![]() ![]() Both decided to move outside of the black and white imagery that’s dominated recent Bleep Bloop covers. I just tried to keep it as raw as possible, while still hopefully being fun to listen to.” Back on artwork duties is longtime visual collaborator Gary Paintin, with heavy usage of prime colors this time around. Tom Waits, Howlin' Wolf, Fiona Apple, Alice Coltrane, Johnny Cash, the list goes on and on. “Lyrically speaking,” Bleep Bloop adds, “and vocally speaking, my influences just come from my favorite singers I think. ![]() Bleep Bloop continues his foray into singing and dynamic vocalism, this time proving to make his highest leap across a record like Prime. Within seconds, things go from one extreme to the next, pinned together through a sense of harmonious glory and experimental deviation that jumps by genre and not just sound design. Interwoven mutations into songwriting structures are melded into a tonality of diversity that swarms and changes at rapid speeds. ![]() Leaps always taken from one record to the next, Prime follows suit, extending his electronic foundations with a deeper sense of exploration and craftsmanship. Ever since Bleep Bloop jumped onto the scene in the early 2010s, innovation through deep corridors of electronic music has always been at the forefront. Scheduled for release October 28th with Dome of Doom, it’s a follow-up to the Revenge EP from October 2021 and lands just after the debut record from Triggs’ new ambient and music concrète project, Fossil Fog. PMEL’s Acoustics Program develops unique acoustics tools and technologies to acquire long-term data sets of the global ocean acoustics environment, and to identify and assess acoustic impacts from human activities and natural processes on the marine environment.Aaron Triggs is back as Bleep Bloop, presenting the stunning body of work Prime. The Bloop was the sound of an icequake-an iceberg cracking and breaking away from an Antarctic glacier! With global warming, more and more icequakes occur annually, breaking off glaciers, cracking and eventually melting into the ocean. It was there, on Earth’s lonely southernmost land mass, that they finally discovered the source of those thunderous rumbles from the deep in 2005. Was the Bloop from secret underwater military exercises, ship engines, fishing boat winches, giant squids, whales, or a some sea creature unknown to science?Īs the years passed, PMEL researchers continued to deploy hydrophones ever closer to Antarctica in an ongoing effort to study the sounds of sea floor volcanoes and earthquakes. Scientists from NOAA’s Pacific Marine Environmental Laboratory (PMEL) were eager to discover the sound's origin, but with about 95 percent of the ocean unexplored, theories abounded. Not only was it loud, the sound had a unique characteristic that came to be known as “the Bloop.” Using hydrophones, or underwater microphones, that were placed more than 3,219 kilometers apart across the Pacific, they recorded numerous instances of the noise, which was unlike anything they had heard before. In 1997, researchers listening for underwater volcanic activity in the southern Pacific recorded a strange, powerful, and extremely loud sound. ![]()
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