Reviews:

(Vital Weekly) For no reason, I assumed Flag Day Recordings to be a record label with a strong, if not sole, interest in all things modular electronics. This CD by Eloine proves me wrong. Behind this name is Bryan Day, an inventor of instruments, boxes with springs, bits of metal and wood, but also using broken electronics, “vintage computer synthesisers,” and field recordings. He’s also the man behind the Public Eyesore and Eh? labels and someone who works a lot with improvisation. That is certainly also the case in his solo work, and even though this is the first solo release since 2016,’ Bizarre Flight’ by Gertrude Tapes (not reviewed), he also uses the name Eloine when working with others. Day recorded the music in his studio in San Pablo, California, and on the road during residencies in Brazil and India. Some of the instruments he plays were commissioned pieces and he gave them away to people he worked with. I understand that these nine pieces are not the result of recording one improvisation but the results of editing various recordings into small, coherent pieces of music. As such, the improvisation is the mere start, gathering the bricks to layer a composition. Yet these pieces still retain some of that improvised feeling, which brings a certain amount of freshness to the music. Using various bricks, the music also has some density, maybe not be achieved when playing everything in real time. Sometimes drones come into play, adding that modular quality to the otherwise electro-acoustic quality of the music. Eloine’s approaches are diverse, from dark and brooding to outgoing and joyous. There is a genuine love for his inventions and a want to extract a many different sounds as possible, and this doesn’t result in an album that collapses with the many varieties but still sounds very coherent. If you are interested in electro-acoustic improvisation, I strongly recommend this album, and also when improvisation is not your cup of tea, then you should investigate this one. - Frans de Waard

(Disaster Amnesiac) The photos gracing Eloine's new CD, Moldy Cushions, appear to be close ups of mushrooms or spores of some other form. Were they taken with some very advanced gear that photographer Holly Wilson has access to? Or, are they enlarged bits of data snapped with a mere iPhone or some such other? Either way, they fit really well with the sounds on Bryan Day's solo project and its new physical output (of the digital realm, anyway; we all know that Day makes fascinatingly formed instruments for his own and artistic patrons' use too). The term has been over used, and by Disaster Amnesiac as well, but I just keep coming back to "granular" as a way of assisting in the word visualization that accompanies listening to music that has been submitted for review over here in the Land of the Devil's Breath. Granular spaces are the spaces in which Eloine finds its unique voices. There are not stated melodies as such, although there has been at least one occasion, as I listened to Cushions, in which as very definite melodic form arose from this masterfully done Musique Concrete. There can be no doubt that Day is after sounds that are in variance with traditional notions of melody, but, equally, this writer has no doubt that Bryan would not be averse to that phenomena arising, either. He's just not that kind of guy. He is a very creative guy, and I've seen him thinking really intensely, even when it's just, you know, bumping into him and Holly at a local thrift shop. True story! But back to Cushions. Eloine has an arsenal of sounds, ones which have been crafted both by Bryan Day and some of his co-creators (International Division), and from them the listener can hear imaginary cities of mammoth proportions being constructed. Did Day see a lot of this in India and Brazil? These are both BRICS nations, so presumably, there is a lot of "development" happening within them, what with being allied to China and Russia and all. Eloine makes visualization so accessible from organized sound! Put your phone down while you listen. Grab a chair by a window and watch the world's drift match those of Eloine. You'll hear theremin sounds, stately electronic sounds, percussive sounds, post-production effects, cybernetic atmospheres and so forth. Formal structures are indeed presented within Moldy Cushions. They are ones very specifically composed by Bryan Day under the moniker of Eloine. No two mycological specimens can ever be the same ergo why should so thoughtful a person as Bryan make the same music as everyone else? Can you believe that that's still an issue? Sadly, it is. For an antidote to group think, proceed immediately from reading this post to Flag Day Records and show your support. Years from now, you can count yourself amongst the supporters of a genuine American artist as he was making deep strides within his body of work.- Mark Pino

(Lost In A Sea Of Sound) Lumbering sounds, buried depths within a glacier slowly moving house size boulders. Unseen erosion far below ground formed by water, flowing to create cavernous space throughout limestone. Both products of time in a duration, incapable of comprehension to sentient life on this planet. Moldy Cushions holds the innermost workings of unconditioned processes. Aural fields of sounds formed by organic motion, artistry in technique. With loving creative energy from local to a far reaching international community, Eloine arranges a heavy nectar of clamor and reposefulness. Nine selections beginning and ending with pristine clangs and rumbles from Eloine's mystic depths, Molding Cushions peaks the bell curve with "Pancakes In Cement". This middle track is the most forceful from end to end. All tracks possessing a fluid element of crystalline sonic disturbance, beautiful clarity illuminating deep recess of bleached and broken bones. Eloine is the long running project of Bryan Day. Over two decades of solo compositions as well as combined works with many skilled artists. Looks like Moldy Cushions is the first glass mastered cd by Eloine in a world of previous cassettes and cdrs. Gorgeous compact disc editions released on West Virginia's Flag Day Recordings label. These gems are glass mastered cds housed in a heavy 6 panel case. Copies are currently available from the label. - Ken Lower

(Dabodab) Bryan Day, the creative force behind Eloine, invites listeners into a vibrant and unpredictable sound world with Moldy Cushions. Released on Flag Day Recordings, this album is a lush and immersive journey that blends droning textures, unexpected rhythmic shifts, and a deeply exploratory sense of sound design. As an experimental artist with a knack for repurposing everyday materials into unearthly instruments, Day once again demonstrates his ability to craft sonic landscapes that are as intriguing as they are evocative. A Lush, Evolving Journey From the opening track, “Weird Functions,” the listener is plunged into a sonic environment that feels alive, constantly morphing and revealing new layers. Day’s use of his invented instruments, combined with field recordings and vintage electronics, creates a rich palette of textures. Tracks like “Neoprene Concourse” buzz with a tactile energy, the drones resonating with a kind of organic vibrancy that makes the music feel both mechanical and alive. As the album unfolds, it feels like a dialogue between percussion and drone. In some moments, like on “Tangled Frames,” rhythms emerge and evolve organically, pulsing gently before dissolving back into abstract tones. In others, such as “Mushy Outliers,” layers of sound interlock in ways that are both meditative and alien. A Sonic Collage Moldy Cushions is not just an album; it’s a tapestry of sonic experiences. Day’s work thrives on the unexpected—half-recognizable sounds drift in and out, only to be reshaped into something new. Tracks like “Pancakes in Cement” exemplify this fluidity, where seemingly disparate elements coexist harmoniously, merging naturally into rhythmic and tonal narratives. There’s a playful quality here as well. Titles like “Sledgelings” hint at a whimsical sensibility, and the music often feels like it’s delighting in its own process of discovery. The Artist’s Hand Knowing the backstory of Moldy Cushions adds depth to the experience. Recorded in California, Brazil, and India, this album reflects the global and deeply personal nature of Day’s creative practice. Instruments with fascinating histories—like those buzzing drones in “Neoprene Concourse,” crafted by João Fernando Arrais Serodio—add another layer of intrigue to the music. Day’s long history as a sound artist and instrument maker shines through in every moment of the album. His ability to transform scavenged electronics and mechanical components into expressive sound sculptures gives Moldy Cushions a unique character, one that feels like an ongoing experiment in sound. Final Thoughts Moldy Cushions is a beautiful work—rich, textured, and deeply engaging. It’s an album that rewards active listening, pulling you into its world and inviting you to explore its many layers. Fans of experimental music, audio collage, and electroacoustic improvisation will find much to love here. Bryan Day’s ability to craft evolving sonic environments that feel both alien and familiar is nothing short of remarkable. Moldy Cushions is an album that deserves to be heard, not just for its artistry but for the way it reminds us of the infinite possibilities in sound. Find the album on Flag Day Recordings’ Bandcamp page. Highly recommended for those ready to lose themselves in a lush world of audio invention.- Bryan Baker

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