Jeremy Bible: Recent Episodes
Jeremy Bible
Booking, commissions, mastering & sync contact info@jeremybible.com
Jeremy Bible is an award winning film maker, composer and interdisciplinary artist focused on the intersection of sound and light. Taking cues from his background in field recording and photography, his work occupies a shared space between multi-channel audio-visual installation and compositional practice. Utilizing acousmatic sonic diffusion techniques, Bible strives to construct an environmental experience that is at turns profoundly sensory and beautifully surreal.
Through a fusion of angular electronics and immersive ambience, Bible invites listeners to explore an eco-futurist environment that challenges the established topographies of time and linearity. His sculptural soundtracks range in tone from meditative to jarring, creating a dynamic accompaniment to the visual components of each performance. As long, lingering shots of sweeping landscapes and panoramic vistas merge into one another, Bible’s sound design helps us see these familiar terrestrial forms in a renewed and alien light.
Bible’s works have been presented at the Cleveland Museum of Art, Moscow Museum of Modern Art, Akron Art Museum and MOCA, as well as numerous other events, galleries and festivals over the course of his 20-year creative activity.
From 2007 album "I Am Very Uncomfortable Most of the Time". 2017 remaster. Best to listen in a way where the tracks play seamlessly as they all mix into each other.https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time
From 2007 album "I Am Very Uncomfortable Most of the Time". 2017 remaster. Best to listen in a way where the tracks play seamlessly as they all mix into each other.https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time
From 2007 album "I Am Very Uncomfortable Most of the Time". 2017 remaster. Best to listen in a way where the tracks play seamlessly as they all mix into each other.https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time
From 2007 album "I Am Very Uncomfortable Most of the Time". 2017 remaster. Best to listen in a way where the tracks play seamlessly as they all mix into each other.https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time
From 2007 album "I Am Very Uncomfortable Most of the Time". 2017 remaster. Best to listen in a way where the tracks play seamlessly as they all mix into each other.https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time
From the score for the multi-award winning film "Human Savagery" by Jeremy Bible.
BUY FILM AT: https://jeremybible.vhx.tv/products/human-savagery
BUY SCORE AT: https://jeremybible.bandcamp.com/album/human-savagery
"Human Savagery" pairs Bible’s powerful & moving, symphonic ambient compositions with his vivid ultra-HD aerial cinematography – which contrast the alien beauty of untouched mountains and desert landscapes with the chemical violence of EPA Superfund sites ravaged by industry. Bible has visited sites across the United States to create this footage, capturing a gripping snapshot of humanity’s often unseen footprint on this planet.
Screenings, awards and performances:
International Nature Film Festival Gödöllő Budapest Hungary September 11, 2020 Official Selection
ARTS x SDGS Festival Brooklyn, New York United States April 15, 2020 Official Selection
TSIOLKOVSKY SPACE FEST Kaluga Russian Federation April 9, 2020 Award Winner
Moscow Museum of Modern Art Moscow Russian Federation March 9, 2019 World Premiere
Mattress Factory Pittsburgh, Pennsylvania United States June 22, 2018 Live Performance Work In Progress Version
Transformer Station Contemporary Art Space Cleveland, Ohio United States August 10, 2017 Live Performance Work In Progress Version Premiere
L’Age d’Or International Arthouse Film Festival Kolkata India September 28, 2019 Award Winner
Indie Visions Film Festival Charlottesville, North Carolina United States August 31, 2019 Award Winner
MiMo MILANO MOBILE FILM FESTIVAL Milan Italy December 29, 2019 Finalist
International Moving Film Festival The Arvand Free Zone Iran, Islamic Republic of November 8, 2019 Semi-Finalist
The Earth Day Film Festival Chico, California United States March 13, 2020 Official Selection
2020 Great Lakes International Film Festival Erie, PA United States September 19, 2019 Official Selection
UNDO Divergent Film Awards Arlington, Massachusetts United States September 7, 2019 Official Selection
From the score for the multi-award winning film "Human Savagery" by Jeremy Bible.
PURCHASE FILM AT: https://jeremybible.vhx.tv/products/human-savagery
PURCHASE SCORE AT: https://jeremybible.bandcamp.com/album/human-savagery
"Human Savagery" pairs Bible’s powerful & moving, symphonic ambient compositions with his vivid ultra-HD aerial cinematography – which contrast the alien beauty of untouched mountains and desert landscapes with the chemical violence of EPA Superfund sites ravaged by industry. Bible has visited sites across the United States to create this footage, capturing a gripping snapshot of humanity’s often unseen footprint on this planet.
Screenings, awards and performances:
International Nature Film Festival Gödöllő Budapest Hungary September 11, 2020 Official Selection
ARTS x SDGS Festival Brooklyn, New York United States April 15, 2020 Official Selection
TSIOLKOVSKY SPACE FEST Kaluga Russian Federation April 9, 2020 Award Winner
Moscow Museum of Modern Art Moscow Russian Federation March 9, 2019 World Premiere
Mattress Factory Pittsburgh, Pennsylvania United States June 22, 2018 Live Performance Work In Progress Version
Transformer Station Contemporary Art Space Cleveland, Ohio United States August 10, 2017 Live Performance Work In Progress Version Premiere
L’Age d’Or International Arthouse Film Festival Kolkata India September 28, 2019 Award Winner
Indie Visions Film Festival Charlottesville, North Carolina United States August 31, 2019 Award Winner
MiMo MILANO MOBILE FILM FESTIVAL Milan Italy December 29, 2019 Finalist
International Moving Film Festival The Arvand Free Zone Iran, Islamic Republic of November 8, 2019 Semi-Finalist
The Earth Day Film Festival Chico, California United States March 13, 2020 Official Selection
2020 Great Lakes International Film Festival Erie, PA United States September 19, 2019 Official Selection
UNDO Divergent Film Awards Arlington, Massachusetts United States September 7, 2019 Official Selection
From "I Am Very Uncomfortable Most of the Time (Remastered Anniversary Edition)". 10 year anniversary edition remastered from the original studio recordings. Available in 24bit/48khz hi definition audio for the first time. https://jeremybible.bandcamp.com/album/i-am-very-uncomfortable-most-of-the-time-remastered-anniversary-edition
A four hour sound bath of pure tone minimalist ambient symphonics for withdrawal, isolation, contemplation, meditation, transcendence, intimacy & sensuality. "Music For Black Holes" came together out of pieces from Jeremy Bible's private archives compiled to aid in meditating his way through a challenging period of transition. A map to guide one through the vacuum of space & time.
https://jeremybible.bandcamp.com/album/music-for-black-holes From "Music For Black Holes". 4 hour album of 15 long form minimalist ambient pieces compiled from Jeremy Bible's private archive. Pure tone ambient symphonics. Withdrawal and isolation. Intensely meditative.
Available as a Limited Edition 8gb USB Drive containing "Music For Black Holes" in native HD audio 24bit / 88200khz wav format encased in black hard plastic box.
“lbrnm” contains 3 reinterpretations of a koen park-piece titled “laburnum” originally released on the highly recommended “grey night clouds” release on experimedia. The original work sounds very clean, deep and calming. It is dominated by a own heartbeat, created with a higher “gong” tone and a subtle beat, giving the piece a very specific structure.
The reinterpretations by Jeremy break this structure. He slightly shifts some elements further into the background, accents other elements, fills in some easeful parts and carefully adds some very, very gentle field-recordings, glitches and sounds. You can still hear the old elements and find some links to the basic material, but new atmospheres emerge from the original sources in these three pieces. A bit more drone, dustier, rustier, and more open.
The original track is a great ambient-electronic-work. And with these three re-workings by Jeremy, you can get further perspective into this wonderful material.
“lbrnm” contains 3 reinterpretations of a koen park-piece titled “laburnum” originally released on the highly recommended “grey night clouds” release on experimedia. The original work sounds very clean, deep and calming. It is dominated by a own heartbeat, created with a higher “gong” tone and a subtle beat, giving the piece a very specific structure.
The reinterpretations by Jeremy break this structure. He slightly shifts some elements further into the background, accents other elements, fills in some easeful parts and carefully adds some very, very gentle field-recordings, glitches and sounds. You can still hear the old elements and find some links to the basic material, but new atmospheres emerge from the original sources in these three pieces. A bit more drone, dustier, rustier, and more open.
The original track is a great ambient-electronic-work. And with these three re-workings by Jeremy, you can get further perspective into this wonderful material.
“lbrnm” contains 3 reinterpretations of a koen park-piece titled “laburnum” originally released on the highly recommended “grey night clouds” release on experimedia. The original work sounds very clean, deep and calming. It is dominated by a own heartbeat, created with a higher “gong” tone and a subtle beat, giving the piece a very specific structure.
The reinterpretations by Jeremy break this structure. He slightly shifts some elements further into the background, accents other elements, fills in some easeful parts and carefully adds some very, very gentle field-recordings, glitches and sounds. You can still hear the old elements and find some links to the basic material, but new atmospheres emerge from the original sources in these three pieces. A bit more drone, dustier, rustier, and more open.
The original track is a great ambient-electronic-work. And with these three re-workings by Jeremy, you can get further perspective into this wonderful material.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
Fractures began as a small sound installation consisting of film tins filled with objects including nails, tacks, ball bearings and other miscellaneous objects. The film tins were then equipped with piezo microphones plugged into amps then placed atop upward facing speakers. Evolving frequencies were then mixed into the speakers in order to vibrate and stimulate the film tins and their contents at varying intensities.
The installation then evolved into a studio project expanding on the original configuration. The studio configuration consisted of two vintage tape decks, a vintage 1/4" reel-to-reel, two mixers, multiple microphones, multiple piezos, analog synths and effects pedals. Field recordings, synth tones and feedback were then mixed into the speakers with the film tins on top. The output was then captured by the microphones and piezos mixed by the second mixer and recorded by the reel-to-reel. These reel-to-reel recordings were then recorded and edited digitally.
Fractures is the result of studio experiments with this configuration conducted during the period of November 2013 to February 2014.
2009 unreleased "I Will Let You Down EP" by Jeremy Bible originally under the alias Box from the archives. One of 2 EPs under the alias. Strong leftfield minimal techno vibes.
2009 unreleased "I Will Let You Down EP" by Jeremy Bible originally under the alias Box from the archives. One of 2 EPs under the alias. Strong leftfield minimal techno vibes.
2009 unreleased "I Will Let You Down EP" by Jeremy Bible originally under the alias Box from the archives. One of 2 EPs under the alias. Strong leftfield minimal techno vibes.
2009 unreleased "I Will Let You Down EP" by Jeremy Bible originally under the alias Box from the archives. One of 2 EPs under the alias. Strong leftfield minimal techno vibes.
3 remixes from "Core EP" by Jeremy Bible under the BOX alias. Recovered from the archives. Remixes by Halfadder, Phase For Stereo and Milieu.
3 remixes from "Core EP" by Jeremy Bible under the BOX alias. Recovered from the archives. Remixes by Halfadder, Phase For Stereo and Milieu.
3 remixes from "Core EP" by Jeremy Bible under the BOX alias. Recovered from the archives. Remixes by Halfadder, Phase For Stereo and Milieu.
2006 EP "Core" under the alias Box from the archives with a quick bass heavy remaster. One of 2 EPs under the alias. Strong 808 electro/idm vibes.
2006 EP "Core" under the alias Box from the archives with a quick bass heavy remaster. One of 2 EPs under the alias. Strong 808 electro/idm vibes.
2006 EP "Core" under the alias Box from the archives with a quick bass heavy remaster. One of 2 EPs under the alias. Strong 808 electro/idm vibes.