STORE MIX 130: DAINE

From writing songs in their bedroom in Melbourne to touring the world, Daine first emerged on the scene at possibly the worst time for an artist – COVID-19. They didn’t let that stop them for long though, as after meeting through a friend, Daine found a mentor in Charli xcx, cementing their ties within alternative pop pursuits early on. Known for not adhering to any one genre, they’ve navigated emo, hardcore, hyperpop, trap, and electronic sounds with ease. With notable collaborations alongside Oli Sykes, Danny L Harle, Dylan Brady, and ericdoa, Daine has become renowned for their lyricism, thanks to their poetic and emotive diaristic stylings.

PQC, the first single from their upcoming debut album – In Endless Awe & Agony – to be released in November, continues their uphill trajectory after the successes of last year’s i want the light to swallow me whole EP and Ninajirachi collab It’s You. Sitting in the more upbeat side of their discography, PQC boasts an infectious chorus, hinting to a more euphoria-filled record than the more emo-leanings of past works. Follow-up singles, Love Love (Love Love) and I Used to Kill, expand on the album's elated sound and introspective lyricism.

Amid releasing singles, Daine brought us into their world, crafting the 130th edition of LN-CC's Store Mix, as well as giving us some insight into their first LP.

You’ve released a few EPs throughout your career so far. How did you know it was the right time for an album?

I think enough time has passed to the point where it’s overdue really. I was hesitant because I still didn’t feel ready (whatever that’s supposed to feel like) because I wasn’t sure I could create something creatively cohesive enough to deserve the title of album. But now that I’ve done it, I feel a huge sense of relief.

PQC, the first single from the record, has really resonated with fans (and us here in the office, it’s been super sunny here, so we’ve been playing a lot). How did it feel for this track to have such a connection with listeners?

Thank you so much! It feels really special. It might sound cocky to say but we (as in the producers and writers) felt that specialness immediately in the studio, and we all had the gut feeling that it would translate to the rest of the world too. So as humbly as I can say this, it feels quite natural. Or perhaps ‘it feels meant to be’ is a better way of putting it.

It taps into vulnerability whilst still being quite the pop banger. Was that juxtaposition intentional?

I don’t think this is a juxtaposition actually. I don’t believe I’m the first to say this, but I tweeted the other day that to be a popstar is to be a loser. [JD1] Because really the entirety of that job description is to lay out all your corniest, most vulnerable feelings in a really easily criticisable format, and get torn apart for it every day. It’s delicious.

I think the track also speaks to your genre fluency, as your work has flirted with a lot of sounds over the years. How did you settle on the sound you chose for this album?

I don’t think I chose just one sound for this record, it’s quite fluid which is something that no matter how hard I try to wrangle it into something more stable, this is just what happens for me. Curtis Everett Pawley executive producing definitely helped tie together everything even though a lot of the songs were started with other producers, he was able to throw throughlines in. Also having Casey Lagos mix the record also really helped. And recording everything on the same microphone, discovering the AKG C414 through working with Ezekiel Padmanabhak on this album completely changed everything for me.

Who are some of the collaborators on this album, and what was the process like working with them?

I’ll name all of them because they deserve it. The producers and co-writers: Curtis Everett Pawley aka The Life. Darcy Baylis. Art Doherty aka Artsartsarts. Morgan Wright, of Acopia. Simon Lam, of Armlock. Ezekiel Padamanabham, of Scratching.

Mixed by Casey Lagos and mastered by Antonia Gauci.

 These are truly the indie music millennial avengers to me (Except for me and Art, we’re Gen Z). I feel so beyond blessed the process was nothing short of magic. Everyday felt like a miracle.

How has your process evolved since your early days making music in your bedroom as a teenager?

I’m not sure if it’s gotten better or worse. Or if it’s the same or different. I don’t write music much… maybe two or three months out of the year. And every time I write the approach can vary. It’s roughly the same though. It’s a divination process.

What kind of influence did growing up in Melbourne have on your music?

I think growing up in Melbourne makes you slightly paranoid about being uncool, which has now 180’d hard into trying to own my un-coolness. That’s all I’ll say on that because I don’t want to drag the culture of my favourite city in the world.

How has touring been? It looks like a lot of fun, especially with Ninajirachi.

It was so much fun, I’ve never played to crowds that engaged before, so I am really grateful. I also just really enjoyed spending time with Nina and Lucy Bedroque and our teams. They are all genuinely very good people and I felt super supported.

Do you have any favourite tracks to play live?

It’s You went CRAZY.

Thanks again for doing this mix for us! What inspired the selection?

Fun, fun and fun. Enjoy! thank you for having me xx