This collection of press is currently limited to those in English.

"(Tell us about Northeast Ohio’s Jeremy Bible’s involvement with the Cleveland Museum of Art's Centennial Festival Weekend?) We’ll also have a sound installation by Jeremy Bible, who is a noted sound artist. He’s bringing back for us a speaker system that will be in our East Wing Glass Box Gallery commonly known as the Rodin Sculpture Gallery. In 2009, Jeremy for the first Solstice created a sounding environment based on the construction sounds of the museum, which you may remember at that time was in the middle of a renovation and expansion program. We asked Jeremy to bring it back out for the 9th annual Solstice and the Centennial Festival. It will be up and running throughout the weekend. It’s a sound installation and it’s very beautiful. You can pass through at the moment or sit there for hours." - Tom Welsh via CoolCleveland.com

"Over the past two decades, Jeremy Bible has built a body of brutally poignant work that pushes the boundaries of every musical discipline the Ohio-based artist touches. Whether editing together harsh but transcendent works of light and video, creating maximalist sound installations of quadraphonic immersion, or producing heady sets of drone, noise, and other sonic ephemera on record, Bible leaves an indelible mark on the experimental music scene. Behind the scenes, Bible curated the Experimedia label and online shop, distributing some of the most forward-thinking sounds from all over the globe. Before his upcoming set at Eyedrum on Sat., July 26, Bible took a few minutes to discuss his earliest experiments with sound, his quadrophonic sound installation "Collisions," and his upcoming Fractures album." - Creative Loafing

"After September’s release of Tlaotlon’s Viper FBX, Dream Disc spent a few weeks waving around a wood stave and slamming it on the floor like a geeked wizard. There were complaints from neighbors about the amount of fun they weren’t having and it became an HOA ordeal, so Dream Disc sold the stave and logged back on Bandcamp with the password “sci_fi_nihilist.” Touching a wall poster of Geordi with one hand and the upload button with the other, Dream Disc added Indek’s Ghost Archive to its own archives. A side project of long-standing omnicreative Jeremy Bible, Indek came to light back in March through two broken IDM-minded albums. Where Ghost Archive fits and expands the tripped up sound of Indek is one in the same. The post-industrial soundscapes are morphic sentients, aware and unconcerned with the channels and spaces it passes through. It’s like a fleet of ghost ships strewn about the seven oceans live streaming each other the interdimensional short fiction they’re working on." - TinyMixTapes.com

“Jeremy Bible is the man behind the Experimedia label/distribution/empire, which has humble beginnings as a small imprint for his own compositions for melancholy dronemusic and amorphously treated field recordings. Admittedly, it has been a while since we’ve heard any of Bible’s output; and on Collisions there’s a considerable shift from the soft-focus, ambient-grounded smears and blurs from those earlier recordings to the neutron smashing and amplified laboratory hum found the aptly named cassette. The field recordings do persist with chapters of nocturnal tree frogs and daytime birdsong bracketed by passages of clinical electronics, possibly rendered through blorping modular synthesis or some sort of digital equivalent. The tones, nonetheless, are sharp and abraded, reflecting similar rhythms from barking tree frogs and mellifluous thrushes. Bible’s jittery splutter of tone into jagged sawtooth patterns and erratic squiggle recalls some of the polydactyl, generative work from Keith Fullerton Whitman or the scabrous digital errata of Florian Hecker. At times, it’s a frenzied, furious work; and at others, it can be austerely designed in the vein of Asmus Tietchens. Super limited, and packaged in a swanky box with foil stamping.” - Aquarius Records

“All hail Jeremy Bible, this dude knows what’s fuckin up. Most of yall probably know he runs the flawless EXPERIMEDIA label/distro, but he’s also got some insane music makin chops as well, and Collisions is easily my favorite work of his. This is a total head fucker, melding sharp musique concrète, abstract field recordings, glitchy rhythms, and bizarro noise into something wholly cohesive & unique, this takes all of your attention while twisting synapses and making new neural pathways in your brain, making you question every fucking moment. Is there anything actually happening right now or is it actually silent? Are those frogs or synths? Is this doing permanent damage to my ears? Did I just shit myself? There are truly incredible moments on this record that feel like you’re staring a starving pack of dire wolves right in the eyes, unsettling organic gurgling & chirping, panning & pointed blasts of almost danceable static shred, high end drone like the hum of a distant generator. You’re never at ease, even when the music is peaceful, because early on you discover there’s an ever present sense of danger. This is just the fucking best. It was originally a live recording from June 2013 at the RCN Cave in Akron, Ohio that was released digitally shortly thereafter, but it’s been expanded & remastered for CD and tape release on False so now you can hold & cherish this sexy beast. The artwork above is for the digital version, the tapes & CDs come in silver stamped black boxes with cotton & card inserts and they look super fuckin slick.” - Justin Snow, Anti-Gravity Bunny

“Jeremy Bible is a Cleveland based interdisciplinary artist, and proprietor of the music imprint Experimedia. Collisions was originally created for live 4 channel surround performance, but proves just as effective listened to on physical media, and this is certainly Bible’s most accomplished work to date. Collisions is a harsh and meticulous, yet rewarding, sound collage of noise and field recordings. Digital static intertwines with serene field recordings of bird song. Structurally this is a complex ever shifting work, that surprises the listener with its ever evolving and challenging ambiance.” - Bleep.com

“Collisions is a bit of a mindfuck. That being said, the incredible array of sounds that Jeremy Bible (all hail experimedia!) juggles is impressive and he does so gracefully, leaving just enough room for these compositions to stretch their legs and find their footing. “Collisions is a conceptual binaural work originally created for a live 4 channel quad surround performance”, we’re told, and this much is apparent when heard digitally. The pristine details shine through and overwhelm. However, on tape Collisions finds another life entirely – analog media is an interesting (and excellent) choice for this music. Lines blur and sounds fade into oblivion so that the listener is completely lost in the aural walls Bible creates. This is dense, hard-to-digest music but through patience we are all rewarded.” - Brad Rose, factmag.com

“Whether you realize it or not, you’re probably already familiar with Jeremy Bible. Well, assuming you’ve taken more than a cursory glance at Decoder’s past posts. The Ohio-based multi-media artist has had more than a hand in shaping experimental music (as an aural tastemaker with the Experimedia imprint, whose execution hits the precipice of high concept and design/packaging, with discography standouts that include career highlights from Lawrence English, Damian Valles, Celer, Black Swan, and Jannick Schou) and sharing music (as a purveyor of experimental sonic wares with the Experimedia web distro/shop).  But Bible has also directly produced some of the most ambitious works under his own name that’s both richly mesmerizing and expansively isolating.

Bible returned a few weeks ago with Collisions, a confounding work of modern musique concrete that completely blurs the lines between organic and unprocessed sound and effect-addled noise. Originally prepared as a quadraphonic performance at Rubber City Noise in Akron last June (audio available here), the set has since been re-edited and presented here as a stereophonic din of dynamic but coherent, puzzling but lucid miasma. Field recordings of birds appear in true form only to be transformed and mutilated into otherwordly passages of digital squeals and hums. It’s a hypnotic scourge of aural anthropology. All of this delivered in a sleek black box flourished with reflective tiling, a translucent band and cotton insert, as expected with the False label aesthetic. Collisions is available now in tape or CD form directly from Experimedia.” - Bobby Power, secretdecoder.net

“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.” Strauss, tinymixtapes.com

“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.“ - Maxwell Allison, adhoc.fm

“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.” - fluid-radio.co.uk

Baxter Stockman, the mad scientist/fly-man character from the Teenage Mutant Ninja Turtles, is a pathetic figure, the subject of much abuse at the hands of both the Turtles and Shredder. As such, “Elegy Fr Baxter Stockman (Compassion For The Insects),” the A-side of a collaborative tape by Experimedia head Jeremy Bible and Akron-based duo Mousecop (Curt Brown and Joshua Novak of Rubber City Noise), is a nice reminder that, while there’s no excuse for Stockman’s evil-doing, empathy is as much an option as the interdimensional banishment that ended most Stockman-centric episodes. The elegy itself, which lurches between melancholic dirge, uncanny sound collage, and squealing noise, is a fittingly delirious memoriam for a sad cartoon character and just more evidence that the Midwest is fertile ground for some of the most free contemporary music around. - adhoc.fm

"Jeremy Bible is a media artist based in Akron, Ohio, US working with the mediums of sound, photography, graphic design, and video. Jeremy is known for his solo projects under his own name and various alias’ as well as his recently prolific project with collaborator Jason Henry. He is also working on additional collaborations with Dan Burke (Illusion of Safety), Ian Hawgood and N.Strahl.N. Additionally Jeremy founded the Experimedia.net record label & arts organization in 2000." - Resting Bell

"Jeremy Bible and Jason Henry are a match made in Ohio heaven. They consistently crank out beautifully crafted, intricate drone masterpieces, all the while flying below the radar of most. Fortunately, their 2008 CD-R “Vryashn” has been given the deluxe vinyl treatment by Infraction, a move that will hopefully open more ears. The sounds here are dense, focused on an effortless weaving of electronic instruments, acoustic instruments, and field-recorded accents. This is as good as anything the large experimental labels are releasing, and these are hard-working musicians well worth supporting (Bible also runs the always-reliable Experimedia site)." - omgvinyl.com

"Remastered cassette reissue (from Rubber City Noise) of an original ultra-limited CD-R issued in 2004 by underground legend and Experimedia founder Jeremy Bible. Recorded between 1998 and 2000,The Journey of Enoch prophesied the rise of lo-fi, minimal drone underground which first reared its analog head in mid 2000’s. Jeremy Bible’s release is a haunting, stretched-out affair of harsh sound effects, sudden atmospheric changes and heavy synthesizer bliss. An essential release for every kosmische sound archivist." - Weed Temple

"Vryashn by Jeremy Bible and Jason Henry was released back in 2008 and now reissued on vinyl by Infraction Records. Receiving well deserved critical acclaim at the time, it is always interesting to get the chance to know how it has “aged“, not that three years is too much time, but because we live in a world where one week is the most you can sometimes get to be heard, and some music deserves to be listened and cherished for longer.
The album is composed of two long form tracks that draw from piano, water line pipes and glasses among other sound sources. I asked Jeremy what Vryashn meant he said that “…it is the subtle variations between various dream states and consciousness…”. As a general feeling about the album, this idea is quite similar to what I felt. Vryashn is an ambient album that defines an atmosphere of isolation well, evoking feelings and emotions that the listeners can appropriate as their own, which in a sense relate well with the concepts of dream states and consciousness.
At first a murmur that seems to come from far away, and gently gets near. Jeremy Bible & Jason Henry choose to introduce us to Vryashn with a warm welcoming pulse that approaches us from the distance, and when it is finally settled in, a dance of “piano notes” start to swirl around. The first track is a slow paced dance like ghosts surrounding you. It draws you in to the album with it’s sumptuous sounds. Vryashn 1 is in it’s own way a melodic piece, everything is in its right place to evoke nostalgia. On Vryashn 2 the feeling conveyed is totally different, here everything feels broken, and throughout the piece, fragments of sounds come and go more or less without any particular coherent structure, it feels like Jeremy and Jason, wanted us to experience the journey into finding an intrinsic coherence amidst the chaos that is life. Indeed we observe this evolution, slowly the pieces are joined together and finally they come around wrapping up with the first track Vryashn 1 in a circular movement.
Vryashn is an intriguing and beautiful album that you should consider to purchase, and more so because it was reissued now in vinyl." - Future Sequence

"No label made things work as a whole in 2012 better than Ohio's Experimedia.  Besides putting out its own stellar releases, the imprint has become one of the most comprehensive underground music distributors in America. Owner Jeremy Bible adds about 100 new titles a week, and admits that "the challenges are non stop. I swear I go through an existential crisis almost quarterly."
But he's also quick to insist that Experimedia is a labor of extreme love. It began as a name for shows he and friends put on in Ohio and Pennsylvania in the early 2000's. When those stopped, he turned Experimedia into a label because, as he puts it, "I couldn't allow myself to sit still. I would literally get depressed if I tried not being active." Once he began selling releases on other labels, things "snowballed from there and [became] a big blur--a stream of consciousness, heavily driven by my own addiction to buying music for myself and wanting to share that obsession with the world."
His favorite obsession, naturally, is the music on the Experimedia label proper. This year's crop was perhaps his best: take the gritty, tactile atmospheres of Damian Valles' Nonparallel (In 4 Movements), From the Mouth of the Sun's beautiful, beyond-cinematic Woven Tide, and the engulfing drones of Superstorm's self-titled LP. What ties these releases together? "I can't honestly say there is some deep philosophical basis for what I do without making up some over academic sounding bullshit," says Bible. "I tend to play it all by ear and gut. The label is still my first love-- a diary of music that affects me."
Experimedia's distribution has a diary aspect too, in the album previews Bible creates and posts to Soundcloud. "I wanted [people] to be able to get the feeling of an album seamlessly, with one click," he explains. "I could also organize them into sets with Soundcloud, [so] you could get the feel of dozens of albums and dig further on whatever grabbed you. We all have our issues with the static of social media, but as a method of connecting and sharing with the like-minded it's great."
It may seem a little obsessive to devote so much time to making Soundcloud mixes, and Bible agrees. "If you aren't at least a little bit crazy you have no business being in this business," he says. "I am a mess and I am ok with that, and I want certain parts of what I do to reflect that…If those approaches fuck me in the end, so be it. I can still die knowing I followed my heart." - Pitchfork

"For “Felder: Dissected & Reassembled for 16 Channels,” Ohio-based sound artist Jeremy Bible (Experimedia) will dismantle, edit and process Werner’s entire “Felder” album into thousands of unique audio elements of varying length. Upon organization into a unique playback system for generative multi channel arrangement, it will be presented as an ever-evolving 16 channel immersive sound installation. This system will create endless sonic combinations and interactions across the 16 channels. This approach seeks to further reinforce the overall concept of asynchronicity while challenging the tedium of predictable linearity. " - Thrill Jockey

"The author of the work is North America based sound and visual artist Jeremy Bible, who is also known as the owner of a record shop and label Experimedia which has attention of many selective musical gourmets. Jeremy Bible has released more than thirteen albums, including works with Jason Henry, his other aliases and is constantly developing - now he represents such styles as drone, ambient, experimental, avant-garde and musique concrète. While pushing the boundaries of independent labels and talented musicians to reach the intellectual listener, Jeremy Bible is here to present his unique chef-d'oeuvre. 
“Secret Thirteen Mix 004” is a phenomenal musical selection that forces to stand in awe of author’s knowledge and his absolute empathy to music. Nevertheless an author starts the mix with low tones and subterranean crackling works, a contrast between the beginning and subsequent musical landscape of the high atmospheric lines is eliminated and an absolute musical competence is proved. Slowly involving harsh, noisy pads and chamber melodies he starts to push the emotional level of listeners’ feelings to the highest. After static and monotonic spacey sounds, the calmness, based on contemporary academic music, takes the place and wave by wave emotional situation is stabilized. At the end, the listener is forced to find himself at the core of the earth by an abstract minimalism that perfectly emphasizes the whole work." - Secret Thirteen