This week, Kompakt release the highly anticipated second album from Walls – ‘Coracle’. Walls are Alessio Natalizia (of Banjo Or Freakout) and Sam Willis (from Allez-Allez – who you may also know from our own Bleep podcasts). We decided to have a quick Q&A with Sam, about the sound of Walls.

Bleep: In your own words, how would you describe yourselves and your sound to any new listeners?
Sam Willis: Our music is a messy collision of guitars, synths, drum machines and ambience.. we create sound collages that aim to transport you to otherworldly realms.

B: You’ve mentioned before the way that bands such as NEU! have influenced your sound. Is there anyone else you cite as a big influence, and why?
SW: It’s hard to be concrete about these kind of things, as our work tends to be quite instinctive, hence why it’s often quite eclectic – we just follow the sounds and melodies where they want to go – with this album things have taken a more dancefloor orientated turn, which is totally fine with us! We’re more interested in looking outside of the musical world for inspiration…

B: There is a strong immersive quality to your work, that at once the listener feels involved in some kind of journey or narrative. Can you explain what approach you have to the writing process and any narratives?
SW: We’re definitely interested in taking the listener on a journey for sure, but again, it’s very instinctive to us, we prefer not to imprint too much suggestion on a track, other than the title obviously, and even then we try to leave things somewhat oblique. We’d much rather the listener be allowed to subjectively experience our music in whichever way their imagination takes them.. The hope is that this is rather freeing, and allows them to create more of a personal link with it.

B: Who and what are you listening to at the moment?
SW: Our label Kompakt co-founder Wolfgang Voigt’s recent box set ‘Nah Und Fern‘ collection of his work as Gas never leaves the stereo – a series of timeless electronic masterpieces – they’re so immersive and hypnotic. Also the new Motion Sickness Of Time Travel album has really caught our attention, it’s fantastic to have as a soundtrack to your daily chores.

B: Can you talk us through the production process behind your work?
SW: It really varies a lot, which is probably another factor in why our stuff sounds so diverse.. A track can evolve through an idea that Alessio creates via the guitar and his pedals, or it could be me manipulating a sample in the computer that we then bend other sounds around.. We use quite a bit of field recording from across the net, it can really help to add texture and atmosphere, and you can get some really unique and weird sounds that have been captured by oddballs from across the world! A key sticking point for us when working on a track is that it must have some weight or significance, we’re looking for emotion and depth of feeling, how we arrive there is immaterial.

Walls’ latest album – ‘Coracle‘ is out his week and is available to buy now on Bleep.

This week, a brand new label emerged. Promising in output and vision, the name of the label is Public Information. It is run by Alex Wilson (who you may know from our very own Bleep podcasts) and good friend and former colleague – Lionel Skerratt. We decided to speak to Alex about what we can expect in the near future…

Bleep: Can you tell us the story behind Public Information? From what den of esotericism did the label spring from?

Alex Wilson: Public Information started as a germ of an idea about eighteen months ago, sitting in the bowels of a global Sound Archive. Four million records, the nation’s collection. Many never heard of, never found, never blogged about, never released… sounds that had to rise again. We have some of these lined up. But we also love New Music, so I enlisted the help of close colleague – Lionel Skerratt…

We are thrilled by the possibility of a catalogue that sits electronic tape-loops from 1957 beside next-wave 4/4 techno. Sweet Somalian pop music from 1982 in a cat-number frisson with blackest sci-fi drone, 70’s Library Music nestled on the shelf with contemporary cut-paste disco… subconscious links across decades, continents, tones, textures.

Public Information Influences:

B: What statement of intent best sums up the Public Information music policy?

AW: A survey of electronics… noise… psych… industrial… house… dub… wyrd-pop… library… techno… art… design from the last seven decades… 1950-Tomorrow. New-Archive. Light-Dark. This may be a good starting point, but this is not the end. If it feels good, sounds right, genre means little to us.

B: How did the collaboration with Gatekeeper’s Aaron David Ross come about?

AW: We approached the brilliant Elon Katz of (Whitecar, Streetwalker) about reissuing a micro-run cassette he made called The Pylori Program (Catholic Tapes) a little while ago. During such discussions he hipped us to a record his friend from Chicago was making. Whilst we were fans of Aaron’s Gatekeeper material the stuff he submitted as ADR was much more suited to Public Information. Perfectly as it turned out…

ADR- Solitary Pursuits by Public Information

B: Why the name “Public Information”?
AW: A long, long, arduous process in Hackney hostelries… torn up bits of paper… spilt beer…strange combinations of words… periods of gestation… terrible combinations of words… some more gestation….
Then one dark, wet Tuesday night… two words felt right / gathered the least laughter from our associates. Public Information.

It was either that or ‘Warboys’…

B: Were you in any way inspired by Mordant Music’s exploration into Public Information films from the 70s and 80s when choosing a name for the label?
AW: Labels and artists that we admire greatly such as Mordant, Ghost Box, Café kaput, Broadcast, are devout followers of that classic wave of Public Information films from the 70’s and 80’s. Undeniably creepy images, great soundtracks, a golden era of unease…

However we were too young to be freaked first-hand, inspired by these films. Youtube serves as our only portal, not memory. In all honesty, Prodigy sampling the Charly Says… Public Information film was probably more of a direct influence.
http://www.youtube.com/watch?v=YOu-dWhTTWw&feature=related

We’re personally more drawn to the images of a time longer ago, way before ours… the 50’s and 60’s of Lindsay Anderson, John Krish, John Schlesinger, the films of the C.O.I. To the sounds of the BBC Radiophonic Workshop, The Philips Studio, Scott, Morricone, Ortolani, Moog, re-shaped, landcruising down a rain slicked Detroit highway.

B: Following on from the ADR release is an EP from Canada’s No UFO’s, can you tell us a bit about that release and what else the future holds for Public Information?
AW: No UFO’s is a young man from Vancouver who first piqued Public Information’s attention with his incredible Soft Coast cassette of 2010. Very much in a similar vein he presented 7 tracks of mixtape-concrete-wyrd to us… we fell in love. Mind Controls The Flood is set to land in late October… It’s like Madlib was raised on Kosmische.

No UFO’s- Mind Controls The Flood EP by Public Information

Following that, a flight to Krakow for the Unsound festival where we host a stage with Jonny Mugwump’s Exotic Pylon featuring The Haxan Cloak, Stellar Om Source and Ekoplekz.

The latter is to drop an EP in January 2012 for us, but before we have a jaw-dropping archive release from a peer of Derbyshire, Oram, Baker by the name of Fred Judd. We have been given full access to his rarely/never heard before life’s work. It is a truly special. Watch this space…

http://public-info.co.uk/

Public Information’s first release is out this week and available to buy on Bleep.
ADR – Solitary Pursuits

We are always on the look-out for brand new labels and one of recent has definitely grabbed our eye. Only 2 releases deep, we caught up with Claudio Lillo – one-half of the brilliant new London-based label named Five Easy Pieces.

Bleep: Tell us a little bit about the background of Five Easy Pieces (how it came about etc.) and where did you get that name from? The Jack Nicholson / Karen Black classic?
Claudio Lillo: Five Easy Pieces was originally founded as a club night a few years ago when Tom and I were still programming Cargo. We were booking a few successful inhouse parties there and thought that we might as well start up our own “brand” that we would be able to export to festivals and other cities around the UK and Europe. We did a few really big parties at Cargo and some cool small ones at other venues around London but then the venue was sold to a rude, ignorant miscreant so we stopped it. Tom went to work for Modular and I stayed at Cargo for a while, but left to do bookings for The City Arts & Music Project. Once we settled into our new jobs we thought it would be cool to resurrect it, but as a label.

The name is taken from that film… so yeah, we aren’t that original! Basically, both Tom and I are crap at coming up with names – we both like films a lot, especially New-Hollywood and French New Wave, and that name kind of stuck after we threw around a bunch of other titles.

B: What’s up next for the label?
CL: Our second release is out this week, which I’m really happy about. Its a trippy, drugged out house record that one of my good friends made. I’ve been really lucky to work with friends on both releases. I’m looking to do a label party in a few months too. Otherwise, digging for other acts to sign and trying to spread the word.

Call Super – Staircase EP (preview) by Five Easy Pieces

B: Which other artists do you think that you’re going to be working with in the near future?
CL: Yesterday we confirmed a remix from someone we massively respect for the next Royalty record, which I’m really excited about. That is coming out in October. I don’t really want to say who because I’d like it to be a surprise. Don’t mean to sound boring but I’d also like to keep other potential collabs close to my chest.

B: Tell us who you’re really into at the moment and why?
CL: I’ve been rinsing quite a few LPs lately… Tune-Yards, SBTRKT, Mo Kolours, Samiyam, Little Dragon and Machinedrum have all put out amazing records recently. They are all special – and all really different. I always laugh when people talk about new music being horrible or say that everything was so much better in the “good old days”. I find the current musical climate very exciting.

In anticipation of 2011’s festival, we partnered up with Sonar to offer a series of exclusive MP3s give-aways from some of our favourite artists playing at the festival. We hope that you didn’t miss out on them but if you did, be sure to be quicker on the mark next year.

Bleep x Sonar 2011 by Bleep.com

Anyway, the annual pilgrimage to Barcelona now over, recuperation almost achieved, we look back over those magical few days that was Sonar 2011…

Since its inception in 1994, Sonar has been steadily amassing a considerable fan base of clued-up music aficionados attracted like buzzing flies to Sonar’s illuminated orb of inspired programming and gentle summer vibes, set to the backdrop of one of the most exciting cities we know; Barcelona. Sonar’s beauty lies in its contrast of venues and schedules. Sonar by day, a spirited affair that loosely unwinds as the hours go by, is a visual and sonic delight. The minimalist lines of the MACBA contemporary art gallery perfectly frame Barcelona’s deep blue skies and blazing sun. Sonar by night, on the other hand, is a whole other beast. Set in the cavernous space of what can only be described as an aeroplane hanger, the sheer scale and enormity of the whole affair is undoubtedly the most impressive attraction.

However, although Sonar is the real draw here, the plethora of off-Sonar parties and events provide endless distractions and temptations for the music hungry festival goer. This year’s proceedings kicked off with the annual Red Bull Music Academy BBQ delightfully located on the terrace of the Barcelona yachting club with a port-side backdrop. Free drinks, meat fresh off the grill, surprise appearances from Jackmaster, Benji B and Space Dimension Controller, and the prospect of four incredible days ahead, made for content industry peeps who on any other occasion would surely be a whole lot harder to please. Less chin stroking, more getting down to classics such as Midnight Star’s ‘Midas Touch’ and Prince’s ‘Erotic City’.

Nicolas Jaar @ Sonar Hall / 16.06.11

A gloriously sunny Thursday afternoon was the perfect way to shake off the night before with outdoor sun-soaked sets from the likes of Floating Points, Little Dragon, Toro Y Moi and one of the most hotly anticipated performances of the weekend from Nicolas Jaar. Playing to a packed out crowd, he did not disappoint with a jazz-infused journey through his latest album offering. Off-Sonar, poolside preening came thanks to Hotflush and Aus Music and their hotel-rooftop soiree which saw respective label bosses, Scuba and Will Saul sound-tracking gentle poolside toe-tipping alongside Appleblim, Sigha, Midland and Deadbeat.

As day blurred in to night, Thursday night traditions were re-lived at Barcelona super club, Razzmatazz. The intimate confines of the Lolita room played host to London’s Hessle Audio and Hemlock Recordings who filled the club with a mass of punishing bass lines and futurist rhythms from the likes of Ben UFO, Untold, Pangaea, Pearson Sound, Girl Unit and surprise guest Jackmaster.

Friday’s Sonar by Day was prime example of Sonar’s exemplary programming, showcasing one of the most consistent and exciting new labels of recent times, Tri Angle. oOoOO and Bleep favourite Holy Other took us on a tour of their haunting downbeat rhythms, but it was How To Dress Well (aka Tom Krell) who stole the show. Performing on stage without a band, laptop, backing singers or any sort of pretence of a live-show – simply an invisibly operated backing track, a microphone and himself. Laid bare in sincerity, Krell’s falsetto vocals were vulnerable and unashamed, like watching a man singing in the intimate confines of his shower. Highlights included a R. Kelly cover and tracks from his performance punctuated with Michael Jackson-esque grunts and vocal hiccups.

How To Dress Well @ SonarComplex / 17.06.11 / photo by Juan Sala

Another highlight came from Shangaan Electro – first brought to our attention by the incredible Honest Jon’s compilation – performing a brilliant showcase of the energetic and visceral new wave of marimba infused native dance music coming from South Africa. They took their eager crowd on an ascending journey through BPMs, starting at around 150bpm and exploding with an ass-shaking finale at destination 184 bpm!

Shangaan Electro @ SonarVillage / 18.06.11

As usual and throughout the whole weekend, the Sonar Dome stage curated by the Red Bull Music Academy was the place to be for avid followers of the most cutting edge and exciting artists in the current electronic sphere. Hosting appearances from the likes of San Soda, B.Bravo, Teebs, Illum Sphere, Cosmin TRG, Kidkanevil and a particularly energetic disco finale from Tiger & Woods.

Tiger & Woods @ Red Bull Music Academy Stage / SonarDôme / 18.06.11

Friday night saw Ramadanman and Scuba both delivering excellent sets, however the night was always going to belong to one person, and one person only. All excitement and buzz concerned Aphex Twin’s arrival at the world’s leading electronic festival. Never knowing what to expect, Richard D. James delivered an incredible set live face-mapping visuals and a sound spectrum that both pummels and massages your aural senses at the same time. Incredible beyond explanation.

Aphex Twin @ SonarClub / 17.06.11

The following night, Bleep threw a little warm-up party with Smalltown Supersound with DJ sets from Bleep staff, Diskjokke and Annie. Later that evening at the main event, we were treated to an excellent showcase from the French label InFine, with a particular stand out set from Rone. Africa Hi Tech took to the stage to rightfully play what was perhaps the most ubiquitous track of the whole festival, the absolute killer Out in the Streets VIP mix. However, once again it was those audacious Scots who seemed to be running the show. Following in the footsteps of LuckyMe and their 2010 Sonar showcase, fellow Glaswegians, Numbers, took charge of the Sonar Lab stage on the Saturday night to host the likes of Redinho, Spencer, Deadboy, Lory D and their poster-boy and DJ of the moment, Jackmaster, with a surprise appearance from vocalist Jessie Ware nestled in between. The UK continued its complete Sonar domination with London’s finest, Night Slugs, taking over the Sonar Car stage, presenting Egyptrixx and one of the highlights of the festival, a super-tight set from label heads, Bok Bok and L-Vis-1990, played out to a backdrop of screaming dodgem car sirens. Surreal to say the least.

Nursing sore heads and shattered egos all that was left was Sunday night and the Lucky Me x Earnest Endeavours Sonar after-party where our insatiable appetites for more beats and more whisky were sated with the sounds of special guest Gaslamp Killer, Machine Drum, one to watch Lando Kal and the definitive beat wizard Hudson Mohawke. He finally took us to the end of our limits with a hip hop heavy set featuring tracks from his eagerly anticipated new EP, Satin Panthers.

Another Sonar, done and dusted. See you next year.

Words: Laura Humphries / Raj Chaudhuri
Photos: Margot Didsbury (unless stated)

Smalltown Supersound & Bleep presents
Sonar Party with Annie, Diskjokke and Bleep DJs @ The Pulitzer

Saturday 18 June | Terrace Hotel Pulitzer | 19:00-23:00
The exclusive terrace, open only to accreditation holders

Hotel Pulitzer – c/Bergara, 8

We’re throwing a little off-party at Sonar with the good folk over at Smalltown Supersound. Come down this Saturday…

To mark the release of ‘ISAM‘, the much anticipated seventh album from electronic pioneer Amon Tobin, the vaults of the Crypt Gallery underneath St. Pancras Church have been transformed into a fantastical underworld made up of unnerving yet beautiful scenes of alien-like life forms. The installation, part of a collaboration between Tobin and the British artist Tessa Farmer, unites elements of the forthcoming album together with Farmer’s detailed sculptures made from dead insects, bones and other natural materials to create an immersive experience that questions our preconceived ideas on how familiar materials can be used. The concept speaks as a response to Tobin’s explorations in to the synthesis of field recordings, acoustic modelling and multi-sampling techniques.

Farmer’s delicate creatures hover mid-air suspended from the ceilings whilst tracks from ‘ISAM’ play out to create a bewildering atmosphere. Various rooms depict tracks from the album, such as ‘Kitty Cat’, a track in which Tobin’s voice has been radically distorted to resemble that of an elderly lady and where Farmer responds with her interpretation of a cat’s carcass that has been invaded by an army of creatures including tarantulas and sea urchins to form an arresting image.

BLEEP Q&A WITH AMON TOBIN:

Bleep: How did the collaboration with Tessa Farmer come about?

Amon Tobin: She came to me in a dream. Like Joan of Arc towering over me, her flaxen locks fluttering in the wind against a glowing backdrop of molten lava. she spoke to me in a voice like thunder and said “hey like we should totally get together and do a show or something”. I was all like “totally”.

Bleep: The organic element and ideas such as situationism are themes that arise in both yours and Farmer’s works, can you explain in more detail what relation her work has to your new sound explorations?

Amon Tobin: We both try and make impossible things from ordinary materials. there is a great deal more to Tessa’s work but this is something I think we have in common and is why it made sense to me to collaborate. Aside from that, I just find what she does to be very beautiful.

For my part I see a lot of potential in building something unfamiliar from familiar materials. It’s what first got me into sampling when I first started making music. this album takes things further out along those lines. The instruments and sounds are made up into things you can play. They are grounded in traditional models for instruments but they often do things real instruments can’t do. e.g. I took my own voice and modified it for the harmonies and vocals on the record to sound female.

Bleep: In ISAM you have moved on from sampling to focus more on the synthesis of field recordings. Can you tell us a little more about the production process behind the album?

Amon Tobin: It’s all still sampling to me really because sampling was never about the source material as much as it was about the new role a sound or a break played when put in an alien context. There is this conflict between where the sound wants to go and where you take it that produces a strange dynamic and this is what I’m really interested in.

ISAM is music first but also a combination of ideas on how to make new sounds. one process was based on spectral synthesis. An audio source is analysed into it’s spectral properties then assigned various morphing, pitch and timbre variables that react to cc events on a midi controller.

It’s not all about synthesising my own recordings though, I used a range of things. Sometimes I used multisamples instruments which preserve the tonal quality of sounds far better than when you synthesise them. Sometimes I used plain old synthesisers and plug ins too. I usually get the best results when I mix different approaches to anything together.

BLEEP Q&A WITH TESSA FARMER:

Bleep: Amon Tobin and yourself share much common ground, for instance in the way you both explore how familiar materials can be put to different uses aside from what we are accustomed too. In comparison with much of your past work what elements have you had to adapt in order to imagine this collaboration with Tobin?

Tessa Farmer: Myself to an extent- i am a bit of a control freak, very protective of the world i create and was nervous about letting other people in! I developed a narrative in response to the album, which is not something I’ve done before/ in advance – this normally happens and evolves as I make the work- i try not to plan too much ahead, as materials (mostly found, scavenged) so often influence what happens.

Bleep: Aside from the collaboration with Tobin what forms of music inspire you and your work?

Tessa Farmer: When i work i listen to Joni Mitchell, Nina Simone, Leonard Cohen, Ella Fitzgerald, Queen and ABBA.

Bleep: The majority of your work is so minuscule that only a magnifier can show the viewer the depth of detail and craftsmanship that has been carried out. Can you talk us through a little about the process that brings your creatures to life?

Tessa Farmer: I actually don’t use magnifiers in the exhibitions any more- I like the viewer to work! I think close close inspection provides a deeper engagement, and i want the viewer to see beyond craftmanship, that’s not what the work is about – i want them to engage in the story, in the world of the fairies.

But on a practical level, I build the fairies out of plant roots, using tweezers, scissors and superglue- much like a 3D jigsaw- the skulls are made from bits of earth, soaked in glue, carved into a cranium shape with facial bones made from roots stuck on.

Bleep: Can your work be seen as a conscious comment on the relationship between nature and humans and therefore a statement on the neglect and destruction of nature or is it purely fantastical?

Tessa Farmer: For me it’s purely fantastical- the reality is the wonder of the natural world, not a comment on our destruction of it… nature is wonderfully, beautifully harsh and shocking at times- my work reflects this and the struggle for survival that it an alien concept for most humans – i am fascinated by how life has evolved to adapt to every niche on the planet… there is simply so much to learn it is mind boggling and truly engaging.

ISAM: Control Over Nature installation runs from 26th May – 5th June at The Crypt Gallery.
ISAM is available to buy now on Bleep.

Words / interview by Laura Humphries
Photos of exhibition by Laura Humphries / Margot Didsbury

Recently, we ran a ticket competition for a forthcoming Unknown to the Unknown party in London hosting a performance by Dopplereffekt… We don’t know much about Unknown to the Unknown other than that it is run by producer DJ Haus of Hot City, also known as… errr… Unknown to the Unknown.

We decided to speak to the man himself to see what this is all about.

Bleep: Can you tell us how UTTU came about and the idea behind it?

UTTU: Sure, well it’s influenced by science fiction, squidgy black, Amsterdam and my new drum machine. It’s a multi-faceted (is that a word?) thing. The tracks are intended as snap shots of ideas, whereas Hot City is produced in a studio where I can pump shit out loud, the UTTU is the sound is more of a lo-fi / sci-fi rougher sound
specifically for you tube…

Which leads me on to my youtube channel which is probably the thing that’s most exciting me right now, more than making music or DJing.. I’m posting tunes from various artists whose permission I have such as Dem 2, Surkin, Slackk, Brassica, Ali Renault + many more. You can check the YouTube playlist I made for Bleep here: Just hit play and it plays all the songs continuously, you can also listen on a iphone or smartphone..

Then there’s the soundsystem which I do with my mate mackaveli… we have done club takeovers from Coccon Frankfurt , Geneva to Ibiza and our first London show is coming up on the 3rd June with Dopplereffekt+ many more. You can buy tickets for that here.

UTTU Bleep playlist:

B: The first release was a collaborative effort between you and Drexciya DJ, Stingray. Can you tell us how this happened and how you go about making the tracks?

UTTU:It wasn’t really a collaboration, I’d booked him to play in London but he had to pull out, so he ended up doing a remix for the first EP, and that has led to us meeting up in London at the UTTU Boiler Room show.

Then we ended up collaborating on a couple of tracks which I’m currently finishing off, they’ll be coming out in the summer I hope. Writing at 150 bpm is fucking tricky for me so it was good fun and I got pretty high.. the whole thing was pretty surreal actually…

B: We’ve heard a rumour that there’ll be a release from cult Chicago-based producer. Marcus Mixx. Please tell us more!

UTTU: One of Marcus’s best friends Vern English AKA Alias G, who has released some hip hop albums on TRAX back in the 80s laid down some hot vocals on the last UTTU release ‘Mystery Dragon’…

It was never the plan to release other people’s music, but when you have the opportunity to release songs about cheese and oral sex from a drunk Chicago house legend that‘s pretty hard to pass on…

B: Have else do you plan to collaborate with / release music from in the future?

UTTU: I have what I think has the potential to be a really big record from Capracara called Silvia Solar, backed with a Hot City remix dropping in June + an EP from Dubbel Dutch and more DJ Haus & UTTU tracks.. Me and Ali Renault have started some bits, just trying to find enough time to fit it all in..

Apart from that the new Hot City ‘Soundz Of Da Clubb’ EP is something I’m really proud of, first and foremost the majority of music I listen to is UKG & House music… I’ve been listening to Detroit techno & electro for yonks but only recently have I started to really obsessed with it all on the level that I am with UKG.. I love how you can suddenly become obsessed with something that’s been around you for ages but never fully grabbed you before..… that’s really what UTTU is about I guess….

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.

Unknown to the Unknown are a force to be reckoned with… You’ll be hearing more about them soon on the Bleep Blog and store…

However, in the meanwhile – they are doing a party in London on the 3rd of June and have Dopplereffekt headlining. The line-up is pretty serious.

DOPPLEREFFEKT (live)
plus UTTU SOUNDSYSTEM FEAT:
ALI RENAULT / DJ HAUS (HOT CITY) / MACKAVELI / RAF DADDY (1 BEAR) / SLACKK / FAKTION DJ (BOOMKAT) / BRASSICA (LIVE) / CAPRACARA (DFA) / COCADISCO DJS / COUNT CHOC (5 EASY PIECES) / WIFEY DJs + MUCH MORE!

Friday 3 June @ XOYO, London
More details here: http://www.xoyo.co.uk/events/gigdetails/3-jun-11-dopplereffekt-live-xoyo/
Facebook event here: http://www.facebook.com/event.php?eid=105045876247959

We are giving away a pair of tickets. To win simply email competitions@bleep.com and tell us what a “dopplereffekt” is.

Boxcutter – The Dissolve (Planet Mu)

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Matthewdavid – Outmind (Brainfeeder)

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We noticed when we looked at a couple of recent releases on the Bleep homepage today that a lot of sleeve artwork was paying homage to the beautiful (and sorely missed) aesthetics of video synthesis and processing (see above).

With this in mind, we asked our good friend / artist extraordinaire Konx-om-Pax (aka Tom Scholefield) to pick out some examples of work, and the equipment used to create these techniques… Here’s what he gave us.

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SCAN PROCESSOR STUDIES are a collection of works by Woody Vasulka & Brian O’Reilly.

Scan Processor Studies (excerpts pt.1) from Brian O'Reilly on Vimeo.

http://www.audiovisualizers.com/toolshak/vidsynth/ruttetra/ruttetra.htm

“This is piece from my mate Brian who now teaches in Singapore with another friend from my art school days. Its simply mesmerising.”, Konx-om-Pax

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Fairlight CVI (Computer Video Instrument)

http://audiovisualizers.com/toolshak/vidsynth/fair_cvi/fair_cvi.htm

“This was one of the first commercially available video synths… you can spot the effects a mile off!”, Konx-om-Pax

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EVL Lab – Sandin Analogue Image Processor

http://www.evl.uic.edu/core.php?mod=4&type=1&indi=337

“A very early example for analogue video synthesis”, Konx-om-Pax

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Sunsetcorp – Nobody Here

“Cheeky Oneohtrix Point Never audio visual bootleg”, Konx-om-Pax