Start Listening To: Dani Offline
The rising L.A.-based contemporary soul artist chats with Still Listening about taking musical risks, expanding her creative team, and more.
I know I’m not the only one with a soft spot for artists with a long training in music in the South and a professional career in budding in California. Aside from there being a certain poetic ring to the sudden lifestyle contrast, the old-school musical wisdom brightened with the contemporary excitement of modern emergent scenes lends itself to an artist that knows the rules, loves the rules, and loves breaking them even more.
Take Birmingham-raised, Oakland-based Dani Offline, for instance. One obvious example of the contrast comes on standout track ‘Ouch’ from her debut album, ‘Lover’s Discourse’, where she marries the cratered, trebly notes of modern R&B-pop fusion bass with the tilt of sexy, frilled jazz keys; the cymbal work is immaculate throughout, with the snare pouncing satisfyingly alongside her high, upper-bound, perfumy voice as the other instruments tease and sometimes kind of lick around her heels. Throughout, the soundscape is resplendent with bright, hopscotching ear candy flourishes and agile, deep-set jazz improvisation - the former a distinctly modern R&B move, the latter serving as a more traditional backlight. Then, of course, there are some moments that fill out the middle of the Venn Diagram; the copper-cored, fuzzy-finished buttons of organ and analogue-style finishes feel as though they could have found their place in either 1950s unbuttoned speakeasy scene L.A. or traditional Southern soul. Altogether, Dani Offline’s melting pot of wisdoms and inspirations builds toward a sound that is cool, but never baggy; old-souled, but in all the right ways and none of the wrong ones. Below, Dani Offline tells Still Listening about her musical aspirations, insulting compliments, and more.
No musician wants every song to sound or feel the same - but is there at least one descriptive word that you would want to be true of everything you put out (except for ‘good’ or ‘excellent’; you know what I mean).
I have a couple: warm, cool, sexy, strange!
Do you feel you tend to pull off that aspiration often, or is it something you’re still somewhat reaching for?
I think so, yes. But there’s usually the sense of “more” or “less” (depending on the song) that I’m trying to balance.
You have a gorgeous voice. As you’ve been experimenting with the instrumental side of things, what style - juxtaposing funk, smooth jazz, anything in between - do you feel makes your natural strengths as a songwriter and vocalist shine the most?
Definitely jazz. I like doing straight-ahead stuff, too, because I like the simplicity and creativity that comes from trying to engage with past forms. But, overall, I love to explore the limits of my voice, to improvise, and to challenge myself—jazz is really good for that.
What is the most insulting well-meant compliment someone could give your new record?
*Oldhead voice* “Whatchu know about this kinda music, lil girl?”
Your music is quite exciting and experimental - are there any recurring ruts you slip into that you force yourself out of because you think including them would make the music more expected/repetitive?
I actually like recurring ruts sometimes. When I notice that I’ve used a phrase, a word, or a piano/synth sound more than once, it’s that kind of thing that reminds me I have a personal style and a sound that’s my own. But lately I’ve been asking myself what areas of my life I haven’t been honest about, and trying to see if there’s songwriting material there.
What is a sonic risk you took that paid off on ‘Lover’s Discourse’?
I guess it was a bit of a risk to work on the album with one main collaborator, sometimes two. But Vooo (who executive produced the album with me) and Omari Jazz (who added sound production on a number of songs) are such special people, so I was never worried! I like the kind of albums where you can tell that it was just a couple of musicians in a room, working together.
What is a technical skill that you are still particularly focused on improving?
I’m always working on improving my playing as a pianist and guitarist. I’m no expert, but I can write and hold my own with a band! Still, I want to express myself more freely, and technique can be a big part of that. I want to practice more, always, and keep learning.
What would you say is the most significant point of objective creative growth you can pinpoint between ‘Mirror’ and ‘Lover’s Discourse’?
It’s hard to say, but I think my ability to collaborate has improved a lot. I’m used to doing everything on my own, but there’s that saying that goes, “If you want to go fast, go alone. If you want to go far, go together.” I’ll always love writing songs on my own, but when it comes to recording, it’s just so much more fun to play with others! I think on this new album, I learned to trust the process and just enjoy the magic of creation.