Seeded Plain
Flying Falling (C60)
Eh? 2019

Side A:
1) Blodarts
2) Frost Axis
3) Quilter's Relish
4) Ritual Bushings
5) Astral Turf

Side B:
1) Henge Loft
2) Tin Puncher
3) Temporal Mush

Bryan Day - Invented Instruments
Jay Kreimer - Invented Instruments

(Cassette Gods) Guy in the parking lot directly below our balcony is power-washing his van's guts out. An auto-enema, I guess? The sound is a multi-layered hiss and hum that sounds like a decent, idling vacuum cleaner and stovetop tea kettle are vying for attention…these howls then cut short by an actual, industrial wet/dry vac, which sounds more like a diesel-guzzling construction vehicle's slow crawl than any debris harvesting shop-vac I've ever handled. &Now enter a commercial shop-vac (not making this shit up) into our apartment's block-long corridor, just outside the apartment door, it's accordion trunk breathing heavy, it's snout scraping the (fucking filthy) crevice where carpet and chipped wall trim meet, desperately searching for peanut shells, toe nails, whatever it can. The above account of why I've woken up so fucking early after a poor night's sleep fits in with these here sounds captured by Seeded Plain pretty well, my current surrounding urban taunts droning in sync and contrasting with SP's (Bryan Day's/Jay Kreimer's) percussion-heavy explorations (nearly all being electro-acoustically wrung via pluck, skitter, scrape, rub, thwack) via their impressive collection of home made reverberant devices, something fierce! &let's face it; deep listening to Eh? Records' stuff won't get done by many in an anechoic chamber. There'll always be some outside color bleeding through when listening to their subtle, nuance-packed catalogue*, and listening to "Flying Falling" whilst being surrounded by commercial-grade dirt-suckers has leant me an entirely different narrative (albeit post-apocalyptic now) than when I listened to it, yesterday, amidst the relative quiet of crepuscular birds a-courting from telephone lines and coral gums that surround our complex. Where now, it sounds as if I am INSIDE a wheel-house of unaligned gears that don't get along, but rather fight over rubber belts, claw at the tin skin encasing them, and attempt to shed their grime in hopes to rust back to stasis, yesterday, I felt I was bearing witness to the communiques of every single jungle animal and every single plains animal capable of producing a noteworthy utterance, all these fauna taking turns at the tree line to vent -and a good amount of overlapping argument did ensue- to one another, all the while, those incapable of moaning, shrieking, or howling attempted an animal morse-code on whatever rock or destroyed poacher's vehicle door they could find nearby. Which is to say, Seeded Plain does one helluva job coaxing the most dynamic, enigmatic -and just plain old WILD- sounds possible from the devices they've personally cobbled together, whether they contain resonant chambers, strings/cords, loose metal clumps of varying smoothnesses/roundnesses, and/or contact microphones. "Flying Falling" is a goddamn trip, no matter where you're listening from, physically, and metaphysically. Talk about versatile! - Jacob An Kittenplans

(Lost In A Sea Of Sound) Seeded Plain vibrates the earth. A giant amalgam of intense creations taking various strides and fluctuating paces. With each step, the complete weight of this combined entity sending concussive waves through the core. Appendages clank, rattle, insides gurgle and spew, another motion forward causing similar but alternate reactions. In some distant context there is rhythm, not as it's currently understood, but a complicated pattern stemming from two spirits. Sounds emanating with currents of energy, fueled by unadulterated creativity. The desire to build and compose what can not be mapped, a place journeyed to only once. Flying Falling is the recorded memory, an fortunately it can be played again. Bryan Day and Jay Kreimer are the duo comprising Seeded Plain. They have been working on this project for over ten years, steadily releasing their sonic pliability. This is just the content of both Bryan and Jay working together. A very small sum of individual and other cooperative projects, not to mention exhibits, art shows and workshops. With a wide range of various involvements, their Seeded Plain relationship has endured. Producing the newest collaboration titled Flying Falling, a sixty minute tape containing eight tracks. Their sounds are derived from beautifully crafted thoughtfully personal instruments. The aural output is beyond these words, so take a look and listen here for a few examples of these graceful creations... - Robot Rattle

(Xactionmusic) Chords shriek and groan, scraping across thick metal ground. Sounds after committing a murder, picturesque of the kind of dilapidated internal structure which would reside after an experience of that magnitude. Many of the sounds are kept minimal yet unbounded by any true thought as to how abundant they should be. Some arrangement’s vacillate this devastation, while others are a nice whisper of psychedelic elements softly stirring something rancorous in the chamber of panic and dread.

(Chain DLK) Seeded Plain is a project of Bryan Day (who runs Eh? and Public Eyesore) and Jay Kreimer with what seems to be occasionally a changing cast of additional performers. The Flying Falling album is the duo of Bryan and Jay. Personally I am very familiar with Public Eyesore which has released music by some of my favorite artists since about 2001. On Discogs, this is often listed as "Jazz", "Experimental" or "Free Improvisation" which I feel like are pretty generic terms. While sounding unique I hear a lot of Musique Concrète influences. Flying Falling is a slow-moving scrape and dirge with various instruments being played in a non-traditional manner and distorted sounds of metal being rubbed and scraped to build a beautiful sonic experiment. Everything is laid out very well and you can tell the performers have experience in mixing these methods of sound generation together. This release is extremely chill and relaxing and shouldn't be missed by purveyors of experimental music. - Marc Benner