There's an emanating flow of raw essence, continuing Prime’s journey as a vehicle for constant exploration. It breathes heavily in low end frequencies, relying on amorphous synth trails that are soaked in distortion and endless shifting. “Courting An Ancient Machine” follows, serving as the midway point to Prime. One of the only traditional synth solo’s on Prime takes over from this point, crafted as one of Bleep Bloop’s finest masterpieces to date. The vocals are passionately raised to lyrical apex from this point forward, mutated into heavy effects and stunning synth work. The groove is alive and well during the second phase, only to fall deep into an abyss of emotion as the third phase calls back to the tonality of the introduction. The drums heighten and the intensity activates, exploring regions unfelt on the LP prior. The heart of the kick drum punches after the intro ensues, setting up the track for a drastic lift off. Interjecting haunting melodies and pitched down vocal work that makes the first stretch transfixing, you can tell within seconds this is something otherworldly and all together transformative for Bleep Bloop. “I Never Told You My Name” moves Prime into yet another world and is one of the album’s most dynamic and fascinating pieces. It’s one of Bleep Bloop’s most unique tracks to date, harnessing the power of pop as layers bleed into distortion and the experimentation still takes center stage. One of the most club-orientated moments of the album happens next, heightened with a powerful bass and drum tandem that soars. Metallic percussion and drum patterns skitter all over the mix, with beautiful vocal scatters interjected all over.
“Poison Sweetroll'' simmers in ambient bliss and tranquil harmony during its introduction, completely changing the scenery of Prime and advancing the album’s overall dynamics into roller coaster territory. The walls continue to come in as the music heightens in energy and the spacing between layers becomes even thinner. The environment is dark and borderline claustrophobic, shattering outward in its second section with complex drum patterns and even more wildly constructed sonic sheets. “Curb” follows, with wildly exploratory sound design sheets and fierce drum attacks dominating the intro. The climatic wave of emerging sounds that continues to build as each vocal passage unfolds is surreal emotionally, calling to the days when Mike Patton’s Fantômas were first introducing their sound to the world. Album opener, “Coyote Howl,” begins the album with explosive energy, emanating with a post-rock fiery glaze that swirls tightly around doomsday vocal work. It's unquestionably a Bleep Bloop record even though it sounds unlike anything else in his catalog. Prime is an album of abundant sound classification that relies on unique melding, never landing in one space but always retaining that singular pulse Bleep Bloop wraps around all of his releases. 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. Aaron Triggs is back as Bleep Bloop, presenting the stunning body of work Prime.
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