Eloine
Moldy Cushions (CD)
Flag Day Recordings 2024

1. Weird Functions
2. Neoprene Concourse
3. Wagon Station
4. Tangled Frames
5. Pancakes in Cement
6. No Grand Homecoming
7. Grass State Official
8. Mushy Outliers
9. Sledgelings

Bryan Day - invented instruments, broken electronics, vintage computer synthesizers and field recordings.
Recorded and mixed in San Pablo, Brasilia, and Hyderabad in 2022 - 2023
Photos by Holly Wilson

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