Bryan Day Discography:

Eloine:
	Wiretie Undergrowth
	CDR - tba - 2007 -Bryan Day
	Sagebrush Deimos
	CDR - Stentorian Tapes / PE - 2007 C30 - Stentoian Tapes - 2006 -Bryan Day Reviews: (Dead Angel) This exercise in sparse, open sound and birdlike playing is the solo guitar work of Bryan Day, head banana of Public Eyesore, everyone's favorite purveyor of the new improv and all that. The first side (the "sagebrush" suite, in three pieces) is minimalist, relatively subdued, and moves at a deliberate pace, with the pieces recognizably different without deviating too much from the original feel and game plan. I think he's playing guitar, but the sounds are often birdlike, so... who knows? The bird sounds play off percussive sounds as quiet, bell-like guitar bits trill beneath the bird 'n beat noises. The flip side, the "deimos" suite, is similar in execution but a bit different in sound, maybe even recorded at a different time under different conditions. The three songs there are more of the same -- spare and crafty improvisations involving extended spaces and minimal playing, with unusual motifs and unpredictable sounds dropped into the mix at irregular intervals. Interesting and spartan stuff that nevertheless contains plenty to hear for the listener paying attention to the details. - RKF (Touching Extremes) Bryan Day, label honcho and improvising artist, is among those individuals who leave the music do the talking. In fact, he often sends me handfuls of great releases under various monikers, Eloine being one of them, usually lacking press releases or letters. The problem is that the CDR edition analyzed here (dated 2005 but released in 2007) doesn't feature notes, either - only the track names - so I'd have to guess that this is a reissue of materials previously published on cassette (OK, it is - I checked the website, heh heh). Despite the absence of information, these thirty minutes for strings, percussion, noises and heaven-knows-what-else are, again, great. Unusual brilliance springing out from everywhere, zings, scrapes, howls and slight returns contrasting any plausible insurgence by something remotely associable to a "pattern" or a "groove". Bizarre mixtures of hyperactivity and somnolence (check "Cloudkiln, the". What a title, huh?), distortion and controlled feedback taking command towards the end of the disc, the sensation of being caught between "stylistic islands" without having a clue of what this stuff is all about, frequent detuning of strings recalling antique Asian instruments. A lot of movement which, curiously, sounds fairly tranquil throughout. Undecipherable music, appealing all the way and - on top of that - sounding beautiful from the first second to the last. Who needs liners? - Massimo Ricci (Vital Weekly) Can't remember reviewing an audio cassette, but here's one: by Eloine, a solo project of Brain Day, the man behind Public Eyesore. Two sides of improvisation music that may or may not include guitars, short-wave radio and percussion. All of the sounds seem to work on the same level, with none really jumping out of it. This works in a really nice way. Unlike it's predecessor 'Short Community' (see Vital Weekly 438), the separate tracks don't have a leading instrument, but the end result can be compared. Nice lo-fi improvised music in a calm manner. - Frans de Waard (Aiding and Abetting) Day's taste in music is eclectic, but he tends to favor contemplative improvisational fare and really messy Japanese stuff. Eloine is straight out of that first category. Contemplative, but not dull. Each piece on each of these discs has at least one--and generally many--exceptional ideas. Day's intriguing use of percussion and (occasionally) guitar often sounds like rats scraping at the inside of your brain. And once these pieces get in there, you'll never be able to get them out. I'm not sure how all this translates live (I love this kind of thing when safely within my house; not so much on stage), but these albums are proof that some folks not only know good music, they know how to make it as well. - Jon Worley
	Green Stump
	CDR - Unread / PE - 2007 C30 - Unread Records - 2004 -Bryan Day Reviews: (Foxy Digitalis) Bryan Day's Eloine project appears to have replaced his previous solo efforts as Sistrum. Sistrum was one of my favorites coming out of Omaha. Now that he's moved on to Eloine, I can safely say that Eloine has topped Sistrum in just about every way. This new release, a short tape on the Unread imprint, is an ethnically charged exploration of new sounds and atmospheric moods. The five tracks on "Green Stumps" are like a journey through time and space. It's an experiment in compressing physical distance through music, and as such is executed perfectly. "A Fast Weepy" opens the second side of this tape. With huanted screechings and tattered strums of an unidentifiable instrument, you feel like you're floating down the Yellow River in China or are isolated somewhere in Tibet. It's fantastic. Bone-like rattles grace "LDA is Celluloid, Ldy," and kalimba is used throughout this cassette. Jews harps, droning organs, and various percussive and stringed instruments all make their presence felt. Day's ability to combine such diverse sounds from various places in the world is nothing short of impressive. The overt organic nature of these recordings only adds to their power and impact. Sistrum may be dead or on hiatus, but I am more than happy to have Eloine in its place. I can honestly say this is the best cassette release I've heard in 2004. Highly recommended. 9/10 - Brad Rose (Touching Extremes) Recorded in 2004, "Green stump" is another short and sweet presentation by one of Bryan Day's many aliases. Five genderless improvisations, all of them sounding as if they were mostly played on homemade instruments, or cheap ones in any case. There are strings, blown tubes (I am a little hesitant in calling them "flutes", although that might be the case), various kinds of percussion and whatever we can imagine in terms of "get what you want if you're going to have fun while improvising". The nice part of this is that the CD - similarly to every Eloine record that I've heard - doesn't really sound like "fun", at least not in the commonly intended meaning. A distinct scent of ritualistic gesture, facilitated by reiterative rhythms, is often perceptible amidst the apparent chaos; and even that mess seems to be born with an intrinsic logic. Music that meshes acoustic and electric purity in equal doses, perfectly acceptable as it is without tricks or elaborations. The brief duration makes the whole all the more welcome, pushing us to immediately restart the listening session as soon as the disc has finished its spinning. - Massimo Ricci (Vital Weekly) Eloine, Bryan Day's solo project, sent me also an older release, which falls out of the six minute period, but 'Green Stump' is worth mentioning in spirit of the Shelf Life release. Here the band is reduced to one person, who plays his solo music spread out over a four track machine and mix the whole in a similar way as he does later on with Shelf Life. Day plays rhythm, flutes and guitar, with no particular emphasis on one of them. As such this is an interesting forecast in the future sound of the band. - Frans de Waard (Unread) Eerie otherworldly sounds emit from stereo speakers. plunk and pluck from various acoustic instruments. oddly compeling recording from post-sistrum project. - Chris Fischer
	Short Community
	CDR - Digitalis / PE - 2007 C30 - Digitalis Records - 2004 -Bryan Day Reviews; (The Unbroken Circle) Eloine on 'Short Community' offer a more becalmed respite, the flowing water, the gently played musical percussion, the suspended guitar notes and vibrant jews harp. Like attendance at a ceremony you don't understand but are happy to observe, it interests and fades from you at the same time. But this is not just soundwash, there is an element between the notes, not allowing release but probing, you make be still but that doesn't mean you shouldn't think. If Davenport's release sits somewhere between India and Afghanistan and The Puke Eaters or Lampukkello are the sounds of slowly encroaching madness then Eloine is the remote parts of Nepal, untouchable, barely seen, beautiful to visit but impossible to stay. There is a calm sense of purpose here, but one you have to find yourself. - Mark Coyle (Vital Weekly) Eloine is Bryan Day, the same man responsible for the Public Eyesore label. The three cuts here were recorded last july and contain some forty minutes of absolutely nice lo-fi improvisation music. In each track a specific instrument seems to be playing the main part, such as the jew harp in 'Dangling Filaments', guitar in 'Bonanza Illusion' and percussions in 'Apples On A Cutting Board' (although it uses apples on a cutting board, so I learned). All three pieces are played in a rather free manner, but it never gets anywhere near 'loud'. Eloine (a solo project) plays repeated themes on a wide variety of instruments, all in quiet and peaceful manner. Nice, contemplative music. - Frans de Waard (Touching Extremes) Bryan Day, best known as founder of the perennially boiling Public Eyesore label and the mastermind behind the Eloine moniker, recently sent me a batch of releases where he's involved as a player, and which I'll be glad to report about in the upcoming issues of this webzine. "Short community" is an excellent introduction to Day's improvisational methods, consisting of three lengthy segments in which he calmly deploys acoustic, electric and environmental sounds to create the equivalent of an aural Zen garden, but with a slightly deformed view of the objects comprised by the latter. "Bonanza illusion" is a perfect example, built as it is on the constant presence of a placidly plucked zither (or is it?) with minor intrusions and background noises. On the contrary, "Apples on a cutting board" is rather darkish, the acute frequencies leaving room to distant recollections of unquiet atmospheres where the manipulation of an electric guitar's resonance generates a semi-ethereal concoction that moves the piece according to an unsteady, yet well-aimed intent. The initial "Dangling filaments" is developed over the sound of water à la Darren Tate and - differently from the rest of the album - is a little more variegated, boings and zings deriving from various sources to be fused with guitar and percussion in a peculiarly heartwarming kind of psychedelia. Remaining indecipherable enough, Eloine's music is nevertheless a very welcome company whatever the occasion in which one enjoys it; in this writer's opinion, it works the finest at low level in a tranquil setting. - Massimo Ricci (Dead Angel) Eloine is secretly Bryan Day, the brain between the mighty Public Eyesore label, doing strange things with guitars and strings and things. This is loose-limbed, mostly mellow improv, three long tracks worth -- "dangling filaments" is filled with the sound of strings being plucked, bent, wiggled, jiggled, and generally bent out of shape in an incredible live simulation of the wow and flutter of a cassette tape someone fished out of the river and tried to play in a cheap boombox on a really hot day. Drones and what might be subliminal field recordings make their way into "bonanza illusion," where bell-like tones and vaguely melodic guitar plucking is augmented by the lonesome wail of some cheap wind instrument and rumbling waves of sound like tidal motion in the background. The final track, "apples on a cutting board," is a return to the minimalist tinkering of the first track, albeit with the occasional bass-heavy twang or squealing shriek to keep you on your toes. The end result is a drifting, subdued journey through tones and drones, with some truly pleasant melodic and harmonic moments amid the drowsy flow of sound. - RKF (Apex Online) Lovely spacious improvisations that have a vaguely eastern air to them and utilize guitar, zither, jew's harp, scraped violin, woodwind and apples being chopped!

Shelf Life:
	Concerning the Absence of Floors
	CDR - Friends and Relatives - 2008 -Bryan Day -Joseph Jaros -Alex Boardman -Luke Polipninck -Jay Kreimer Reviews: (Ampersand Etcetera) Another communication from improv ensemble Shelf Life made up of some combinations of Brian Day, Joseph Jaros, Alex Boardman, Luke Polipninck, Jay Kreimer and reviewed a few times here (october & december 2007). Playing guitar, percussion, electronics and more (no thing is listed on this album, but the sound suggests the sources from the past are continuing) they create dense pieces that, to my mind/ear, aspire to be considered as ambient music. They seem to decide on a mood or method for each piece and work within these constraints - which leads to a manageable consistency within tracks while allowing expansion across the album. This leads you to focus on the developing sounds and developments rather than the constant change and surprise that often drives improv albums.  Concerning the Absence of Floors is released by a label called Friends and relatives Records (po box 23, Bloomington, IN, 47402) but looks and sounds like an Eh? release, so could try from there also. The individual tracks are titled obsolescence. 5flb is the first and 5flc the second - which is pretty meaningless, which is the general rule with Shelf Life (one albums tracks were anagrams) s I won't repeat them all. This is an album that straddles ambience and noise - at high volume as you listen to extract the sounds, the noise is to the front, but when you lower the volume for more relaxed consideration it becomes gentler and more persuasive. Again, there seems to be a decided mood/method to each track which provides a unity and held mood. The first is perhaps more scrapey, clickey, some deep tones and percussiveness that loosens in the second half, while the second is more shooshing ambientish scrapes and tones. The fourth track has only 3 players on and has more space in it - fewer people to fill the void - and after a noise-laden first half a strange organ introduces a softer side which develops into an amorphous sound. The final track is again gentle - a venting, tapping, soft squiggles: the vent erupts but falls away, a slow pulse, shimmering and then a building feedback of noise before backing down to the end. The third track is scrapes and drones, electro and twanging pick, sound pulses buzzing, a gate closing, high squeaking voice sounds, beeps and mumbles building. Yeah - hard to describe! But as an improvised noise/ambient/wall-of-dense-sound adventure another satisfying release from Shelf Life. - Jeremy Keens (Dead Angel) The band is a collective of drone 'n skronk enthusiasts -- Bryan Day, Joseph Jaros, Luke Polipnick, Alex Boardman, and Jay Kreimer -- recording in different configurations, and the five tracks here are different explorations of the combination of near-random noisemaking and drone aesthetics. The unpredictable plinking and clanking provides a sense of texture to what would otherwise be a series of pieces centered around brooding electronic repetition and ambient drone; the pieces themselves vary somewhat in the application of different sounds and strategies, but in the end they are all united in the tendency to gravitate toward hypnotic repetition and mysterious, sometimes even blissful, clouds of drone. This is eerie stuff, sometimes verging on downright haunting, like the sound of ghost trains rolling through endless empty tunnels at night while electronic machinery pulses in the darkness. Often resembling a mutant form of free-jazz electronica, there's a cold, zoned-out feel to the proceedings that's at odds with the obviously human element of random surprise expressed through the unorthodox instrument abuse, which is a large part of what makes the album so interesting. Swell ambient sounds and a minimalist approach to repetition through the use of unusual textures doesn't hurt, either. - RKF (Vital Weekly) Shelf Life is the group of improvisers around Bryan Day, the man behind Public Eyesore, but for their release 'Concerning The Absence Of Floors' they went to Friends And Relatives Records. Other members are Jospeh Jaros, Luke Polipnick, Alex Boardman and Jay Kreimer. There are no instruments listed and they play in various combinations. The recordings here were made in autumn 2007 and edited later on. I think (!) I hear guitars, electronics, metallic percussion, maybe a rusty synthesizers humming away. Shelf Life play pieces that are quite long around specific themes. You could almost hear them say: let's do a quite one. Let's do hectic one that lots of similar sounds. And so on. I rather like that approach I must say, because it brings a more homogenous character to the music. That's the good news. The bad news is that five of these long tracks is a bit too much. All around fifteen minutes is quite a strength to listen to. However when served in a smaller dose its quite nice. - Frans de Waard (Aiding and Abetting) Brian Day and pals return with more noodling into the minds of the insane. The set-ups are abstract and the sounds are often almost incomprehensible. When I let my ears wander, though, I begin to tease out the barest hint of an outline. Does that have to do with the title of the album or the sketchy nature of my brain? Lemme listen again and I'll let you know. - Jon Worley (Slug Magazine) This isn't really "music" by its traditional definition; there is no real form or even notes for that matter. What it does do is set a very particular disposition for the listener: one that may be unnerving or on the other hand, comforting. What I don't like is when the recording reveals itself as a recording, such as when you can hear something brush up against a microphone. It doesn't happen that often, but is somewhat distracting to the world it has created. Creaking would be the main palate of the sounds; almost as if two metallic objects are seductively caressing each other. While they stroke up and down, sounds creep in and out of their ears as if they are having a difficult time concentrating on anything but the task at hand. It could possibly be taking place in a Buddhist monastery or in the metallic wreckage at the end of the apocalypse: either way, it is holy. - Andrew Glassett
	Rheuma
	CDR - Eh? - 2007 -Bryan Day -Joseph Jaros -Alex Boardman -Andrew Perdue Reviews: (Ampersand Etcetera) A couple of days earlier (29/10) I also reviewed Shelf life's PE release Ductwork - and now they have a new one on Eh? - Rheuma (27) - still a four piece on a range of instruments but AndrewP replaces j.schleidt. The album continues with the ambient improv of Ductwork (and quite a different experience to that of DBH). Playing electronics, keyboards, stringed instruments and probably some processing the 4 build dense ambient spacey soundworks. A dense electronic bed underpins each track over which other sound skitter and pass - it may be some plucked short guitar strings, scrapes, actual guitar solos, and unidentified buzzes and squeals. The mix is somewhat murky, but that adds to the democracy of the sounds, and as with the earlier album the tracks have different feels or moods - the second is more whooshy, the third has squeaky warbles (track titles are 13 or 14 letter codes). In most of the tracks a radio is tuned into the mix, crackling distorted voices adding another mysterious layer. It was probably the guitar in the 4th track, but I was reminded of Fripp & Eno, the density of the ambience also perhaps. In my view ambient music needn't be easy-listening but can, like this album, provide dark edgy soundscapes that can be listened to, absorbing the details, or be allowed to create a distracting backdrop, as they slowly develop and change or throw up nuances. I like what these guys are doing with their instruments and their direction - as Rheuma means flow, just go with it and let the music take you. A fine companion to Ductwork - Jeremy Keens (Broken Face) I guess you could say that Shelf Life is the house band of Public Eyesore as it's probably Brian Day's most prolific musical project. In Shelf Life we see Day teaming up with four fellow musicians to construct detailed minimalism, discordant drone, subdued noise or what about harsh ambience. It's difficult to pin down their sound in mere words but I do know that the wavering minimal tones of their brand new Rheuma album seem to be made to create drawn out low-end drones so haunting that they are likely to affect on both a sonic and physical level. - Mats Gustafsson (Music Extreme) Dissonances, ambient sounds, atmospheres, experimentation. All this words and more you will find on this recording. Here we have long compositions where the main thing is experimentation with sounds that are twisted and transformed into new shapes constantly. The good thing is that despite being long, the compositions are dynamic enough to catch the listener´s attention. And this is the word: dynamics. Shelf Life experiments with different dynamics and intensities through all this album, surprising constantly with their limitless imagination. - Federico Marongiu (KZSU Zookeeper) Layered organic noise, old school feel as in living-room recorded cassette sources, "everyday sounds", put together, live mic'ed, etc. All chill, nothing harsh, brutal or otherwise un-listenable. Really great stuff, for fans of Hunting Lodge, Throbbing Gristle, Eno, Spacing Out. Four tracks of 14-21 minutes in length, all very similar, each evolving in different manners. Track 4 is a tad more chill, relying on a held drone-tone more than the others. Choose any. - Your Imaginary Friend (Touching Extremes) As it happened for another of their releases reviewed here ("Ductworks") I am at a loss for words when it comes to Shelf Life (in this disc Bryan Day, Alex Boardman, Joseph Jaros, Andrew Perdue) . After listening to the 70 minutes of "Rheuma" there's no reasonable way to illustrate what kind of music this is. Is it serious, doctor? Can you see the real me, doctor? Ok - before going to steal that Vespa parked outside the hotel let's just anticipate that this is a great record, but understanding why is very difficult. Several things that usually would spell "defect" work exceptionally fine in this disc. The tracks are stretched, definitely improvised (although forms of predetermination might exist), unfolding bit by bit, cancer cells spreading in an unhealthy body. The frequencies are rather muffled, everything sounding as if recorded in a burrow, at times hyper-compressed. The stereo image seems to have been reduced to an all-frequency jam. Guitars and amplifiers are most likely manipulated, and there should be some shortwave transmission around as well. Sampling, too (...right, guys? What about three-four explanatory lines on the sleeve, so that the poor reviewer who's got no time to surf the web isn't forced to a shitty figure?) The entire jumble often hisses like a hundred geysers and, wait a minute, what's that - chords? - in the third track we hear vaguely Pink Floyd-ish chords, soon scrambled and macerated by yet another accumulation of crumbling distortions and waves. An aircraft flies, a train hoots in the distance (aural illusions, maybe). The sense of anguish never ceases yet the effect is somewhat glorious - principally in the hardly mobile drone at the start of the closing piece (whose title is "JBPAJBDNBRDLB" - does anybody see what I mean, now?). That also ends in Electric Mayhem-land. File under "suburban neighbourhood in the vicinity of Peeesseye and Phantom Limb + Bison", with an ominous touch and more uncontrollable disorders. - Massimo Ricci (Ragazzi) In SHELF LIFE lässt sich ein Quartett aus Alex Boardman, Joseph Jaros, Andrew Perdue und Labelmacher Bryan Day entziffern, die auf Rheuma (eh?27, CD-R) dem gemeinsamen Faible für bruitistisches Tripping frönen. Gitarrengekrabbel, Electronoise, Bassgebrumm, gespenstische Vokalisationen brauen sich zusammen zu einer Art Spacemusik der mulmigeren Sorte, freakisch und alien, lo-fi, diffus, ursuppig. In irdischen Gewässern würde man das sarkastisch ,Rheuma' getaufte Raumschiff Seelenverkäufer nennen, ein rostiger Kahn für illegale Missionen, mit lauter Galgenvögeln an Bord, die das ungute Rumoren des Antriebs abgebrüht überhören. Ängstliche Gemüter würden statt lose klackenden Eisenteilen eine Totenglocke bimmeln hören, in den Funksprüchen abgehörte Fahndungsmeldungen. So tuckert man mitten hinein in infernalisch brausende kosmische Wirbel, die sämliche Nieten in sämtlichen Spanten ächzen lassen. Hier aber ist das Routine und die Crew schaut bei dem Gedröhn trotz allem bedenklichen Gezwitscher der Bordcomputer nicht einmal aus ihren zerfledderten Lem- und Ballard-Taschenbüchern auf. - RBD (The Chickenfish Speaks) This is one of those releases that is definitely not for everyone. It's basically experimental noise-scapes with guitars which fade in and out over top of an Erasurhead-like industrial whoosh. This is what I would imagine the soundtrack to be like for a stop motion experimental German film. And like expressionistic art (I'm thinking someone like Jackson Polack here) with this kind of music you either have it or you don't, and Shelf Life manages to pull it off. - Mite Mutant (Sea of Traquility) More oddball audio torture from the folks at Public Eyesore, Rheuma is the latest release from Shelf Life, which is the project helmed by label honcho Bryan Day that also features Alex Boardman, Joseph Jaros, and Andrew Perdue . Four long tracks, each one containing plenty of bizarro sound effects, electronics, muffled bass rumbles, and guitar noises, Rheuma ultimately comes across as some sort of strange meeting between Robert Fripp's 'Frippertronics' and early Tangerine Dream, except not nearly as interesting. At times ominous and eerie (especially track # 2), for the most part 70 minutes of this type of thing just meanders way too much, and the claustrophobic use of blips, bleeps, clinks, clanks, and wooshes has little if any focus. Still, there's likely an audience for this sort of nightmarish vision, so if your taste runs towards the avant-garde/noise/electronic side of things, by all means check this one out. - Pete Pardo (Sound Projector) Shelf Life’s Rheuma (EH?027) delivers, in its opening cut at least, the sort of gently-chaotic collage construct drone and noise-lite dribble that keeps me happy for hours, as it spirals out in to never-ending whirlpools of slightly grimy seawater. - Ed Pinsent
	Scuff Mud (w/ Eckhard Gerdes)
	CD - Journal of Experimental Fiction - 2007 -Bryan Day -Joseph Jaros -Alex Boardman -Andrew Perdue -Jay Schleidt Reviews: (City Weekly) Have you ever wondered what it would sound like to translate the brain waves of a long-term coma patient into sound waves? Ever wonder what happens when a schizophrenic dictates his diary over the soundtrack of a sci-fi movie from 1973? A listen to "Scuff Mud," a Journal of Experimental Fiction release from author Eckhard Gerdes and experimental noise outfit Shelf Life, just might answer those burning questions while leaving you with a whole lot more. If you are looking to rock out, then keep looking because "SM" is far from the typical new-release indie rock fare you may be accustomed to reading about in these pages. If you are looking for a challenging yet engaging vacation from your everyday musical routine, then read on.Basically, what we have here is the poetry of Gerdes spoken over a soundscape created by Shelf Life. Subject matter ranges from Middle Eastern affairs to sex and relationships to the "out-of-placeness" of elephants in the Sonoran Desert, and the mood ranges from the very serious to the rather silly to the overtly risqué: "I'll spend my fuel rod on you / Can you feel its bulge against you?" intones Gerdes early on in the fantastical journey that is "SM." The closest comparison I can come up with to something in fairly wide distribution would be the extended soliloquies of Robert E. Lee and Mary Todd Lincoln in Philip Glass and Robert Wilson's section of the multi-composer early '80s epic "the CIVIL warS", although that avant-garde masterpiece at times seems downright pedestrian compared to this. Overall, "SM" actually makes for a very entertaining listen and it is definitely worth tracking down a copy. The disc is available from CDBaby.com and you can visit JEF online at ExperimentalFiction.com to learn more. - Ian Simons
	Field Mechanics
	C60 - Two House - 2007 -Bryan Day -Joseph Jaros -Alex Boardman -Andrew Perdue -Jay Schleidt -Luke Polipnick -Pat Reefe -John Kotchian
	Ductworks
	CD - Public Eyesore - 2006 -Bryan Day -Joseph Jaros -Alex Boardman -Jay Schleidt Reviews: (Smother) Discordant noise and dishelmed ambience seems to percolate for a while on Shelf Life's "Ductworks". Oddly crafted like an acid flashback gone terribly awry, "Ductworks" seems to live up to its name by piping in air and seasoning it with the miasma of eeriness that is everyday noises. Ubiquitous sounds (hell these could be filtered found sounds or crazily pieced together instruments for all I know), when combined and re-translated using a myriad of effects, truly can sound less than chaotic--almost melodic--and that's precisely the recipe that makes Shelf Life's "Ductworks" work out so nicely. - J-Sin (Kathodik) Disco enigmatico ed indecifrabile, come i titoli delle tracce, tutte costruite anagrammando la parola Ductworks, per questo quintetto capitanato da Bryan Day, tra l'altro anche responsabile della label licenziataria. Le note del cd non dicono assolutamente nulla sulla strumentazione usata, anche se pare accertata la presenza di percussioni, chitarre, e forse violoncello e sax. Poco importa, tanto la musica é completamente votata alla completa dissoluzione di qualsiasi forma di struttura esecutiva, e la stessa suddivisione in tracce pare principalmente una comodità offerta all'ascoltatore. Volendo dare delle coordinate di riferimento (non affidabili), pensate a frammenti di AMM, Dead C, ma anche No Neck Blues Band, lasciati a decomporsi immersi in qualche sostanza altamente corrosiva per uscirne completamente straziati. Niente rumore folle, come forse fin quanto scritto farebbe pensare, Shelf Life non sono terroristi armati di decibel e/o ritmi forsennati, ma preferiscono distillare con calma il loro surreale mantra fatto di rumorismi, incartocciamenti, scivolamenti e crolli, tutto proposto con un ottica obliqua e lunare. Più che musicisti, i membri del gruppo sembrano degli artigiani folli, nascosti nell'oscurità del retrobottega, assorti in un incessante lavorio finalizzato alla costruzione di qualche manufatto incomprensibile. La musica è in costante movimento, ma sceglie di non andare da nessuna parte, non insegue nessuna direzione, non costruisce nessun climax, semplicemente esiste e tanto basta.. Per un po' potete anche smettere di prestarle attenzione, relegarla in background, quasi fosse una sorta di ambient impro-dark-noisy, senza comprometterne l'efficacia. Devo dire che questo disco mi piace molto, ha un suo fascino non trascurabile e una sua perversa originalità: si agita, si contorce, si lamenta, rumoreggia, ma con discrezione. Come una bestia malevola che ti osserva sbadigliando da dietro le sbarre della sua gabbia. - Alfio Castorina (ITDE) "Ductworks" finds Public Eyesore Records honcho Bryan Day with collaborators Alex Boardman, Joseph Jaros, and Jay Schleidt; working in a truly egalitarian manner to fashion an effortlessly unruffled recording. Unfortunately, the somewhat calm nature of the disc may turn off casual listeners. Pay attention, you suckers- it is for exactly this quality that I can declare "Ductworks" a real success. Let's face it, improvisational music sometimes hits a few 'behavioral lock grooves,' where its an open secret that what is occurring sounds like improv, but is really a re-hash of What Worked Before. Even the overall tone of a performance can fall prey to this sort of repetition- proceeding from quiet to loud everytime, working to create a "dark" sound time and time again... it's cheating the improv spirit, and it is my opinion that this makes it even more difficult to appreciate some real improv when you come across it. Of course, I'm thinking of "Ductworks" as I write this. No, it doesn't seem to have an overarching theme. No, it's not a showy display of dramatic guitar runs or sax blowing. So why listen? For starters, check how fully these musicians explore their instruments! I'm not sure of everything that's being played, but I can assure you that whatever it is, it's being squeezed for the last drop of sound available! It's also very enjoyable to hear such a 'real' album- listeners will easily be able to place themselves within the performance, which is strikingly immediate without being at all in your face. Recommended. - DaveX (Ampersand Etcera) Shelf Life - Bryan Day, Alex Boardman, Joseph Jaros and Jay Schleidt from various States and different groups - started in 2003 (by the first two) and has gradually developed over the years. The instruments include guitars, stringed things, percussion, electronics, reeds, Theremin, sampler, contact mikes etc. In 2006 they spent 2 days a week improvising in Bryan's Omaha apartment studio to produce 80 hours of material - edited down to 80 minutes for Ductworks (public eyesore pecd107). This is, therefore, quite an unusual improv album. They usually seem to be recorded in a day and we get ebbs and flows, crescendos and noise. The selection of the 13 tracks (titled with some anagrams of ductworks) seems to focus on stasis and mood. The selections are 2-8 minutes long and combine the same range of sounds (scrapes feedback percussion electronics somevoices bowing picking clatter twinkling mellotron-tones) so that without concentrating you don't notice one piece changing to the next. However they do have different flavours or moods with different elements highlighted or collected. It is therefore some of the more ambient improv I have heard, with a steady subtlety that makes it quite distinct. I found myself warming to this more and more as I replayed it and I am sure it will be a favourite. A fine work. (a strange indicator of the smallness of the world - this comes in a card sleeve printed in the Ukraine) - Jeremy Keens (Vital Weekly) Shelf Life is Brian Day's most important musical venture today, besides of course running Public Eyesore. Shelf Life is a quartet of musicians, besides Day, there is also A. Boardman, J. Jaros and J. Schleidt. The cover doesn't list any instruments, but I believe to hear a saxophone, one or more guitars, a short wave and some sort of percussion. They are played in a true improvised manner: hit it and see what comes out. They pluck, hit, strumm their instruments in what turns out to be an endless stream of sounds. Thirteen pieces in total, although it's hard to say when a piece ends and when a new one begins. This is my main objection against this release: the dynamic level is not very high, so everything happens on more or less the same level, which is a pity, since it makes it a bit too much in a free form mass of sound. Some more mixing could have helped. Unless of course the idea was to have a total democratic sound, and not have one to play the leading part. If that was their goal, they succeeded in that very well. - Frans de Waard (Aiding and Abetting) Brian Day leads this quartet of creaky noisesters (two of the others are also in Eloine) through the belly of a boat on a long ocean crossing. Lots of snaps, crackles, pops and screaks. I don't really get the sense of a larger message here, but these pieces sure sound cool. The sound of ancient machines. - Jon Worley (Losing Today) Shelf Life comprise messrs. Brian Day, Alex Boardman, Joseph Jaros and Jay Schleidt, who might otherwise be known as the four horsemen of the avant-garde apocalypse. Together they create music in its loosest sense, for which every sound is incidental and rhythm, melody and form are alien concepts. So, what we are presented with are thirteen tracks (each ingeniously titled as an anagram of 'Ductworks') that contain various scratches, plucks and clangs, along with aural simulations of what appear to represent water draining down a plughole, creaking doors, zippers being unzipped etc. etc. The tools used for the purpose include various homemade electronic instruments, prepared guitar, and by the sound of it, a guest appearance by a reluctant donkey, whose tortured moans make brief appearances throughout. By the end you'll be left feeling quite sorry for the poor old thing. When they do approach a noise that could be considered coherent in traditional musical terms, as with the string driven drone toward the end of 'Custwodkrt', it mostly serves to unsettle, but then this music is obviously not intended to make comfortable listening. It is twisted sonic alchemy that makes for an album that is aptly titled in the sense that it represents the kind of creeping malelovance that would soundtrack X-files villain Eugene Tooms murderous crawl through an air shaft. Listen with one eye open. - Richard Stokoe (Foxy Digitalis) Bryan Day is the prime mover behind both the band and the label; joined by Alex Boardman, Joseph Jaros, and Jay Schleidt, "Ductworks" finds him working through a thirteen song set that is somber and monochromatic, with the overall effect being that of a wall of static sound. Individual instruments are hard to discern, as are tempo and volume changes. At best this minimalist drone, where the rewards come from repeated listening. The down side is that the repetition of the groove sounds less intentional and improvised, and more like a programmed loop that someone forgot to check on from time to time. But if you dig a low brooding hum that never does get itchy to speak up, this is a set for you. It works, and has more than its share of sublime moments, but monotony as an aesthetic was old when Cage found it. - Mike Wood (Babysue) Shelf Life is an experimental noise album...so if you're not into that kind of thing, well...be forewarned. This band was begun by Bryan Day and Alex Boardman in 2003 which resulted in the release of their first album shortly thereafter (One to Seven). Over time the band expanded to a four piece that now includes Joseph Jaros and Jay Schleidt. These fellows record what many would call non-music. The sounds are accidental in nature and there are no identifiable melodies to speak of. Rather than creating a harsh wall of noise like many twenty-first century experimental artists, these fellows' compositions are, for the most part, rather subdued and subtle. In some ways, these pieces sound like noises you might hear coming from your neighbor's place. Odd and unpredictable, Ductworks is geared toward a very esoteric audience to be certain. Our guess is that John Cage may have been a major influence here (?). It's hard to rate this kind of thing, so we'll let you draw your own conclusions on this one... - LMNOP (Ragazzi) Geräuschmusik kann Humor haben. Etwa, wenn der Vierer Joseph Jaros, Jay Schleidt, Bryan Day und Alex Boardman sich als Shelf Life ins Studio, an echte Instrumente, Laptops und allerlei andere Tonquellen begeben. Konventionelle Töne erschaffen sie nicht, auch nicht so etwas wie eine vorgegebene Musikstruktur. Die Stücke auf der CD, 13 an der Zahl, mit seltsamen Namen, die pausenlos ineinander übergehen und nur als Jux, so nehme ich an, unterteilt worden sind, vielleicht auch, weil verschiedene Etappen des "Jammens" aufgezeichnet wurden, die nahtlos auf die CD gebracht wurden, sammeln Geräusche. Töne. Elektronische, akustische, natürliche, künstliche, allerlei Töne. Hier ist mal eine Stimme zu vernehmen, oder ein Schlucken, Knurren oder Zungeschnalzen, dort mal der Ton eines Saxophones; Perkussion, Synthetisches. Es kommt nicht auf den einzelnen Ton an, es ist die Menge aller Töne, die die Musik macht. Und es ist die Stimmung, die Gefühle auslöst. So ist etwa Track 7 mit einer entspannten, melancholischen Stimmung ausgestattet, die sich aus lauten und seltsamen Tönen zusammensetzt, da scheinen Schiffshupen und Metallkratzen ihre harschen wie elektronische ihre hohen oder Perkussion ihre hypnotisierenden Geräusche ins Spiel gebracht zu haben. Alles für sich unangenehm, Schmerz auslösend. Als Arrangement jedoch, als Gemeinklang, entspannend, einschläfernd geradezu. Die vier inspirierten Tonschöpfer haben bereits 4 CDs dieser Art vollgestopft. Sie haben einen Draht zueinander und können gemeinsam Töne erfinden und verbinden, die als "Musik" einen Klang, eine Klangsprache haben. Gewiss würde einer der Musiker ausreichen, allerlei Lärm auf CD zu bannen. Und es ist gewiss keine Kunst, die genaue Perfektion braucht, dieserart Klänge lebendig zu gestalten. Im freien improvisativen Genre ist nicht die Lauterkeit des einzelnen Tones, ist der Gemeinklang das Ziel. Und Humor? Wieso Humor? Weil die Ansammlung der Töne, was man hört, wenn man sich darauf einlässt, bisweilen kuriose Haken und Winkel schlägt und eine Art Struktur zieht, die in diesem Klang, mit jenem Laut komisch wirkt. Braucht es dazu Gehör, Gespür? Geschickte Hände? Gewiss, letztlich ist alles Musik. Klänge aber zu komprimieren und eine bestimmte Fülle davon in einen zeitlichen Rahmen zu bannen, der "klingt", braucht Gespür. "Ductworks" beweist es. - Volkmar Mantei (Addreviews) Spooky, dreamlike noise collages to haunt and captivate. - Laze (KZSU Zookeeper) Improv, experimental, almost downtown jazz avante in that its mostly acoustic instruments, "home-made stringed instruments and prepared guitar", bursting forth in spastic manners. Most tracks similar in that fashion; chill and sparse mostly, so no real track by track review here. - Your Imaginary Friend (Improvijazzation Nation) What a perfectly appropriate re-entry into the review biz... Bryan Day sent this one, which was recorded in Omaha... Features Bryan, A. Boardman, J. Jaras & J. Schleidt in the kinds of sets I used to participate when I first started improvising (way back in the late 1970's... this outing has far more electronics than were available when we were doing such jams, but listeners who crave after music that strays from the "norm", & challenges the aural appendages will find this quite pleasing. Lots of little "grinders" in/out/under/through the guitar strums, percussive surprises & great sounds (that you'd never hear on a "conventional" jam session) that make repeated listens a must... you'll discover something you hadn't heard each time you listen. Is this "jazz"? - decidedly NOT... is it interesting? Quite SO - but your mind (as well as your ears) must be prepared for a taste of strange. This will serve as a great intro for those uninitiated in the joys of discovery that fine improv can inspire. I give it a HIGHLY RECOMMENDED, particularly if you are in for some well-crafted sonic adventure. - Rotcod Zzaj (Touching Extremes) One of the most unclassifiable albums met recently is this collection of introverted improvisations by Shelf Life, the quartet of Bryan Day, Alex Boardman, Joseph Jaros and Jay Schleidt. They don't list instruments on the cover, and that's only the starting point; the thirteen tracks are all named with an anagram of the CD title, and we can survive that. Then this poor reviewer slipped the disc in and pressed "play", and there's not a similarity, a distantly associable genre or even a single clue about what this music sounds like. Mostly based on electric guitar tampering, for sure, yet also comprising an awful lot of different emissions tending to the low-key scrape, buzz, groan and fuzz, this material is truly excellent in its total closure towards stylistic and harmonic (?) compromise. The uncorrupted freedom of expression supported by these guys does not yell or scream, but creeps all over the place in a fascinating manner, all those digestible disturbances accepted as a welcome presence whatever the occasion (I even tried it amidst the kitchen's noises while my wife and I were preparing for dinner, and it went great - she loved it, and me too). This record could be a nice answer to wallpaper ambient, as it certainly results lively and intelligent to these ears. Another fine example of the utter unpredictability of Public Eyesore's intentions. - Massimo Ricci

Papier Mache:
	One
	CDR - Eh? - 2005 -Bryan Day -Alex Boardman
	Two
	CDR - Eh? - 2005 -Bryan Day -Alex Boardman

Sistrum:
	4-way split w/ Arnoux / Das Torpedos / Metal Tech
	C60 - Unread - 2003 -Bryan Day
	Tinnery
	C75 - Seagull - 2002 -Bryan Day
	Red Dusts
	CDR - Gameboy - 2001 -Bryan Day
	Sleepover at Stormy's
	C45 - Freedom From - 2001 -Bryan Day
	Clean Cloudbite Mouthpillow split w/ XV Parowek
	CDR - Soulworm Editions (Poland) - 2000 -Bryan Day
	split w/ Daruin
	CDR - Neus 318 (Japan) - 1999 -Bryan Day

Other Collaborations / Split Releases:
	Nagaoag - Yama Labam A
	CDR - Eh? - 2007 -Bryan Day -Luke Polpnick Reviews: (Smother) This new cd-r release by Public Eyesore is flipping straight up odd. And that's the way I like it, damn it. Leftist music that shifts the cacophony of found sound into distorted filters and echoed reverb. Nagaoag features the work of Bryan Day and Luke Polipnick, who strum guitars, flip the channels, and breathe in and out with gusto. Definitely an album that is suited for those of us whose ears are accustomed to strange whirlwinds of insanity--and fucking like it. - J-Sin (Vital Weekly) Staying in the world of total improvisation we find Nagaog, with their release 'Yama Labam A', which are also the only two words on the cover. So it might not be a Public Eyesore release? Drums, synths, guitar and voice, in a total improvising, free mode of expression. Nervous, hectic, no strings attached to eachother, it seems like the musicians of Nagaog play for each individual player, then for the greater good. But if I'm honest, I must say that this music has something nice to it. It's intense and raw, yet at the same time, it's also quite personal. Especially the Jaap Blonk like vocalizations work quite well. Somewhere half way between free jazz and free punk. Although I must say, a bit more information would have been most welcome. - Frans de Waard (Neozine) This is crazy stuff. It literally sounds like the word-salad, babbling invocations of an asylum resident. It literally doesn't make any sense - and thats what contributes to its intrigue (for me at least.) There is some scattered drumming or percussions of some sort. There is some stringed instrument playing, which I can only assume is a guitar being noodled to its slobbering simplest. There are vocalizations, and some of them sound like english words, others just sound like they are drooled out of a schitzophrenic between medications. Would I listen to it again, Hell yea!!! This CD is a train-wreck, and I just can't look away. I mean, it is literal noise, but it is super-creative and immaginative noise which sounds like emoive expression at its rawest. You can't plan for these things. They just happen. Here it happened in a magical way that might never be repeated (no should such a thing be attempted.) Its just like field recording, sometimes when you just turn on a recorder and go nuts, everything falls together into one brilliant mess. Nagaoag has just such a mess. Listening to this is like trying to put a jazz musician's brain back together after its being segmented into a puzzle pieces. - CHC (Aiding and Abetting) Another of the Bryan Day collection, this one a collaboration with Luke Polipnick. A highly disconcerting set of guitar lines, vocal evocations and percussive wanking. Not for the faint of stomach, though noodly enough to excite extreme fans. - Jon Worley (Touching Extremes) OK, I bet that only a few rarity kidnappers have heard improvisations where the principal character is a "singer" who seems to be trying to deliver himself from a straitjacket, accompanying the "absolutely free" music (with a slight tendency to electric fusion projects featuring Henry Kaiser - think Crazy Backwards Alphabet) with all kinds of vocal spasms, pants, hiss, growls, moans, lamentations and what else can be figured out - maybe. "Yama Labam A" (played and sung by Bryan Day and Luke Polipnick) is exactly that, an album that might be dedicated to those non-autonomous, prefabricated minds who pretend to enforce the rules according to which we should behave, although they've developed more complexes than an industrial area. "Good professionals" that theorize the norms of sexuality while suffering of eiaculatio precox or frigidity; "gentle souls" who blackmail feeble-brained beings by threatening to reveal hidden secrets to friends and relatives, rendering them addicted to pills and idiotic concepts; desperation-struck human failures who presume to be entitled to offer "advice" to couples, just because their marital life has been crap since wedding's day, as they're both ugly as hell and no one else would ever accept to share a bed with either. If you know specimens like the above mentioned ones, give this CD as a present, telling that a previously unreleased Mozart sonata lies in there, and don't be scared when they come back to teach some manners. These people talk about detachment, yet become hysteric when one tells the truth. Their eyes will escape yours: right-left-down, right-left-down. There's always an overlord to whom mental slaves must obey, in a pyramid of perennially expanding stupidity. No chance for this record to save the "elected" from that destiny, but surely this stuff is damn funny for a handful of bad-behaving thugs. - Massimo Ricci (ITDE) Here's a weird one for you - Bryan Day and Luke Polipnick on an uncredited, somewhat secretive un-Public Eysore release; complete with spasms of flayed drums, random miniature clockwork noises, and Tom-Waits-channeling-Yamantaka-Eye vocals. Like many of Day's collaborations, listeners are more or less required to meet the music on it's own terms; those expecting Nagaoag to greet them halfway will be sorely disappointed. Indeed, even for experienced listeners, there is precious little to prop one's self up with. The code-like boxes covering the entire of the inside cover mimic liner notes, inviting the curious to give up more than a moment in fruitless study. Of course, Nagaoag doesn't want to give anything away too easily. Your attentions are better spent actually listening to the distorted, plonky guitar in aimless reverie; the chattering marimba backdrop, and an occasional rush of cymbal splashing against Day's distressed Goldthwait-ian yelpings... "The world becomes me!" Although I don't think the voice additions always work on "Yama Labam A," I'm highly impressed to find them at all. It is obvious that extended or avant-leaning vocals are a tremendously difficult and challenging medium, especially when used as a major element in a long work. This took guts, and should be commended, especially in an experimental format where a certain amount of mistakes or failure is to be expected. - DaveX (The Chickenfish Speaks) I'm going to write this review with the same kind of effort that band put into making this slog. Here goes. Jdia ijfpandfpu fdmapfy idofhafiadfi oifjamsdufae kfj[maumae jfmaoimajajad. Oaj[fadfjaek,'flja df[aj,faf afa[opfa,]perioa[o fama' dpfoa,dr[aiaga'dfac afnaga. ;fnda adfjona ioarnaio[amnamaiohjadfakmoaiojm canafiumaeo[I afhaehi. - Mite Mutant (Ampersand Etcera) Yama Labam A is a release on Eh? (28), a Public Eyesore off shoot. The two play guitar and drums respectively, and the music on this is an avalanche of percussive energetics across the whole armoury of drums cymbals and other banging pieces and complex guitars (electric and acoustic) that all at the same level in the mix: you can either focus on the clattering fast-forward momentum or the intricate and at time surprisingly melodic guitar: or even let them both wash over you. But then there is the third element - vocals by one of the two which swings between Waits-ian growls, Japanese noise squeels, high singing. Generally not-English (my guess is created noises [yaps, squeeks, expostulations, Dada poetry] but possibly other languages) it occasionally emerges with words and phrases. On the whole it works well, it is equal in the mix with the other components. The level of activity changes, but there is always a strange swampy feeling to this, probably from the Dr John vocal-phrasing and sound which seems to pervade it (alabamy could be somewhere in the title). More unsettling than Day/Boardman this would have benefited from perhaps a little more variation (the last track is more relaxed) as it becomes harder to take over the full 50 minutes - but is enjoyable in smaller doses. - Jeremy Keens (Sound Projector) The undeniable grotesquerie that peels off yama labam a (EH?028), particularly from the twisted voices and swollen tongues of the incoherent vocalists, gradually burrows a way into your forehead like some giant slug. - Ed Pinsent (KZSU Zookeeper) Demented vocal improv alongside back alley free jazz. With respect to timbre, the vocals are kind of cross between Mike Patton and Tom Waits. Few lyrics are detected, mostly drunken, delirious and physically sick outpourings. The band consists of drums, sax, elec. guitar, bass, and back alley percussion. - Percee Northrupp (Chain DLK) It was hard to find any info about this (title and artist name being the only writings on the cover), but with the web nothing's really secret, isn't it. Nagaoag is Public Eyesore's Bryan Day at guitar and vocals and Luke Polpnick at drums, if I got it right from previous reviews. Listening to the first track, I though this sounded like an unlikely jam between early US Maple and Fushitsusha - bizarre, rambling vocals, sometimes meowing, more often wandering cluelessly, over fractured guitar lines, almost psychedelic dilatations and restless drumming. The formula is the same throughout, but I'd also add Captain Beefheart, Oxbow and definitely Storm & Stress/Talibam! to the possible references. Very interesting, obviously and willingly unnerving but far from being gratuitous trash - in an apparently fertile period for free-form incests and "musique brut", this could even get some deserved exposure. - Eugennio Maggi (Addreview) It's difficult rating an album that's simply a cacophony of guitar tuning and random vocal bursts. Schizophrenic listeners will enjoy. - Laze (Sea of Tranquility) The eight unnamed pieces that comprise Yama Lamba A are generally undifferentiated: tiny envelopes of sounds, struck, plucked, layered and dense up and down the bandwidth shimmer, sustain and collapse against one another in a haze of specifics that yields up shifting glimpses of the briefest fragments of truncated silences: latticed gaps amid incessant thrumming. Like the works of Eloine and Shelf Life, Nagaoag generates an immersive field in sound and texture that seems to have descended into granular, component-level existence, unperturbed and happily post- everything. But unlike Eloine and Shelf Life, Nagaoag incorporates daubs of voice, transforming the pure abstractions of the multi-layered audio bath into something decidedly more literal. There's an odd tension to the way the slurring voice sits within the aural surround emanating from the highly specific clatter of the sources. Not a profound tension, more like the tension that results from being subjected to too many hours of the arbitrary. While no scream for meaning is needed, and the juxtaposition is clearly intentional, the problem is an indoctrinated response to mouth sounds that goes sort of like "voice = language = narrative". It's a disconcerting response (perhaps coming only) from this listener, but sadly unavoidable. And unlike the shrouded sources - all as teasing, unexpected and mysterious in their origin as those early works by Dome - the voice does not engage the listener in the same way. The vocal component poses no further issue of identity, and offers neither mystery or surprise - only more of a noise that is not noise. - Kerry Leimer (Dead Angel) Even by PE's often impenetrable standards, this is a cryptic one, featuring label head Bryan Day and Luke Polipnick together on an obscure release containing absolutely no information outside of the band name and title, available only on an "secret" subsidiary of Day's label, with "liner notes" that are nothing but a dense wall of indecipherable code boxes. (If you wonder how I nevertheless divined the lineup, well, I'm psychic.) The eight tracks on the disc are squarely within the PE aesthetic, though -- lots of meandering freestyle weirdness that might be the product of detuned guitars or something else entirely, erratic and unpredictable drum rattles, and -- unusual for one of the label's improv releases -- a lot of vocalizing. Note, though, that by "vocalizing" I don't mean singing; rather, there's lots of moaning and keening and muffled babbling floating up through the murky ambience and strange sounds, making the entire work sound like the product of deeply schizoid asylum inmates turned loose in the recreation room to flail away in disconnected fashion of whatever happens to be lying around. The only thing you could even begin to compare it to would probably be the first Beme Seed album (which was itself once famously described as the sound of a band tuning up for forty minutes or so), except that even Kathleen didn't sound this lost in psychosomatic space. An epic of strangeness that'sweirdly compelling if you're in the right frame of mind, or a completely incomprehensible work of dadaist art if you aren't. - RKF
	Hodgekins + Davis / Day
	C60 - Seagull - 2002 -Bryan Day
	Protochromatic / 360 Sound
	C60 - FDR - 2001 Protochromatic: -Bryan Day -Brian Noring -Shawn Kirby
	William IX - Dawn Variations
	CDR - Public Eyesore - 2000 -Bryan Day -Jorge Castro

PE Releases:
Sistrum - 5157243
Sistrum - Void
Sistrum - OAWALY
Sistrum - Exito
Sistrum - Psalms
Sistrum/Jazzin' it up - Split
Dutch Wives at Work/Sistrum - ASP
Sistrum - Love Letters Vol. 1
Zanoisect/Sistrum - Day Fills Night The Way I Walk/Furukizu
William IX - Dawn Variations
Brian Noring/Bryan Day
Bryan Day/Alex Boardman - One to Seven

Outer Myopia Ltd.

Compilation Appearances:
SISTRUM
Noise Today Vol. 1 cdr(TDT)
Compilation Vol.7(Neus-318)
Sound Mirror Volume #1 c90(Hermetic Museum)
All Purpose Compliation Release cdr(Sunship)
Tyranny of Noise c60(Violet Produkt)
AUTOMOBILE
Analogous Indirect lp(Public Eyesore)
TOWERING
Noise Conglomerate 5 cd(Anti-Everything)