1.Bryan, what's your greatest pleasure in running Sistrum?
I believe that Sistrum, my solo project, has helped me focus my artistic ventures from a bare minimum of musical expertise. Originally it was just an excursion from daily life, a new medium(I am a painter/illustrator) and now it seems to have its own momentum. I think of it as the child I cannot have, as it matures, so do I. My greatest pleasure in Sistrum is the ability to see, not only now, but future dreams. 

2.Isn't it boring to play solo these days? 
Performing solo is essential for me to gain a certain fluidity in expression. I do practice my artwork daily, in many media, and because of my current rural situation, transit is quite difficult and time consuming. But alas I think we each find our own ways to attain an environment both comfortable and productive. Mine involved both finding a tight grasp on those articles I find meaningful and blatant ignorance towards those who digress to the obvious. 

3.What could you say about the records that precede "Clean Cloudbite Mouthpillow"? 
CCM is my first truly noise related recording in quite some time. I worked on a collaboration with Jorge Castro called William IX with is also noise based, but must of the experimentation of the last year has been of either sculptural drone from my own sculptures, and acoustic guitar improvisation of a more fragmented blues origin. My release Nova, with Alhazred is firmly rooted into the prior, Maybe Bertoia-esque although my sculptures rely on quite a bit of feedback, and I often use them in conjunction with electric guitar. I like to create a warm atmosphere, yet often a dramatic tension seems to spread throughout the sound. 

4.One of the finest things about noise scene is that the marketing issues are really secondary to the music. That's why I suppose you're on a small label from a little known to noise audience country? 
Oh but that's the greatest thing, small labels are essential to the experimental scene. Many people seem to deny that in reality they are just mail artists, and try to push themselves up the ladder of adequacy by spending big dollar on promotion and marketing. Usually those people just fade away in a year or so, but those who persist in more modest displays seem to thrive in a matter of years. I think the whole underground system is based on bartering, trading one item for another. That way those who truly have interest in the music will get it and those who don’t won’t find need to downplay the importance of the scene. The whole thing I think has attraction because of the artifactual qualities of small releases. 

5.Juxtaposing the tracks'titles with your music I wonder what's the link between them. What determines the titles of your compositions? 
I usually define a theme while recording a set of similar recordings, as for the split with XV Parowek, I decided to use an old anecdotal argument on transcending Buddha, and redemption of the spirit. Oh maybe it seems a bit vague from the titles. I believe that to exceed ones goals in life, one must look objectively at ones life, and forget about the actual inhibition of obstacles. I think the old F.D.R. quote is so true. 

6.Putting it this way...If your tracks from the split CD would have a lyrical message, would it be about the lack of communication between people? 
Actually I think it signifies the attempt at communication with the self. 

7.Your music is damn intense, however from what I was told, you don't rely on anger as a main means of expression. What's the essence of your music? 
The essence of my music is who I am, and by being myself I think that my music is a representation of my current attitudes towards life. 

8.What about the noise aesthetics? I mean, there's an unwritten rule that gets artists to avoid tunes, harmony etc. Do you care much for this, or it just comes out so? 
Hehe, I don't care about rules determining my own aesthetic. If people don't enjoy my recordings, its their fault, not mine. I am the artist, and they must make some attempt. I write the music that lays dormant in most because its painful not to make it. The rules are those basic to evolution, not at all hierarchal. 

9.Is there an artistic impact on you because of the recent noise glut? 
I don't listen to much noise, so I am unaware of the “glut” I know are still wonderful things in the noise universe, maybe not so harsh, but sometimes such fetish/otaku attitudes feel a bit childish. I am not part of a scene, I do perform, not for a group of satellites but for the collective conscious and the air surrounding me. My wife Yoko Sato also seems to share the feeling that the noise scene is not applicable to the growth of the sound, only through motivation and obsession can one traverse invisible thresholds. 

10.Making own's instruments must be extremely enjoyable, mustn't it? Could you tell us more about that? 
My first attempts at musical expression were through my own instruments. 4 years ago I started to use a bass guitar prepared with wooden rods and wire scrapers, and slowly it evolved in some of my earlier percussive based music. Ever since my electronic training I have been making various effectors and oscillators, even selling for a while under the tag of Gobi Blue Electronics. About 2 years ago I began to work on more sculptural wire and metal sheet instruments which I have been using regularly ever since. There are a variety of other things but it seems those objects are the most important. 

11.Everyone seems to have a side-project, or make a collaborative work these days.Could you say why it happens, everyone seems to be very limited by mother-formations??? 
I think its just a lack of inspiration, and motivation. People always seem to want to try so many things instead of improve. 

12.When's a new record by Sistrum coming out? And what direction is Sistrum going to evolve in on future releases? 
I've a new CD-R on Gameboy records to be released in May, guitar improvisation with voice, packaging should be great. I’ll be performing in Minneapolis on the 21st of May and in Morioka Japan June 9th. Should be available there too, New improvisational style, I hope it works alright in the new atmosphere. 

13.And last but not least. What do you think about a formation with whom you share a disc - XV Parowek? 
I find his style so refreshing, and it has been such a pleasure doing as release with him. I was originally introduced to his music by my friend Brian Noring, who has known him for quite some time. A unique take on experimental music from a unique person. 
Thanks so much for the opportunity to speak. 
Bryan Day 
Public Eyesore/Sistrum 

sistrum1@hotmail.com