I feel like I got pretty close to achieving my goal of matching the composition to the sound design. With many of your records carrying such a unique identity, I am curious how you identify Prime now that you’ve had some time to process through the release launch with Dome of Doom? Physical media is on its way out, but it is fantastic to have something tangible after putting in countless work hours. In addition to that, it is super cool that Dome of Doom makes tapes. I appreciate that we always get some good press coverage because I like the idea of marking the event in the public records with something official like this interview. Their listener base is large and open-minded, and Wylie, the label owner, always supports whatever musical direction I want to pursue. What about the label makes it such a good fit for your music?ĭome of Doom is a pleasure to work with. This is the second release in about a year that you’ve had on Dome of Doom. Generally, I have always looked at my influences the same way they are the things that make me want to sit down and make music. For example, I spend lots of time reading epic fantasy books that inspire my work. Tons of my influences are non-musical as well. I also have many influences in the electronic music realm, such as Aphex Twin, Oneohtrix Point Never, and TNGHT – to name a few. I’ve always been influenced by the three people you named. I’d like to think I’d do the same thing, albeit with synthesized sounds. Both of them create unique soundscapes for their musical worlds to live in. With Waits and Apple, their singing is a significant factor in my love for them, but there is also the element of their production. With Cash, it comes down to his storytelling and the pure tone of his voice. What about their work moves you? How do they compare to your influences earlier in your career, and now?Īll three of those are excellent songwriters. Your influences include Tom Waits, Fiona Apple, Johnny Cash, and others. With this record, I wanted something with musicality, sound design, composition, lyricism, and engineering, all at the same level or as close to that as I could achieve. When I listen back to my catalog, I hear a lot of music I am still proud of, but if I were to critique my work, I’d say I often sacrificed that musicality for impact and ear candy. My main intention when I set out to write this music was to make something where the compositions were on par with the sound design. What were your intentions with the sound when you first started to write it? Prime has an extreme, exciting feel to it. You can check out our conversation with Bleep Bloop below, along with the stream of his new album, Prime. Whether that is in your headphones or on a dancefloor is up to you. And while the music sounds different, the goal is still to immerse the listener in his intense, soul-gripping sound. ![]() Triggs has traded in cheap thrills for more artistic integrity. With a clear shift in sound and ethos, we sat down with Bleep Bloop, real name Aaron Triggs, to talk about the project, how he got here, and why he thinks it’s his best work to date.įor those who are expecting wonky beats and glitchy drops, consider this a fair warning. Today marks the release of Bleep Bloop’s new album, Prime. His sound design is more advanced than it’s ever been, and now, without restrictions or expectations, everything else about his music has been turned up several notches, too. That’s not to say he’s stepped away from loud, boisterous, bass-infused music-far from it. The time has come to officially declassify Bleep Bloop as “bass music.” Although that scene is where he came up in his career, his current work no longer reflects the sound or culture of it.
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