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