We generally start talking about the look for the next project after I have started writing it, but before I have finished. The artwork that Gary Paintin creates for each release is astonishingly cohesive with the symbolism of the project, at which point during the creative process do the two of you get together to begin shaping the visual aspects for a release? Songs with lyrics, I generally just name the song after the lyrics. Naming instrumental tunes can be difficult in this manner. I went through and picked titles as I went, and tried to best represent the name of the song through the sonics. So over the course of the last six months or so, I have been writing down song titles.
On this release, I decided that I would write the songs after choosing the song titles. How did you approach selecting track titles for the Gain the Axe EP? The amount of time that I spent on creating and setting up the modular sets kept me from writing new music for many months, so this time I decided to go out and DJ again so I could get back into my studio flow. The forthcoming tour dates are all DJ sets. Do you have any plans to continue to fan the flame on this technique in anticipation of your forthcoming tour? There is something really soul-sucking to me about spending all day staring at a screen, so synths are a great way to break that habit and get your hands on something real.įollowing the release of your two-part The Psychic Staring Effect last February, you set out on a string of tour stops that featured live modular work on stage. But I will say that I think that physical instruments will always be a part of my life. I sampled a lot of modular sound design that I made into granular samplers to get a lot of the sounds on the record. Also, most of the sound design on this EP is based in modular synthesis. I try not to say things like always/never/forever because that is a great way to end up being wrong. I’d say that it is impossible to say that something will always have a place in my interests. Is modular synth work something that will always have a place within your interests, or are you making an inherent effort to shift fully into this style for future releases? There is something really soul-sucking to me about spending all day staring at a screen, so synths are a great way to break that habit and get your hands on something real. The real challenge comes from the life of being a traveling musician trying to keep up on your mental and physical health/sleep and whatnot.
I have always made about three times as much music as I released, when it is coming out it is really coming out. So really no challenge in staying consistent as far as output goes. I always figured that as long as you have good tunes, and a good support system, that the rest would fall into place. Making music is the best part about my music career and the only one that has ever really seemed like a priority for me. How have you been able to maintain such a consistent workflow, while also balancing the other aspects of your career? You’ve released nearly one complete EP each consecutive year since your debut in 2011.
Bleep bloop full#
Characterized by shadowy experimental soundscapes and torrid plunges of bass, Gain the Axe further perpetuates a vision for unhindered creative cohesion that permeates every aspect of the project.Īn opportunity to catch up with Bleep Bloop in anticipation of his latest project revealed some intriguing details about the nature of his workflow, his passion for modular synthesis and live instruments, his creative relationship with Gary Paintin, and a brief look at what is still to come on the horizon for his recently debuted imprint Eat the Bomb.īe sure to check out the full interview and Gain the Axe EP, out today, below!
Bleep bloop Patch#
In his latest audible endowment, Bleep Bloop establishes an undermining aura of chaos fueled candidly with hauntingly sinister nomenclature, such as ‘Eye Patch of Power’ and ‘Lady of War’. Released this past February, The Psychic Staring Effect is a two-part sonic epic that dove deep into the caverns of modular synth work, which depicted the brilliant California-native working proficiently in an area where he is both passionate and knowledgeable. A remarkable embodiment of persistence and consistency, production maestro Bleep Bloop possesses a superior work ethic and ceaseless desire for innovation that allows him to remain full strides ahead of even himself, producing nearly three times as much content as meets the public ear.
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