“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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