Chloe Day spent her childhood adrift in the Midwest suburban culture of St Louis, MO, growing up at the edge of the woods. There, she passed much of her time alone in the shadows of 50-foot maples and dogwoods, dodging fields of poison oak, humming along with whatever music was tinkering around in her head at the time - be it from the outside world or from within.
She never quite found her footing with the creative arts scene in the conservative reaches of her hometown, taking instead to years of journaling. Her music career came to life upon her relocating to Venice Beach, CA.
Day’s move to the west coast landed her in a 100-year-old house once owned by Abbot Kinney himself (founder of Venice) and frequently deemed by friends and passers-through as haunted. There, Day and her roommate began amassing a number of second-hand instruments left behind by the endless stream of artists landing to crash for anywhere from an evening to a month or more. Eventually the two came to fill the spooky old house with music, hosting jams that stretched morning through - well, morning - and beyond. Somewhere in the midst of this, Day ventured off to Mexico, where she picked up a guitar of her own at a roadside stop in Tijuana.
Songwriting seemed to come intuitively, and upon returning to LA, Day overcame her introspective nature in favor of a newfound love of performing.
It was at Molly Malone's pub in the Fairfax District that Day found her first jolt of palpable inspiration in a hotbed of burgeoning talents, including then-fellow open mikers Joe Purdy, Jim Bianco and Eleni Mandell. There, she also crossed paths with producer Meghan Gohil and began work on her debut full-length, "The Return Of..."
The album was initially released at the Hotel Cafe in Hollywood, and soon after, a series of shows around her home state triggered a growing fan base as opening track "Kingpin" broke airwaves and Day's work began garnering critical acclaim.
"Chloe Day whispers tunes laden with enough layered secrets, addictions, and percussive slinkiness for both updated Raymond Chandler adaptations and creepy indie flicks."
- Kansas City Pitch Weekly
"With a little-girl croon that sounds half-seductive, half-lethal, Day leaves her audience curious whether she plans to kiss them or kill them."
- Riverfront Times
Her sophomore release, "Pixie Runway", followed a couple years later and led to regional touring.
"The term 'pixie' in the title is no accident; Day has this awesome voice that is sexy, sweet, and just a little predatory."
Both albums, as well as Day's subsequent EP "Sugar" and her third full-length, "Ruby in the Rabbit Hole", caught the attention of radio tastemakers around the country, with strong listener responses on Modern Rock stations such as KATT (Oklahoma City), KROX (Austin) and KUPD (Phoenix), as well as on the ever-eclectic airwaves of KCRW (Los Angeles).
Although Day often cites the performers around her as her primary influences, she continues to experiment in the studio with ideas that reach far beyond the straight acoustic confines of her early days on stage.
Her writing style tends to push the boundaries of traditional pop, refusing to be pegged down to any one sound or format. The recordings and live shows are a playground of quirky alt-country satires interspersed with a handful of flat-out tearjerkers and steamy lounge numbers, occasionally mixing in some pulsing electronic songs to create what has been dubbed a "schizophrenic genre romp." - Flavorpill
Day has recently transplanted herself a second time, finding new music in the woods of Northern California, where she performs both solo and with her band the Waller Dawgs on a regular basis.