HOW TO MAKE A DYLAN JANE FOLKTAIL:
While already under the influence of singer-songwriters of the 1970s, fill a tall glass halfway with folk on the rocks. Add a generous shot of punk, a quick pour of grunge, and a just a splash of old country. Shake with a mixer of the indie tradition and garnish with a twist of soul.
"In a moment as lonely as Mazzy Star’s 'Fade into you', an achingly beautiful voice sings “there’s no fire you can tend gonna melt his heart”. That is the moment worth listening for"~ Jen Levins, ThatMag
"Real, raw, and emotionally charged"~ Joie Formando, The Snapper, Millersville University of Pennsylvania
Intro by Ruben Tuesday
One imagines that at some point very early on it became inevitable that she would come to this. You know where this is heading once you get in your head that image of a tiny girl, aged 8 or so, with a can of soup in her backpack and, slung over her shoulder, a “Hot Lixx” toy guitar by Tyco (the kind that requires pressing one of five big blue plastic buttons to make a squealing, high-pitched electronic noise). It’s late afternoon one summer day in South Florida; she huffs as she swings one leg over her bicycle and pushes the hair out of her eyes. She’s running away from home. She’s certain, defiant, and ready for whatever adventure she can summon.
As early as second grade, she was on that path. She formed a “band” with two classmates and a children's keyboard, and already a natural-born storyteller, wrote a simple melody about going too far from home while playing outside. She was already trying new ways to express her experiences, and though that band didn’t last, it began a relationship with music that she has never shaken.
Fused with a fascination of all things literary, poetry and then lyrics came right behind. She describes her music the same way we hear it: “lyrically centered.” She sees the words and music as puzzle pieces, the sound of her guitar as shades of color, the entirety of songwriting as a process, not an end. And it’s an organic process, still childlike in many ways, crafting songs as she picks up little bits of influence and knowledge along the way but fully embracing the mysteries of it and admiring how inscrutable it can all be. It's all about the joy of invention.
With her debut album Paint, Clay, and Other Mediums, released in March of 2012, made with producer and musician Bret Alexander (The Badlees, and much more) at Saturation Acres Recording Studio in Dupont, PA, she says the recording process has opened up a new understanding of what she wants to accomplish as an artist. She hopes to be as prolific as time and fortune will allow.
Paint blends a wide spectrum of styles, each song quite varied from the next, and includes musicians from all different backgrounds (Credits). You get a clear sense of an artist on the brink of a sound that is still emerging, evolving, and constantly taking shape.
Shortly after releasing Paint, Dylan Jane and the Turning Leaves was born, a name meant to feature a collective of friends, studio musicians, and bandmates contirbuting to the sound, the nature of which is variagted and ever-changing from song to song and record to record. It is also a reference to the pages of her journal and the books and the authors she often references in her lyrics.
Again working closely with Alexander, percussionist AJ Jump, and several other collective contributers TBA, Dylan's second major release is expected in the fall of 2013.
These days you can find Dylan busking on a nice day somewhere in Philadelphia, attending open mics around the city, playing shows, and working on new music consistently.
She also intends to actively pursue her soul-o work at all times performing in singer-songwriter showcases whenever possible.