Music
The best kept secret in music
Press
…Kuma's strength is in its powerhouse vocalist, Bre Loughlin. Her chilling croon is part Siouxsie Sioux, part Martha Davis (of the Motels) and all icy diva. She sidles up to the piercing high notes and purrs seductively until they fall into her range…. - Seattle Post Intelligencer
Because she cascades through a three- octave range and employs goth-toned atmospherics and theatrical flair…. Loughlin breathily exudes impatience and need before the band breaks into a fuzzed wall of glitches and white-noise guitars.
- Seattle Weekly
The most startling thing about the band is its singer, Loughlin, who has a fine, rangy voice — but that's not all. She lets it hang out on virtually every note of every song, performing like her life depends on it. In concert, she is weird and wonderful….
- Seattle Times
[Kuma]…paint a pop-surrealist landscape for Bre Loughlin’s breathy to banshee vocal travels; six songs into the 11-song disc and the hooks are already in deep [album, Fast Colliding, receives ****].
- The Stranger
Frontwoman Bre Loughlin is undeniably the star of the show….
- Seattle Weekly
Discography
Daylight Basement:
First release: 10 September 2005
Bre's also appeared on the following albums:
Kuma:
Fast Colliding (LP, Self-released, 2005)
That Moment of Silence Before a Disaster (EP, Self-released, 2004)
The Stuck-Ups:
Human Doll Express (LP, Sympathy Records, 2002)
Photos
Feeling a bit camera shy
Bio
Daylight Basement is acclaimed Seattle singer Bre Loughlin. While performing as lead singer of Kuma, Bre quietly spent two months reacquainting herself with her electric green guitar and songs (which sat untouched in notebooks for over 3 years) before emerging from her daylight basement to debut her new body of solo work.
Daylight Basement’s music draws influences from a range of influences: Annie Lennox, Robert Smith to Beck. Her songs are dark and whimsical electronic pop musings of matters of the heart, telling stories of emotion and memory. Bre recalls her Irish tenor grandfather in a post-modern interpretation on a traditional ballad he regularly sang. Her work as a nurse (in kidney and liver transplant, and labor and delivery) causes constant wrestling of her own mortality and purpose, “Making sense of senseless ends/I’m climbing up the walls again” (from A Very Hard Day). It encourages her experimentation with sound (she programs drum loops, live playbacks of herself playing keyboards), and her own vocal range (3+ octaves).
“Her chilling croon is part Siouxsie Sioux, part Martha Davis (of the Motels) and all icy diva. She sidles up to the piercing high notes and purrs seductively until they fall into her range….”
--Seattle Post Intelligencer
Ultimately, Daylight Basement’s work is about moving and moving on.
Links
