(Felthat Reviews) The amount of tools and strategies used here might feel like a vertigo but only in the beginning when you adapt and react by tuning into this wholesome, radiant and well-rounded narrative that might feel like plunderphonics going astray. Released by Bryan Day's Public Eyesore as a DL and a CD is a straight shoot of 60 minute soundtrack to urban neurotica. A collage of sounds, voices, done over the electronic landscape left me with an interesting set of feelings that are rather difficult to convey. A psychogeographical, musical trip through a vast urban biodome of things unobvious, and magical where all the elements and nuances play equally important role. The drama in this narrative is born in pain and a visceral analysis of all the completed samples, echoes, electronic and acoustic, field recorded elements processed and put together in a way that it feels extraordinarily cinematic. An excellent album which could easily be a document, a tape music, you name it... - Hubert Heathertoes

(Vital Weekly) Although there’s no other information given than the list of instruments and sounds used (“loops, objects, cassettes, fails videos, electric organ, location recordings, sound processing, bass guitar, voice”), we can assume it’s Seymour Glass, one of the excellent Bananafish magazine, founder of Stomach Ache Records and a musicians in his own right with such groups as Bren’t Lewiis Ensemble, Glands Of External Secretion, S.F. Seals, and Steeple Snakes. I looked on Discogs and was surprised to see the list of solo releases under the Seymour Glass name (a pseudonym, actually, from various short fiction stories by J.D. Salinger). I’ve only heard a limited number of these releases, and not many from his ‘band’ projects, but listening to this new CD, I believe I can see a common thread: the love of working with sound, whether it’s any sound, or any sound-making device or instrument. Multitrack recording, analogue or (more likely) digital, brings out the organisation, resulting in compositions. He does this in the best tradition of musique concrète, but not in the most traditional sense of the word. Here, Glass offers three lengthy pieces, each lasting 20 minutes, and in each of these, he explores a plethora of sounds, conjuring a multitude of images. One can probably label this as surrealist music, in which sounds are used to paint fever dreams, nightmares and other non-sequiturs. Anything to unsettle the listener, and yet also quite relaxing, an altered state of mind. I admit I was tempted to use some old Bananafish reviews and rewrite/collage them as a new review, as they were as weird as some of the music reviewed, or so I understood back in the day. These three pieces are best enjoyed as one long symphony of sound, without beginning or end, and not to be analysed in too much detail, but, like an altered state of mind, just be perceived and enjoyed. - Frans De Waard