FYRE

FYRE: The Greatest Party That Never Happened. The Fyre Festival was billed as a luxury music experience on a posh private island, but it failed spectacularly in the hands of a cocky entrepreneur.

(Trailer audio not by Jeremy Bloom)

Produced by: Netflix

Re-Recording Mixer: Tom Paul

Supervising Sound Editor: Nathan Hasz

Sound Effects Editor: Jeremy Bloom

Dialog Editor: Esther Regelson & Daniel Ward

Asst Sound Editors: Kamari Carter, Tzvi Sherman, Sanghee Moon

Foley: Craig Henderson

Hail Satan?

Chronicling the extraordinary rise of one of the most colorful and controversial religious movements in American history, Hail Satan? is an inspiring and entertaining new feature documentary from acclaimed director Penny Lane (Nuts!, Our Nixon). When media-savvy members of the Satanic Temple organize a series of public actions designed to advocate for religious freedom and challenge corrupt authority, they prove that with little more than a clever idea, a mischievous sense of humor, and a few rebellious friends, you can speak truth to power in some truly profound ways. As charming and funny as it is thought-provoking, Hail Satan? offers a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world.

-Director: Penny Lane

-Producer: Gabriel Sedgwick

-Re-Recording Mixer: Tom Paul

-Supervising Sound Editor: Jeremy Bloom

-Asst Sound Editors: Nathan Hasz, Tzvi Sherman

-Foley: Craig Henderson

-Dialog Editor: Esther Regelson

-Post Studio: Gigantic Studios

(Trailer audio not by Jeremy Bloom)

Search Party Launch Event

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5 original immersive binaural soundscapes commissioned to support Punchdrunk International's one-time immersive  theatrical event celebrating the launch of the second season of TBS's Search Party. The soundscapes accompany one-on-one theatrical scenes performed by a single cast-member to a single audience member wearing noise-canceling headphones. 

  • Producing Agency: Civic Entertainment Group

  • Client: TBS Search Party

  • Creative Agency: Punch Drunk International

  • Creative Director: Hector Harkness

  • Associate Director: Elizabeth Romanski

  • Producer: Lauren Storr

  • Audio Sponsor: JBL

  • Production Management: Production Glue

  • Art Director: Claire Karoff

*Not for speaker playback. Please listen with headphones only for 3D binaural experience. 

James Taylor Opening Soundscape

An original soundscape commissioned to open every show of James Taylor's  2017 US Tour in collaboration with Switser & Knight who handled all multimedia and scenic design elements. The design is inspired by the nostalgia of a distant freight train. As the train comes closer to the audience, its whistle becomes reminiscent of an orchestra tuning as the rhythmic sound of track-ties build in anticipation of the show.

*Not for laptop playback. Please listen with headphones and/or fullrange speakers. The sequence begins in near silence and builds to extreme volume over 2 minutes.

This sequence introduces the show and leads directly into a retrospective video about James beginning with a phone call. The concert then begins.

Stuck Elevator

Stuck Elevator tells the story of Guang, a Chinese food deliveryman struggling for freedom from debt, human smugglers, loud-mouthed coworkers, and the temptations of General Tso. Based on the true story of an undocumented immigrant who survived 81 hours in a Bronx elevator, this comic-rap-scrap-metal-music-theatre work follows Guang’s increasingly fantastic attempts to escape a 4′ by 6′ by 8′ metal box.

at New York Theatre Workshop's Dartmouth summer residency

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Charles Francis Chan Jr.

1967. The auspicious beginnings of a new political identity called Asian American, as a young literary hippie named Frank essays an inscrutable Chinese detective. A harmless sing-song orientalist minstrel show that ENDS IN A GROTESQUE CARNIVAL OF MURDER!!!
Photo Credit: William P. Steele

Photo Credit: William P. Steele

Jeremy's work remixed and satirically  intertwined snippets of historical Charlie Chan film scores with purposefully over-the-top or orientalist sound design tropes to realize the play's metatheatrical film-noir aesthetic. 

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Sojourners

Jeremy's work for Sojourner's consisted of diegetic "match cuts" that linked scenes of different environments to each other.  As the revolving set turns, music from a living room radio becomes muffled behind a wall and then to a distant car pulling away from a gas station. Alarm clocks morph to original bell rhythms inspired by the carnival music of Nigeria's Ibibio culture  and then to the pneumatic sounds of a gas station and so forth. 

Abasiama came to America with high hopes—for her arranged marriage and for her future—intent on earning a degree and returning to Nigeria. But when her husband is seduced by America, she must choose between the Nigerian and the American dream.

Phoebe in Winter

For this piece, Jeremy worked with percussionists Matt Evans and Carson Moody to create source-material that blurs the line between percussive musical accent and explosive war soundscapes. Other aspects of the design were inspired by Mazen Kerbaj's "Starry Night" as well as textual references to birds with bladed wings and the reassembly of broken ceramic shards. 

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Fordham University @ Lincoln Center

Photo credit: Amy Rubin

Photo credit: Amy Rubin

Home can be the most dangerous battlefield of all

Takes on Silence

Takes on Silence is a multi-media performance piece inspired by the Vitagraph Company of America, among the nation’s first silent film studios located in Midwood, Brooklyn from 1906-25.
Transient

For this piece, Jeremy was tasked with scoring a number of films which were integrated with action on stage. He used a combination of originally composed material and period "mashups" which seamlessly integrated various samples of historical film music. The show's musical theme "Vitagraph Girl" was published in 1910. Without access to an original recording, Jeremy referenced an archived score to arrange and fully produce a period reproduction of the song.

Combination of original musical material and sampled period music. 

•Developed by Nellie Perera

•Performed by Nellie Perera

•Directed by Amy Jensen

•Lighting: Burke Brown

•Videography: Arsenio Garcia

•Stage Management: Samia Fakih

•"Vitagraph Girl" Vocals: Ned Riseley

 

The Mysteries

An extravaganza with 48 playwrights and 54 actors retelling the entirety of The Bible in a single night. 50 World Premiere plays telling the entire History of Man’s Salvation from The Fall of Lucifer through and including Judgment Day.
Photo: Tara Pacheco

Photo: Tara Pacheco

Jeremy's most ambitious work with over 300 original sound cues, an 8' long steel thunder-sheet, "musique concréte" depictions of hell inspired by German industrial noise-rock, and collaborations with Music Director David Dabbon on floods, meteor storms, and more! 

Noah's Flood Transition. 

Underworld inspired by German industrial noise music. 

Meteor Storm Collaboration. Music by David Dabbon. Sound & patches by JSB. 

Moses Exodus transition. 

Into Garden of Eden.

Crucifixion Transition.

Lucifer Transition. 

  • Assistant Sound Design: Lee Kinney
  • By 48 playwrights including José Rivera, David Henry Hwang, Qui Nguyen,  Billy Porter, Jeff Whitty, CollaborationTown & more...
  • Directed by: Ed Iskandar 
  • Dramaturgy: Jill Rafson
  • Music: David Dabbon
  • Choreography: Chase Brock

Love Suicide / Hikikomori

For this piece Jeremy worked on two intertwined pieces in separate spaces. Love Suicide, an Edo-period traditional Japanese play and Hikikomori, a contemporary devised piece about Japanese shut ins.  Jeremy wrote two original songs for "The Lollygaggers" a fictional girl pop band, and created interstitial cues generated from found traditional Japanese music, and worked with the actors to create live soundscapes featuring gongs, chant, and a percussion piece using traditional "geta" clogs. 

Produced by: NYU Tisch MFA prog.

Directed by: Dawn Saito & Jonathan Rosenberg

Lighting Design: Abby Hoke Brady & Jennifer Hill

Scenic Design: Yu-Ting Lin & Perrine Villemur

Costumes: Ilana Breitman & Nina Vartanian

Stage Management: Kristin Loughry & Emily Ballou

Under Milk Wood

The 92nd Y’s Poetry Center celebrates Dylan Thomas’s centenary by turning Kaufmann Concert Hall into a studio for a free reading of Under Milk Wood broadcast live on BBC Radio Wales. The Poetry Center presented the premiere of this “play for voices,” with Thomas himself leading the cast, in May 1953.
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  • Directed by: Michael Sheen.
  • Sound Design & Foley: Jeremy S. Bloom
  • Stage Manager: Robert Peters.
  • With: Michael Sheen, Kate Burton, Mark Lewis Jones, Francine Morgan, Karl Johnson, and Matthew Aubrey.

Restoration Comedy

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"When virtuous Amanda Loveless learns that her rakish dead husband is very much alive, it’s time to stop mourning and start plotting. Wicked wit, irresistible intrigue and fabulous fashion combine through a dizzying kaleidoscope of Restoration characters, all chasing the joys of love. Director Ed Sylvanus Iskandar creates a modern-day Restoration experience. The play will begin with a baroque musicale while guests sip on unique holiday cocktails. Intermission will feature a variety show and to end the evening, guests will be able to join in a post show dance party It's all play and all party."

In "Restoration Comedy" director Ed Sylvanus Iskandar sought to fuse what is otherwise a period play with a modern day party experience. His only restriction for the sound design was that the music was to be exclusively sourced exclusively from The Scissor Sisters.  In this piece, I saw a need to create fluid transitions between what are otherwise starkly contrasting modern and period worlds. The show's other sound designer Jill BC Du Boff edited the modern dance tracks chosen by the director according to the choreographers needs and then delivered them to me.  After some experimentation, I then composed and produced a series period musical intros that seamlessly morph into the modern music. 

These transitional morphs  were declared "One of the most creative moments of the night" by theater blogger Michael Block. They ultimately created a surprising and fluid method of  throwing the play into a modern setting. I also wrote some outtros in a similar fashion that bring the play back into period.  

 

  • Director: Ed Sylvanus Iskandar
  • Playwright: Amy Freed
  • Choreography: Will Taylor
  • Co-Sound Designer: Jill BC Du Boff
  • Set: Julia Noulin Merat
  • Lighting: Daniel Chapman
  • Costumes: Loren Shaw
  • Props: Rowan Doyle
  • Produced by The Flea Theater