The Day
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DE Hamburg / Antwerpen – Indie / Indie space rock / Shoegaze / Dream Pop / Post Indie
The Day

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The Day - We Killed Our Hearts (live)
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Label / Release Type Year
Sinnbus
Ab67616d0000b27350afed238bba892a442b3e7d Jij Wint Single 2020
Ab67616d0000b273f5c2322535b03d16c97be02b Midnight Parade Album 2019
Ab67616d0000b2737acf4a760edb82cc5a1f556d Grow Single 2019
Ab67616d0000b27341451ea2a5c841a41f10dbb7 Where the Wild Things Are Single 2018
Ab67616d0000b2731e1249f56b78c8c7805bff60 Yet to Come Single 2018
Ab67616d0000b273448cd141948351bf405e8383 Leave the Dark Single 2018
Hey!blau Records
Ab67616d0000b273efcf67812825a488742f1ada Try (Radio Edit) Single 2016
Ab67616d0000b2733f17de062a5b4de4ae34de8f Strangers With Familiar Faces Single 2015
深圳市锐厉舞志企业策划有限公司 Shenzen Lychee Productions Ltd.(Martial Artists Management)
Ab67616d0000b273773f0e9880ebf7ea522adc7f Tenderfoot Single 2020
Ab67616d0000b27385cd858f5724c8643aef00b4 Icon (The Day Version) Single 2020
The Day
Ab67616d0000b27365713f03f3347c660d16e350 Golden Arms (Single Edit) Single 2016
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CONTRA Next
Manuel Hussain
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Sinnbus
Daniel Spindler
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The Day are Laura Loeters from Antwerp/Belgium and Hamburg/Germany based Gregor Sonnenberg.

Since meeting at ‚Hogeschool voor de kunsten‘ in Arnhem the two keep reconciling distances, differences and always new musical approaches and perspectives.

The Day is where whimsical Dream Pop meets a DIY ethos learned from hardcore, which allows for Lo-Fi moments in production. A sparse, springy and rapturous dynamic alternates with a wildly imaginative dream-pop harmony, rock and synths create just as inspiring contrasts as great sound bursts and refreshing, reduced postpunk references. This is continued in the songs by themes that connect and contrast the private and the political as often as possible. In addition, the music expresses utopia as well as melancholy in its escapism and thus refuses to be interpreted in an overly fixed way. The Day is most of all an international long-distance constellation meeting an almost celebratory pan-European idea of unification (which sadly can’t be emphasized too often in recent months).

On stage The Day is a real 3-piece live band: drums, bass, guitar. The warm exciting guitar layers might be reminiscent of bands like Explosions in the Sky. The chorussy bass guitar playing of Laura adds this strong shoegaze edge topped by her lush vocals drowned in reverb giving The Day its dream pop sound.

They have released two EPs by themselves, were constantly on the road, supported acts live like Kate Tempest, Oh Wonder and been on tour with Turnover. In addition the two continue to work on creating their own version of introvert, melancholic pop music. The songs of The Day are intimate without being intruding, and speaking with inner calmness. Their first full-length LP „Midnight parade“ was released on Berlin-based indie label Sinnbus in 2019. While working on new material, the two allow themselves to continues their series of tasteful cover versions in 2020. Following their works for label mates Yeah But No and Dakota, their newest pick is "Tenderfoot" by The Lemonheads / Smudge followed by the Dutch song "Jij wint" originally by Spinvis.

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Laura Loeters and Gregor Sonnenberg alias The Day are a duo that not only admits their differences, but celebrates them with indulgence. Why else would a band with such a freely interpretable name call their first full album “Midnight Parade”? Aside from this charming contrast, one can also say that they are more contradictory than explicit. But that just makes things more exciting, as so often.

After all, The Day is where whimsical Dream Pop meets a DIY ethos learned from hardcore, which allows for Lo-Fi moments in production. An international long-distance constellation meets an almost celebratory pan-European idea of unification (which sadly can’t be emphasized too often in recent months). This is continued in the songs by themes that connect and contrast the private and the political as often as possible. In addition, the music expresses utopia as well as melancholy in its escapism and thus refuses to be interpreted in an overly fixed way.
As confusing as it may seem to read, “Midnight Parade” also sounds as vibrant.

Loeters and Sonnenberg once met as students at the Hogeschool voor de Kunsten in Arnhem, the Netherlands, and quickly began making music together. Their style developed steadily and over several years, while the two collected further residences in their biographies and finally landed in Utrecht and Hamburg respectively. Two EPs were released gradually moving them from folk and indie pop to postpunk, dream and synth pop. Now they have arrived at “Midnight Parade”, and the rich sound and style variety of this LP underlines a respectable development in ambition and skill, which generally only bands can show, who have been working on themselves diligently and for years.

“Midnight Parade” has everything you could wish for on an album from this style conglomerate: A sparse, springy and rapturous dynamic alternates with a wildly imaginative dream-pop harmony, rock and synths create just as inspiring contrasts as great sound bursts and artistically contextualizing interludes. “Grow” with its funky synth pop is a flawless hit, while songs like “Yet To Come” or “Island” with their refreshing, reduced postpunk open references to heroes of the Warpaint price range or the blessed The Organ. With “Berlin” the band dares to do more rock and more reverberation and reminds here most clearly of The xx, and so it goes on and on: The Day are sometimes poppy, sometimes serious, sometimes out of place. They can be tender and hard as well as abstract, and it’s this broad range of skills that makes their album so extraordinary and so good.

Loeters and Sonnenberg did all this almost alone. Both the recordings and the production were done by them, only the drum tracks were recorded by musician friends. In this context, their great video for “Yet To Come” marks an exception, perhaps even a turning point: for the first time, they gave the artistic direction for a The Day output out of their hands to the Finnish-French director Lumi Lausas, whom they held in high esteem. The clip is thus not only the first external artistic input for The Day, but also emphasizes the European idea that this band lives – and that one listens to in their music.
-Christian Steinbrink