The latest release (that Disaster Amnesiac is aware of) from Eloine,
Compulsive Dinner Guest, has the distinction of being assembled after musician Bryan Day's summer 2024 tour of Japan. This fact is noted first in light of the press sheet's mentioning "a subtler approach" to the album. One wonders, what did Day observe (and Bryan is always observing closely) that encouraged this approach while in that most sublime of countries? This question is probably rhetorical, and it's obviously Day's prerogative to keep that type of information to himself. That being said, the physical evidence that arrives in the form of
Compulsive Dinner Guest, shows more moves within his very personal sound world, consisting of varied self-innovated instruments and processes. An attentive listener will be presented the various aspects from this world; these aspects, resulting from quite a complex process, feature generally subtle shifts in rhythm and pitch. Palpable sub-surface sonic agitations and excitements are sounded on
Reactionary Survey.
Smokers Pillow has immediate drone effects that frame gestural actions upon Bryan's rig, which are followed up by slowly emerging voices, both high and low. Percussion and pure Noise are blended well during
Mancopter Ascends, which concludes with a well paced fade out to conclude side A. On the flip side,
Nothing Becomes Everything has ghostly voices and rocks with pedal tones, while the neatly entitled
Spiderwhite creaks with machinery clips and late night outdoor trance sounds. Set closing track
Thum Tax Live (was this tracked in Nippon during one of the shows?) is a dramatic slow burner with ring modulators. All told,
Compulsive Dinner Guest would be welcomed by any fan of abstract music. It commands and rewards deep listening. The pacing and sound assembly practiced by Eloine are unique and fully realized. The influence of Japan can be felt and heard within this emergent poise, mostly for its quietly simmering mesmerizing tones. Zen and the art of Day!
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