Reviews:

(Lost In A Sea Of Sound) Eloine exhibits again the unearthed beauty of ruff cut sounds. Silently dormant within a menagerie of re-purposed material, a creative mind induces new found motion and purpose. From this charge of energy, Impractical Furniture takes sonic shape. Five selections were procured for this composition from an impressive assortment of twenty five to choose from. A striking feature of this album is the detailed clarity of recorded features. Seemingly on first listen, the cacophony of all objects making noise is random and unvarnished. But, there is an organic feel weaving through all tracks, creating a fluid delivery for fringe sounds and wandering imaginations. After a few times through, Impractical Furniture definitely radiates with a gossamer finishing touch. Eloine has a creative skill set with attuned knowledge crafting a balance of violent clanging and scraping with the subtle quieter moments of dispersed energy. This is the most alluring aspect of this body of work, pushing across the thresholds without dropping listeners off the cliff. Bryan Day is the creative source for Eloine. His talents reaching far into building museum piece sonic instruments to fantastic solo performance. Less than a year ago, Lost in a Sea of Sound listened and described Eloine's Moldy Cushions release. This is still available from West Virginia's Flag Day Recordings. Impractical Furniture is a cassette release on the Personal Archives label. An edition of fifty with copies currently available. Between these two is another Eloine release titled Compulsive Dinner Guest. Have listened to this many times but no description on the site. Should probably change that. - Ken Lower

(Bad Alchemy) Brian Day, der Public Eyesore E-Macher, hat auch selber wieder Musik gemacht, nämlich als ELOINE Impractical Furniture (Personal Archives, PA//226, C-52). Neben das auffallend benannte „The Beautiful Uncut Hair of Graves“ von Nonlinear Filed, der damit Walt Whitman zitiert, stellt er mit 'Rubber Sawhorse', 'Sunken Corners', 'Potluck By Proxy', 'Guiltlines' und 'Bread Welder Again' fünf seinerseits irritierend betitelte Stücke. Sie sind bei ihm daheim in San Pablo entstanden mit dem portable, collapsible tabletop instrument setup, das Day bei der Tour mit Ypsmael eingesetzt hatte. Er entlockt ihm Geräusche und Klänge, mit offenbar händischem oder prothetischem Kratzen und Touchieren von metallischen Oberflächen und von Eisendraht. Tastendes Hantieren ist jedenfalls ein wesentliches Moment seines Spiels, das neben krabbeliger Gestik mit blechwannig dongendem Hohlklang durchsetzt ist. Oder mit federndem Surren, schattigem Dröhnen und Schlägen als Loop oder erratisch. Als Day'scher Nachhall von Russolos Intonarumori, jedoch mit dabei auch einem starken hand- und schlagwerklichen Akzent. Zerrende, murksende, harkende Gestik erzeugt daxophonen und schrottig ominösen Krach, ein umsurrter Waber- und Sägeriff mutet eher elektroautomatisch an. Doch zuletzt dominieren nochmal eisendrahtige Machenschaften und ein rubbeliges Scharren. - Rigo Dittmann

(Vital Weekly) Finally, Public Eyesore’s label boss, Bryan Day’s Eloine, has a new release on a different label, Personal Archives. Day creates wooden and metal constructions with wires and springs, which he amplifies and plays. He also adds some synthesiser sounds, found tapes, objects, and an organ. Of course, the visual side is not part of the CD, which is a pity as they are pretty wild pieces, almost art objects. Day rubs, strokes, hits these with other objects, mallets and manually. He takes all the recordings to the computer to construct a piece of music. Still, he retains some of the improvised quality in the resulting compositions. Well, maybe not, and all of these are live recordings. I simply don’t know. As before, Eloine likes the lengthy explorations, a bit of drone generated through some of the effects used, and the music is a free flow of sounds and ideas. Also, as before, some pieces are a bit too long, as typical Eloine pieces are nine to 12 minutes long, but could benefit from either more editing or more events thrown in the melee. Nevertheless, I greatly enjoy this, reminding me of Noise Makers Fifes, Kontakta, Morphogenesis and Kapotte Muziek, all working to some extent with electro-acoustic improvisation. Still, Eloine is the solo act, which is a unique position in this context. - Frans De Waard

(Disaster Amnesiac) Currently at casa de Amnesiac, there exists a stack of Public Eyesore/eh? Records product which still needs to be listened to. This fact is brought up as related to the latest release of Eloine, Impractical Furniture (dig that almost Hipnosis styled cover art!), because I've desired to listen to it a lot more than the three times it's graced the cassette deck. That said, time's moving very quickly, and Disaster Amnesiac always feels compelled to listen to the music that's being described as much as possible. Tapes such as this can certainly be played over and over again, as its mysterious and intuitively intriguing soundscapes offer new facets for the listener with each subsequent interaction. When one chooses to engage with sounds such as these, especially in the case of Bryan Day's singular solo work, with its unique rhythms and phrases, pulled from his portable exotic percussion amalgamation, one can always be treated to fresh, undiscovered aspects within the sound matrix. Impractical Furniture kicks off with Rubber Sawhorse, a longer track which evokes human sounding voices along with some deep tonally bass passages and bass drum sounds. I've heard it as a junkyard Gamelan ensemble. This is followed off with Sunken Corners and its dramatically moving sub-harmonics and subdued, eerie environments. Its coda passage is surprising and lovely. Potluck By Proxy kicks off side b of the tape with a frenetic start. It rather quickly gets more contemplative with its overtones, melodies from resonant metals, before some type of robotic warfare commences. Disaster Amnesiac has heard AI voices being drawn from Day's very analog rig on this one. Track two, Guiltlines, has high register clicks that dialogue with lower register ones for a very dramatic effect. It has waves of energy that are simultaneously intimate in their motions. Impractical Furniture ends with Bread Welder Again, a title worthy of prime Beefheart, a track with more quick pacing that leads to more overall Drone and clacking until its repetitive sound conclusion. It's another fine release from Bryan's Eloine project. Day's sound art seeks the beauty to be found in funky, unlikely sound sources. His rigs often look to Disaster Amnesiac like small cities or chip boards, and it's highly recommended that one see him perform live. Bryan Day must be highly intuitive, for he always makes such well considered and thoughtful sounds. It's completely alright to live by intuition you know. - Mark Pino