Omaha, Nebraska based improviser and concept artist Bryan Day (b. 02/15/1979) has been involved in the avant-garde music community for the last 12 years.  Day studied fine art at Iowa State University and to this day is an illustrator of high regard, with works printed in a number of publications.  He started the, then Minneapolis-based, free music label Public Eyesore in 1997 as an outlet for his works using homemade electronic and mechanical sound generating devices, and to this day continues the process of expanding upon these themes.  Merging structure and chaos, Day uses an elaborate notation system and cellular automata based computer programs of his own design, along with the expressionist cues of visual art and modern dance for his inspiration. Rather than be known as a musician, he prefers to be known as an impulsive conceptualist, searching for difficult and inconvenient analogs to the contemporary experience using sound.

Bryan Day has collaborated with Keith Nicolay (NY), Jack Wright (Philadelphia), Jorge Castro (PR), Unconditional Loathing (Minneapolis), Tatsuya Nakatani (NY), Brian Noring (Des Moines), Yoko Sato (Morioka, JP), Yagihashi Tsukasa (Tokyo, JP), Lonnie Methe (Omaha), Luke Polipnick (Minneapolis / Lincoln, NE), Dereck Higgins (Omaha), Eric Leonardson (Chicago, IL), Yoshiaki Kinno (Morioka, JP), Bennett Hogg (Newcastle, UK), Terje Paulsen (Norway), Toru Yoneyama (Morioka, JP), Zan Hoffman (Louisville, KY), Matthew St. Germain (Minneapolis), Mike Honeycutt (Memphis), Hidekazu Konishi (Gifu, JP), Jason Zeh (Bowling Green, OH), Takashi Aso (Sapporo, JP), Jonathan Fretheim (Mountain View, CA), Nancy Garcia (NYC), Bob Marsh (Richmond, CA) among others.