*Excerpts from the album. Now available at Experimedia.net.* Edition of 90 pro-dubbed hi bias chrome C50 cassettes in hot stamped black gloss black boxes with cotton insert, card insert, and belly band. Remastered, edited, and extended. Collisions is a binaural work originally conceived for a live quad surround sound performance presented at Akron's Rubber City Noise on Saturday June 8th 2013. Elements of field recordings, digital & analog noise, subtle pitch and millisecond timing offsets, fatiguing frequencies, razor sharp sound design and occasional generative elements culled from sound installation projects. Sewn together through thoughtful composition, sharp contrasts and jarring arrangements.
"Collisions is a caged tiger. Or maybe a better analogy would be a caged bird. A caged eagle. A bald eagle, all stately and regal with a marrow-crunching beak and with wings un-spread, twitching and pining for a Douglas Fir or the punctured spine of a salmon. Collisions, likewise, was never meant to be in a cage. Originally conceived as a live four channel quad surround performance, a recording like this needs a sense of place. It needs to remain in its own habitat and being situated with four speakers all pointing directly at you at an art space in Akron, OH sounds about right. This recording, lovingly made available as a 24-bit download, has captured the jarring snaps from tranquility to chaos, low-celestial tones to sine wave bleed-outs in all of its textured, 3-D glory. Collisions is made up of field recordings of birds that are either processed into sharp fragments of sound or blips and glitches of digital media processed to sound like birds. Terror-pigeons to be more exact, the sort of bald eagle you might see staring you down from the back of a pick-up trick in any town North, South East or West of Denver. Like a bird, Collisions' moves can seem about as random as our feathered friends'. Stereo panning flits and flies from sustained tones to harsh digital noise, following some kind of avian logic impregnable to human minds. Collisions picks at some shiny, drawn out tone before immediately jerking to some new interest or potential threat, departing with the terrifying scrape of feather covered bone against the glass pane of a window. Sounds flock and swarm until they are so overwhelming that even the silences are pregnant with a sense of dead-eyed, Hitchockean dread. This is completely engrossing and a bit terrifying. Sound-art tone-poems just like this one are the reason Experimedia exists." - Ryan H. for Goldrush Festival Zine 2013
"Jeremy Bible is a media artist from Ohio, working across sound, photography, video, and graphic design. He collaborates frequently with fellow ohioan Jason Henry, and also founded the record label and arts organisation experimedia in 2000. His new album "Collisions" begins as a series of small, highly focused electronic 'studies', each seemingly demonstrating an interesting digital processing technique: quiet hums, melodic golden spirals, and the like. However, it is not long before a sound is encountered that sounds undeniably digital, yet somehow also richer, more complex, and more familiar than those that came before it. In fact, it sounds a lot like the the incessant, sharp, high-pitched sounds coming from just outside the window…
This sound is your first clue to that "Collisions" is more than simply a collection of algorithmic concoctions, interesting though they are; and in fact your ears weren't deceiving you: the album does indeed draw heavily on sounds made by birds - but not in the ways you'd normally expect. For example, there are relatively 'clean', unprocessed recordings of bird calls on the album, but they are combined with electronic tones in such a way as to muddy the distinction between the synthesized and the avian. Or - perhaps most strikingly - unprocessed bird calls are allowed to be drowned out by the (again unprocessed) sound of flapping wings, intentionally creating an experience that one generally only comes across in other field recordings by accident: an acoustic illusion of which, to commandeer Timothy Morton's expression, one could not say for certain whether it really was an illusion or not.
"Collisions" is thus an album that flits like a restless bird between the digitised and the natural, the concept and the object - or rather, it often fails to decide on a precise distinction between the two, finding one in the other and vice versa, sine waves in bird calls and mathematical equations in puffs of smoke. It's a record that practices what Morton calls "realist magic", drawing the uncanny and the preposterous out of the very semblance of the real, and no more so than at its most unedited. Bible has produced a subtly provocative record that should give plenty of food for thought to anyone interested in the natural in music and the musical in nature. Available as a (praise be!) 24-bit download from Experimedia, this is, from my perspective, essential listening." - Nathan Thomas, fluid-radio.co.uk