Website: http://bleep.com
Based: Kentish Town, North London
Contact: jobs@bleep.com
Expenses: Travel Expenses only
Length of placement: 2 months + minimum.
Hours: 10am – 6pm / 2-3 days a week.

Bleep is looking for a bright, enthusiastic intern to join the team for a minimum of 2 days a week for a minimum of 2 months to assist in content and label management, and marketing. The role would be split into separate departments of the Bleep team, so we require a candidate who is both flexible, a quick learner and able to handle a variety of responsibilities within the company.

Part of the weekly duties will be working under the guidance of the Label Relations Manager. This will involve immersing yourself in the Bleep catalogue and assisting in ensuring it is catalogued and maintained to a high standard. All we require is a genuine passion for music and a desire to work in the digital sphere. However advantageous skills include, a high level of ability using computers including HTML/XML/CSS, a wide knowledge of music and attention to detail.

The remainder of the week will be reporting to the Marketing Manager to discuss workloads, task-lists and priorities on a daily basis.

Typical Tasks will include:
1. Helping organise the output of the weekly Bleep podcast
2. Assisting with the creation of newsletters
3. Assisting with creation of features / editorial
5. Editing audio and visual assets for marketing campaigns

A successful candidate will display:
- A high level of literacy
- The ability to familiarise oneself quickly with new computer software and technologies
- A passion for both music and the internet.
- A desire to learn more about working in online music
- A knowledge of the digital music landscape

To apply, please send a CV to jobs@bleep.com. We will get in touch if we think you could be suitable.

However, our favourite thing about each newsletter is the artwork header that we select to lead the e-mail. Sometimes, we pick it according to our favourite album of that week and want to draw this to your attention. Sometimes, we just simple really love a particular artwork. Here is a round-up of our favourite e-mail headers of 2010:

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Artwork taken from: Machinedrum – Want to 1 2? / Mailout: 14.11.10

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Artwork taken from: Shangaan Electro / Mailout: 24.06.10

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Artwork taken from: Girl Unit – IRL EP / Mailout: 29.04.10

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Artwork taken from: Bleep Exclusive Kyle Hall / Wild Oats Digital Catalogue
Mailout: 24.05.10

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Artwork taken from: Gonasufi x Bleep free-track give-away / Mailout: 04.03.10

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Artwork taken from: Bleep Investigates Juke Feature / Mailout: 13.08.10

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Artwork taken from: Oneohtrix Point Never – Returnal / Mailout: 03.06.10

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Artwork taken from: Limited Offer DFA Label Sampler / Mailout: 20.04.10

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Artwork taken from: Lone – Emerald Fantasy Tracks / Mailout: 03.12.10

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Artwork taken from: Dylan Ettinger – New Age Outlaws / Mailout: 28.10.10

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Artwork taken from: Demdike Stare – Voices of Dust / Mailout: 25.11.12

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Artwork taken from: Exclusive Hudson Mohawke Sonar MP3 Give-away / Mailout: 15.06.10

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Artwork taken from: Bleep Artist of the Year – OPN / Mailout: 30.11.10

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Artwork taken from: Label of the Year – Numbers / Mailout: 01.12.10

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Artwork taken from: iTAL tEK – Midnight Colour / Mailout: 10.06.10

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The Buddha Machines have arrived today all pre-orders are being shipped today… Get yours HERE.

In January 2010 we picked our top 100 tracks of 2009 and offered them to you as a unique download offer.

We are currently compiling the Top 100 Tracks of 2010

100 high quality 320 Mp3’s
Over 8 hours of tracks
Over 1 GB of music

For those early birds, we have a Limited Edition 100 Tracks Gift Card w/ embossed download code + clear plastic card holder + 2 silver foil stickers. This is the perfect gift for any music fan.

We will start shipping these tomorrow, we strongly recommend getting your card straight away to get in time for Christmas

AVAILABLE HERE.

Today sees the worldwide release of the latest Brian Eno album Small Craft on a Milk Sea on Warp Records. To mark this occasion, we asked David Sheppard to write an extended review on the release. David Sheppard is an authorized biographer of Brian Eno with his latest book On Some Faraway Beach – The Life and Times of Brian Eno.

“Described by Eno as “sound only movies”, the 15 wordless essays that comprise Small Craft on a Milk Sea, the sexagenarian ambient avatar’s first solo album since 2005’s Another Day on Earth and his debut for Warp, will be manna to long-time aficionados, or at least those for whom Eno’s facility for immersive atmosphere is matched by his way with a serpentine melodic hook and fugue-like synth counterpoint. Those latter caprices, alluring hallmarks of benchmark ‘golden era’ Eno albums from Another Green World (1975) to Apollo: Atmospheres and Soundtracks (1983), remain under-heralded in an oeuvre more commonly celebrated for its sonic strangeness and arty methodologies and for its author’s choice in stellar collaborators. So, to hear ‘Emeralds and Lime’ and ‘Complex Heaven’, Small Craft’s wistful opening brace, unfurl with soaring, oddly emotional mellifluence will be a cockle-warming experience for Enophiles d’un certain age – evidence for younger listeners too, perhaps, that there’s more to the erstwhile Roxy Music flâneur than yesteryear’s glitz and questionable latter-day dalliances with Coldplay, the Liberal Democrats, et al.

While the album welcomes back Eno the sublime melodist, it is also a vehicle for aching ambient tone baths (think Plateaux Of Mirror-meets-Neroli), skewed, stuttering rhythmic essays (a la Nerve Net) and the odd detour into sci-fi jazz noodling (The Drop but less aggravating). In fact, ‘solo’ album is something of a misnomer as Eno gives second billing to guitarist Leo Abrahams and keyboardist Jon Hopkins, regular co-conspirators with whom these tracks were teased out during innumerable, essentially improvisational sessions over the last three years. Together they fashion a luxuriant, chrome-clear sound, digitally buffed to a deluxe sheen of almost tangible lustre which at times, as on the frenetically throbbing, cyber-funk workout ‘Flint March’ or relentlessly rasping ‘Two Forms Of Anger’, threatens to burst out of the speakers in eruptions of ultra-vivid frequencies.

These more abrasive pieces, like the equally angular Bone Jump – all zigzagging, faux jazz organ and creepy film noir insinuation – provide contrast with the lovely, meditative drift of ‘Slow Ice, Old Moon’ and ‘Lesser Heaven’. The sub-aquatic echo soundings of ‘Calcium Needles’ and the discreetly pulsing ‘Written, Forgotten’, meanwhile, swathe ethereal keyboard drones and hyper-processed droplets of guitar in subterranean caverns of reverb to create ineffable soundscapes that somehow evoke both tectonic movement and the cold vacuum of outer space.

The geological inference is made explicit on the closing ‘Late Anthropocene’, a fluttering, murmuring, Möbius strip of discreetly interleaved, mildly disquieting digital tones which might have been a choice off-cut from Eno’s 1982 ambient opus, On Land and which, for all its musical economy, somehow suggests myriad embedded narratives – music as fossil analysis, almost. Indeed, while Small Craft… fails to take its author anywhere he hasn’t visited before, his document of the journey is consistently compelling and this is surely the most finely wrought Eno album in a decade-and-a-half.”

David Sheppard

A high quality Bleep branded Manhattan Portage DJ bag. The Manhattan Portage bags are a now a design classic so when we were looking to make a new record bag for Bleep, they were our first point of call. These bags are incredibly hard-wearing, being made to the highest standards.

This record bag with a shoulder strap has space for 15-20 records and has a zipped inner compartment. Made in hard-wearing grey canvas and printed with a Bleep logo on the front flap.

DIMENSIONS
Size: 13.5 x 11.5 x 4.5 inches (34 x 29 x 11 cm) (WxHxD).
Weight: 1.0 lbs (0.50 kg) Volume: 700 cubic inches (12 liters).
Fabric: 1000D CORDURA® Classic fabric.

FEATURES
Zippered compartment behind the flap.
Slim open top slide compartment in the inside for folders.
One main interior compartment for total utility loading. Will fit about 15-20 vinyl records for DJs
Adjustable shoulder strap
Double reinforcement on the corners for durability
Water resistant coating

PRE-ORDER NOW

Marketing Intern
Bleep.com is an online music store owned by renowned media company Warp Records. We are a high quality retailer of music and media from some of the worlds best independent record labels.

Website: http://bleep.com
Based: Kentish Town, North London
Contact: info@bleep.com
Expenses: Travel Expenses only
Length of placement: 2 months + minimum.
Hours: 10am – 6pm / 2-3 days a week.

The role:
The placement will involve assisting with the creation of features, editorial, promotional tools and marketing assets. Within the role you will work within a small team and gain a grounding in the handling of online promotion and marketing.

You will report to the Marketing Manager to discuss workloads, task-lists and priorities on a daily basis

Typical Tasks will include:
1. Helping organise the output of the weekly Bleep podcast
2. Assisting with the creation of newsletters
3. Assisting with creation of features / editorial
5. Editing audio and visual assets for marketing campaigns

A successful candidate will display:
- A high level of literacy
- The ability to familiarise oneself quickly with new computer software and technologies
- A passion for both music and the internet.
- A desire to learn more about working in online music

Advantageous skills include:
- HTML coding
- A basic understanding of XML
- An eye for design and knowledge of Adobe Creative Suite
- Experience editing and manipulating audio files.
- Familiarity with a variety of social networks and online music tool/websites

This interview is part of of our special R&S feature which includes 2 label samplers for £1 each (including the likes of Aphex Twin, Model 500, Joey Beltram, Pariah and James Blake to name a few), and interviews and Top 5 charts as well as a sale on all R&S back-catalogue.

BLEEP: How did the label start?
Renaat Vandepapeliere: Out of passion of music, and simply – there were not many indie dance labels at the start of the 80’s

B: What do you feel has been some of the most memorable moments in the label’s history – both in the public eye and behind-the-scenes?
RV: It’s flattering that people think three have been a lot of memorable moments for the label, but we didn’t realise this, we were just having fun releasing what we wanted!

B: There was no releases from R and S between 2001 and 2006 – was there a reason for this?
RV: Yes, i wanted to take a sabatical and refresh myself a bit !

B: With new artists like James Blake and Pariah – how is the current A&R handled by R&S?
RV: Current A&R Policy is handed over to the young and talented Dan Foat a person, I see a lot of myself in! All supported by the wonderful label manager Andy Whittaker, they run the label from their London base. It’s up to the Young generation, to give them a chance to lead R&S in the future. Personally I am working on my new and first indie rock project, the Irish rock band The Plea.

This interview is part of of our special R&S feature which includes 2 label samplers for £1 each (including the likes of Aphex Twin, Model 500, Joey Beltram, Pariah and James Blake to name a few), and interviews and Top 5 charts as well as a sale on all R&S back-catalogue.

BLEEP: How did you get involved with R&S Records?
Andy Whittaker: Both Dan and I were approached by R&S to do A&R and label management respectively. We’ve both worked in music for a long time as buyers for record shops and at other labels. We know the history of the label very well, but also have
a strong idea of what the label should be doing in these modern times.

B: How does it feel to become part of a label with such a illustious legacy in electronic music? Do you feel that there is a lot of pressure on you to carry on “flying the flag” for the label?
AW: There is always people’s opinion of what they deem to be R&S sounding records, that may not always be in line with our view, but I wouldn’t say we feel any pressure. We just carry on having fun, releasing amazing music that excites us, just like Renaat has always done.

B: What is next for R&S Records?
AW: Firstly some great singles coming soon by Model 500, James Blake, Untold, Space Dimension Controller and The Chain
Then Pariah, Space Dimension Controller, Pepe Bradock and The Chain are working on albums. The In Order To Dance compilation series will be resurrected and we’ve just received superb remixes of Model 500 from Bullion and Space Dimension Controller. We are also starting to move into parties and events with our debut show at XoYo in London in Novemeber.

This interview is part of of our special R&S feature which includes 2 label samplers for £1 each (including the likes of Aphex Twin, Model 500, Joey Beltram, Pariah and James Blake to name a few), and interviews and Top 5 charts as well as a sale on all R&S back-catalogue.

BLEEP: Why did you choose that name Model 500?
Juan Atkins: I chose that as a kind of repudiation of ethnic designation. I wanted to get away from people trying to put a tag on who I am and where I’m from. It’s simply a model number.

B: Recently, you have decided to take Model 500 on the road as a live act. Can you tell us why you have only just decided to do that in the past couple of years when Model 500 has existed since the mid-80s?
JA: I thought that with technology changing and people downloading music, to me, the only way for an artist to exist nowadays is to be able to perform live. That’s where most of the income is going to come from for artists and a lot of new artists. I think that selling records is more of a promotional tool nowadays.

B: The first Model 500 record came out in 1985, but your first album, ‘Deep Space’ didn’t happen until ten years later. Can you tell us why this took so long?
JA: The mid-80s was a ’singles’ market at the time. Everyone was so into just releasing single after single. I wanted to do a proper album project at the time, but nobody was prepared to give me the budget to do it.

B: Has the way that you make music differed at all over the years?
JA: I like to try new things that adds to the creative process; this has always stimulated my creativity. With all the software and plug-ins that are available, I’m having a great time doing stuff on a laptop!

B: Why do you think that techno started in Detroit?
JA: Well, to make this a simple answer, I guess it’s because I’m from Detroit! The bleakness of the city was inspiring, as was the transforming industrial history of the city. The music that we made transformed right along with it.

B: If you could pick any musicians, alive or dead, to ’session’ on a Model 500 record, who would they be?
JA: I would love to work with any of the members of Kraftwerk; that has been talked about before. Bernie Worrell [Parliament]; George [Clinton], of course, but he’s more on the lyrical / song tip.