(Monk Mink Pink Punk) Bryan Day's solo noise project involves his self made instruments that use magnetized plumb lines, metal tape measure parts, hand crafted contact mics (the Whiskerphone) and smart uses of electronic processing. The focus is sharp diffusions of metallic scrapes, tiny electronic buzzes and gamelan like tones. It's an intense, evolving mass of noise akin to Voice Crack. - Josh Ronsen
(Foxy Digitalis) The manipulation of mechanical and instrumental components is central to the structure of this record, made up of three pieces totalling thirty-five minutes. The album’s first track, “Threadbare Margins,” sounds like it is composed of the taking apart of a guitar; and moments of radio static, microphone-popping, and unidentifiable metallic- and bell-like ringing throughout the recording make for an aseptic musical landscape. There is a stripping down of musical elements throughout the work, and the album’s title is a good description of its subject matter and content. Although instruments are not played in a conventional sense on the album, tempo is important: the recordings sound digitally cut up and then placed back together in such a way that they each become a non-stop set of repetitions of percussive noise delivered at a fast clip. There is a type of essentialism to the record that is well done, and the intelligence with which the music is made is apparent: “Simpler Machines” is a good release, but its sparseness is also its defining characteristic for better and for worse, and may be too spartan for some listeners, but rewarding for others. - Jordan Anderson
(Vital Weekly) On ‘Simpler Machines’, the list of instruments reads as follows: ‘commodore 64, games of chance, metal can, oscillators, steel pan, taisho-goto, tapewarp, transceivers and whiskerphone’. Musically it seems to me there is also a link to be shared with Tore Honore Boe and also Kapotte Muziek. In the first, untitled, there is a total absence of electronics for Bryan Day, with scraping of objects and surfaces, metallic approach and such like. The electronics come in with the second track, but are kept to a bare minimum. The third track is a extension of the first, it seems. Definitely not easy music, and as such quite demanding to hear. Maybe not to be taken at once. - Frans de Waard
(Monsieur Délire) Eloine is Public Eyesore/eh? director Bryan Day. This record features three long pieces involving several antique devices and found objects: oscillators, transceivers, metal cans, and even a Commodore 64. Three long tracks, rather monotonous at the macroscopic level, and full of semi-haphazard sonic meetings at the microscopic level. - François Couture
(Homemade Alien Music) link to streaming webcast.