She also garnered some predictable, maybe unavoidable, comparisons to Lana Del Rey, the reigning Queen Bee of blue-collar melodrama. With its bleak narrative, cloying vocals, and amateurish production, the track is like a prototype for the dozens of unnerving home-recorded songs that would follow it.įrom pretty much the get-go, Dollanganger’s aesthetic was celebrated by macabre-loving corners of the internet. She sings about him over barely-there acoustic chords on 2012’s “Coma Baby,” the first real song she ever made: Coma baby, with your sick head/ the doctors saved you, but you’re still dead. When she was in her late teens, a close friend was in a serious car accident. She got along better at local hardcore punk shows, where she befriended like-minded outcasts and was immediately grabbed by the cathartic, vocally raw performances. “He would always tell me scary stories before bed, but they were never gory enough.” In high school, her innate shyness made her feel like a misfit. “My dad says I've been bloodthirsty since I was a kid,” she says. “Plus everyone understands physical pain, so that's something that can reach a lot of people.”ĭollanganger grew up outside Toronto, in a sleepy everyone-knows-everyone suburb called Stouffville-the sort of unassuming small town in which the creepiest movies always seem to be set. “We're obsessed with death because we know we're going to die,” Dollanganger tells me over the phone from her family home in rural Ontario, her speaking voice basically as sweet-sounding as her singing one. The 24-year-old singer-songwriter draws inspiration from horrors both true and fictional: an older song called “Nebraska” is about a real-life teenager who went on a crime spree with her murderous boyfriend in the ’50s, a different track samples dialogue from the made-for-TV adaptation of Stephen King’s killer clown classic, It, and one of her recent Bandcamp releases, Greta Gibson Forever, is named after a doomed supporting character in Nightmare on Elm Street 5.
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Her lyrics evoke imagery not meant for the faint of heart: cracked skulls and cum-stained sheets, school shootings and electric chairs, dog piss, alligator blood, the smell of rotten food. You’d be advised to listen, and hear one of this year’s greatest underground statements.To the most squeamish, Nicole Dollanganger’s music might seem a little disturbing. Grimes’ believes in Dollanganger’s music to essentially launch a label to make sure people hear it. It’s a chilling, harrowing, exciting, real, heartfelt record. Nicole Dollanganger has delivered a deep and complex surreal emotional experience with Natural Born Losers. Lyrically, Natural Born Losers is darker than a dozen Burzum records, however, like when she shoots an angel and hangs it on her bedroom wall on “Poacher’s Pride”. Musically, Natural Born Losers is all sweetness and light, with Dollanganger’s high, clear, innocent vocals meeting dreamlike guitars and occasional thunderheads of bass and drums. She loves and accepts a power-hungry police officer on “Mean”, while making drinking cheap beer on the porch seem like the most romantic thing ever on “White Trashing”. If anything she seems to have a love for the down-and-out and disenfranchised. Similarly, Nicole Dollanganger is not here to judge. The darkness is just a shade and texture, like a cloud passing across a midday sun. Korine shows the darkness and desperation of “normal people” eking out an existence, but not as some morality tale. Korine’s movies focus on the lives of the fringe dwellers – trailer park denizens and celebrity impostors. Like Korine’s work, there is nothing all that ominous and unsettling on the surface of Dollanganger’s ghostly folk music. Dollanganger has previously referenced Korine’s directorial debut, following “Bunny Boy” from 2014’s BabyLand, along with a haunting homage to Beverly Marsh from Stephen King’s “It”.īunny boys, cool losers, battered heroines haunted by abusive fathers and homicidal shape-shifting clowns, all of these images would be at home in a Nicole Dollanganger record.
On Natural Born Losers, there’s “A Marvelous Persona”, a nod to Gummo’s larger-than-life bad boy Tummler, he of the marvelous persona. It’s hard not to draw comparisons between Nicole Dollanganger’s atmospheric folk-tinted bedroom rock and Harmony Korine’s filmography. Stoufville, Ontario’s Nicole Dollanganger delivers a dark, sweet mumblecore folk record for Grimes’ new imprint, Eerie Organization.
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