Biff Johnson and Shelley Andrews
Zappa meets Happy the Man meets King Cirmson meets Animals as Leaders meets Porcupine Tree meets Steven Wilson meets the Mute Gods.Get the idea? These guys know their instruments and know their gear and studio.Great vocals,stories, and intricate musical adventures. Awesome creative endeavor that is not to be missed !!!! I will play this many mow times !
Favorite track: The Sensual Con.
Fantastic album! Is this prog? Hmh. But they know (how to play) prog very well. Is this jazzrock? No. But they know how to use jazzrock ingredients perfectly. Is this Mr. Bungle-ish. Hmh. But they create qualities of great Bungle-songs. If you wonder what's beyond those Mr. B.-songs as well as beyond Echolyn's ’The End Is Beautiful’, here we go! D'Y'LIKE WORDPLAYS? CHECK TITLES OF TRAX 2 & 4! Isn't that great?! Best album of the year! (Decade?) Favorite trax: all!
Overflowing with great ideas, meter and chord changes, clever lyrics, unreliable narrators. Good replay value. Lots of hooks you just want to steal for your own songs.
Favorite track: Routine Maintenance.
Fifteen years in the making, Minnesota eclectic prog / avant-pop / art-math quintet Bubblemath's sophmore sequence, Edit Peptide, provides a worthwhile wait with it's non-formulaic formula of lively textures, wacky and virtuosic musicianship, hypnotically robust vocals and charmingly astute attitude. Blending in-your-face intricacy with eccentric experimentation, dense and poppy harmonies, symphonic vibrancy and tongue-in-cheek foundation, Bubblemath are clever and musicially intricate, but despite their loyal adherence to high information-density compositional constructs, they make serious and seriously quirky music that doesn't take itself too seriously and allows the fun to shine through.
The current Bubblemath line-up came together in 1998 and released their 1st, 2002's Such Fine Particles Of The Universe. Then came mostly silence. Naturally, they recognize that having so many years between albums could be —as Kai Esbensen jokes— "[an] advantage or a detriment. Maybe both!" He reflects that the group originally thought it’d be “a breeze” to follow-up Such Fine Particles of the Universe, an album that won them 86,000 MySpace followers and Minnesota Music Academy’s "2002 Best Eclectic Recording” award. However, a series of setbacks, ranging from "broken equipment, to broken promises, to loss of funding, to loss of partners and pets and parents, to incompatible mix engineers, to extended sabbaticals, to extended medical emergencies" made it difficult to accomplish that ambition." Add in other factors, and it's easy to see why Edit Peptide gestated for so long. Ultimately, the lengthy hiatus did prove positive, though, as it allowed "all five of [them] to become better musicians" who are capable of yielding a more striving, unpredictable, and colorful collection. They couldn't be prouder of it!
It's not often that a band releases a new album after such a long hiatus, let alone something that exceeds expectations beyond fans’ wildest dreams. Somehow, though, Bubblemath has done just that with Edit Peptide. By conducting so many divergent styles, refining their songwriting and compositional skills, and most of all, sticking to their guns when it comes to crafting highly challenging and adventurous, but also quite hypnotic and welcoming, tunes, the quintet proves just how perfectly a band can fuse the familiar and the fresh.
released May 26, 2017
Blake Albinson (Electric guitar, acoustic guitar, nylon string guitar, keyboards, tenor sax, vocals)
Jay Burritt (Electric bass, fretless synth bass, fretless electric bass, upright electric bass, vocals)
Kai Esbensen (Keyboards, vocals)
James Flagg (Drums, percussion, vocals)
Jonathan G. Smith (Vocals, electric guitar, acoustic guitar, flute, clarinet, chimes, gong, glockenspiel, xylophone, mountain dulcimer, mandolin, banjo)
Recorded at Seedy Underbelly, Terrarium, Bubblemath Labs, and Augsburg College.
Recording engineer: Blake Albinson
Assistant engineer: Jonathan G. Smith
Drum engineer: Alex Oana
Bass and drum treatments by Dan Rathbun at Polymorph.
Mixed by Jonathan G. Smith and Blake Albinson.
Mix engineer and mix consultant: Adam Tucker at Signaturetone
Mastering by Greg Reierson at Rare Form Mastering.
Vocal direction: Jonathan G. Smith
Artwork: Rob Gaer
Graphics guidance: Jonathan G. Smith and Jay Burritt
Additional graphics assistance by Pete West and Bill Ellsworth.
Edit Peptide ambigram design by Kai Esbensen.
Produced by Bubblemath.
Too many wrong notes? Maybe, but I've heard the alternative and this is much more preferable. In the "Rock In Opposition" tradition, Lost Crowns doesn't afford you the luxury of an obvious chord change. And it's lavishly entertaining! Either the catchiest Avant garde record or the dodgiest pop record you'll hear in 2019. Richard's writing and vocals are superb as always. Since discovering Cardiacs in 2012 and branching out to related acts, I've continued to hear some of the most inventive stuff out there, and this record takes the cake. Perhaps the crown, if it ever turns up. Adam Pearson
It took me a while to find it (because it isn't on Spotify), and although I love the pop style of Land Animal, Say So quickly became my favorite Bent Knee album. It feels so cohesive and it plays enormously to the strengths of Bent Knee, showcasing their vision with charm. Dakota Modovsky