“New high bar set here with Jeremy Bible’s physical issues of his once digital-only Collisions album; both the cassette version (which I have on hand), and the CD version of this release are top-notch. Look at that! Mirror-metallic print on a glossy box with bellyband? Shit, seriously good. Sonically, Bible’s never sounded more in control, precise, and sharp than on this one. A friend of mine likened it to birds, and the frantic, fast-paced and high-pitched nature of that animal fits this record’s trajectory quite well. You can also just hear what sound like genuine field recordings of them throughout the length of the recording – the flapping of wings, their worm-wanting chirps, etc., all of it pieced together with synths and tape samples, and whatever all else you won’t be able to place in your imagination. Instead of approaching a noise-collagist’s oft-used technique of mashing textures together, smearing things into a pasty pastiche of blended “harsh,” Bible buts things together with a care that almost feels obsessive, giving each and every individual sound he creates edges that are refined and defined. It is designedmusic. Bible adds and subtracts elements as if building a sculpture out of Jenga blocks, and while the architecture is built to feel like it should be teetering on the brink of collapse at any moment with sounds swooping in and crashing into one another with blind and aggressive accents, wavering on unsteady waves of dynamic shifts, Bible’s foundations are still strong enough to keep the sound remarkably sturdy. And though he can also be tender, finding the softer side of his instrumental array as the album makes its way toward the end, even his quietest moments (complete, dead, negative spaces) are used in ways that could leave many white-knuckled and squeamish. Also this: Album of the year.”
“You might know Jeremy Bible as the proprietor of your favorite independent distributor/zone emporium Experimedia, but the Cleveland-based inter-disciplinary artist wears a tower of hats in addition to the black-brimmed postman cap symbolizing the prompt shipping of physical media. Over the last few years, he has experimented with video synthesis (=crocheted rasta beanie), constructed quadraphonic live setups (=four “Collector” snapbacks), and exploring the infinite potential of electronic concrète collage (=the sleek black headset of Morton Subotnick). Though infrequent limited-run releases have trickled out of his Experimedia label imprint over the last decade, his new album Collisions— streaming in full below— showcases the most fully realized incarnation of his solo project to date. The album’s two extended pieces speed through a litany of textures and atmospheres, juxtaposing squalls of hi-fi synth noise with naturalistic field recordings and passages of otherworldly drone. Bible’s surprising aural journey coheres across its diverse palette of sounds by way of its uniformly lush production standard and its attention to detail in tone spatialization. The album channels the structural chaos and alien laptop squelch ofFlorian Hecker, and the unpredictable live synthesis of Headboggle, as it stakes out its own unheard territory in the wide expanse of the experimental underground.”
Thursday, October 17, 2013
RCN CAVE | 68 W. Exchange St., Akron, Ohio 44308
RCN is proud to announce this amazing event, partially presented in quadraphonic sound, for yr enjoyment on the evening of Thursday, October 17, 2013 w/ a suggested donation of $5 strongly encouraged… thank you see you soon…
Mark Hosler - Founder of legendary culture jamming collective Negativland performing solo utilizing samples and synthesis. (http://en.wikipedia.org/wiki/Mark_Hosler | http://www.negativland.com/)
M.C. Schmidt & Wobbly - Schmidt is a founder of renowned electronic duo Matmos. Wobbly is a well-established performer of electronic music with releases on Illegal Art, Important Rec, and Tigerbeat6. They are performing as a duo using electronics, synthesis, and samples. (http://vague-terrain.com/ | http://www.detritus.net/wobbly/)
Thomas Dimuzio (ReR, Ipecac, Dimmer) - SF-based electronic composer and sound designer with releases on ReR, Gench Music, and No Fun performing with modular synthesizer. (http://www.thomasdimuzio.com/)
Joseph Minadeo & Curt Brown - Minadeo is a composer and multi-instrumentalist, founder of Patternbased & Low in the Sky. Brown is a founder of Rubber City Noise and numerous projects. Performing as a duo using synthesis, samples, and acoustics. (http://www.josephminadeo.com/)
Thieves - RCN founders Joshua Novak & James Bryan Park exploring found sound and stolen samples.
& throughout the evening, special multi-projector live visuals by Jeremy Bible
Friday, November 22, 2013
Bent Crayon | 1300 west 78th st cleveland
bent crayon presents: kallocain
a night of dystopian sound + vision:
regis - downwards - uk
veronica vasicka - minimal wave - nyc
talker/stave - downwards/fss - chi
prostitutes - mira/diagonal - cle
visuals: jeremy bible - experimedia
this is a ltd engagement. ticket information forthcoming.
the job of the artist is to always deepen the mystery - francis bacon
A few photos from VIA 2013 October 2nd.
VIA 2013: CONTAINER, FORMA, PHARMAKON, RICHARD PINHAS, AARON DILLOWAY, UNICORN HARD-ON w/ Live original audio reactive visuals by Jeremy Bible.
Excerpt from the album Collisions out now.
Source: SoundCloud / experimedia
His new album “Collisions” begins as a series of small, highly focused electronic ‘studies’, each seemingly demonstrating an interesting digital processing technique: quiet hums, melodic golden spirals, and the like. However, it is not long before a sound is encountered that sounds undeniably digital, yet somehow also richer, more complex, and more familiar than those that came before it. In fact, it sounds a lot like the the incessant, sharp, high-pitched sounds coming from just outside the window…
This sound is your first clue to that “Collisions” is more than simply a collection of algorithmic concoctions, interesting though they are; and in fact your ears weren’t deceiving you: the album does indeed draw heavily on sounds made by birds — but not in the ways you’d normally expect. For example, there are relatively ‘clean’, unprocessed recordings of bird calls on the album, but they are combined with electronic tones in such a way as to muddy the distinction between the synthesized and the avian. Or — perhaps most strikingly — unprocessed bird calls are allowed to be drowned out by the (again unprocessed) sound of flapping wings, intentionally creating an experience that one generally only comes across in other field recordings by accident: an acoustic illusion of which, to commandeer Timothy Morton’s expression, one could not say for certain whether it really was an illusion or not.
“Collisions” is thus an album that flits like a restless bird between the digitised and the natural, the concept and the object — or rather, it often fails to decide on a precise distinction between the two, finding one in the other and vice versa, sine waves in bird calls and mathematical equations in puffs of smoke. It’s a record that practices what Morton calls “realist magic”, drawing the uncanny and the preposterous out of the very semblance of the real, and no more so than at its most unedited. Bible has produced a subtly provocative record that should give plenty of food for thought to anyone interested in the natural in music and the musical in nature. Available as a (praise be!) 24-bit download from Experimedia, this is, from my perspective, essential listening.