. It was both scary and inspiring: “I said to myself: ‘This is what I want to do musically’, something that has the highest and the lowest, which enters and leaves lucidity, where it is. is like that beautiful, unraveling thing, ”she said a few weeks ago in another interview in Williamsburg, this time at Bar Blondeau.
Rather than seeking formal training, Dahl opted for autonomy. “Ideas are the things that are important,” she said. “You just need to walk around and trust yourself.” So she had her day on the Los Angeles punk scene, and in 2015 released Sloppy Jane’s debut EP, “Sure-Tuff,” six high jinks rock’n’roll songs starring Phoebe Bridgers, l Grammy-nominated singer-songwriter who has been friends with Dahl since high school on bass.
After the EP’s release, Dahl began work on the band’s first full-length album, “Willow”. She wanted not only to base it on a narrative theme, but also to extend beyond the bass-drums-guitar sound when performing the songs live. Dahl recalled that Bridgers told him, “Go get your orchestra. So after recording “Willow” in Los Angeles with Sara Cath, Dahl traveled to New York in 2017 and found Nardo, Wollowitz, Rothman, Brennan and others. With the band she wanted in place, she released “Willow” in March 2018.
The opening musical passage of “Madison” references the final piano outro of “Willow,” starting where the other ends, but the two albums differ. Musically, where “Willow” is more of an alternative rock opera, “Madison” is a wall of sound with more pop leanings that cuts across a range of emotions – the elevation of “Party Anthem”, the delightful weirdness of the sans. lyrics “Bianca Castafiore”, the melancholy of “Wilt”. And thematically, where “Willow” talks about “numbness” and “touching but can’t feel,” “Madison” talks about “loneliness” and wanting someone who is just out of reach, Dahl said. “It’s like you’ve figured out how to have these feelings, but you have nowhere to put them.”