bubbles: Press stuff

In the same way we connected with Broken Haze, Portland-based Bubbles wiggled his way into our eardrums the other day via Twitter. Looking for press to tout his latest album, #speech, 507projex was keen to listen and we like what we heard. Bubbles’ music is hard to define or pin down, ranging from near-ambient future-blapping IDM riddled with orchestral fasciniations to swampy bass beats complete with nods to glitch and drum and bass.

Head over to Bubbles’ Bandcamp page to scoop his newest album, #speech, for a mere $5. It’s a solid eclectic addition to any electronic music library. Have a listen to one of Bubble’s tracks from #speech on Souncloud, “Unlike Survivor.”

This was written by music writer Bob Ham.


The word 'bubbles' conjures up all kinds of images, but none as enduring as that of glistening circles floating through the air in one big mass. It is an apt moniker for the electronic artist from Portland, as he is managing to not only keep afloat a wide range of musical styles (techno, pop, drum 'n' bass, electro, hip-hop, jazz), but his varying talents as well (DJ, MC, producer, promoter, management).

bubbles' styles and skills often bump up against one another, but they have never come together as perfectly as they do on his latest album, Commuter. Out soon on bubbles' own label BMS, the album is a stunning collection of electronic anthems. At first glance, Commuter is a perfect mish mash of styles and sounds, but the more you delve into the world bubbles has created on this album, the more coherent and complete it seems. And that is just what bubbles wants.

Commuter is a concept album, an instrumental narrative that follows Bill, the titular commuter who on one fateful day, gets dosed on the train taking him to work. Unable to remove himself from the train, the album uses a variety of moods and genres to evoke his physical journey, as well as the psychological and spiritual journey he finds himself on.

The clear-eyed vision that bubbles brings to this album is one that he has been honing for years, ever since he arrived in Portland. bubbles has had a hand in producing and promoting his fellow Portland musicians, not to mention his own hip-hop releases (I Ain't No Ape and The Food Service EP). As well, bubbles is one half of the improvisational electronic duo Jellyfish and bubbles. The two create freeform live collages of sound for both the rock club setting and for events like the Portland Marathon.

bubbles is able to encapsulate all of that experience and influences and abilities into a funky, fascinating whole, and if Commuter is any indication, he is just getting warmed up. This is a journey you do not want to miss out on, so buy your ticket now and hop on board.

MAYBE WE'RE DELUSIONAL. Or reactionarily idealistic. Whatever it is, ask half the musicians you know about how finances and capitalism affect their art and they'll give you the big "Fuck money—I don't do this for money." It's a cliche, sure, but we've all done it; it goes with the territory. It's a matter of credibility, of integrity. But let's be honest; music-making expenses—and there are a shit-ton of them—hang over us like a damn ghost most days. It's expensive to book shows, to put out decently produced records, to tour—to do just about anything but play in your bedroom. It's different for everybody, and as I've found recently, immensely varied between multi-member bands and solo artists.

So, how does it break down? Is it better to go solo and keep the profits along with shouldering the expenses? Or is it more cost effective to split the expenses, while sharing door money and merch profits? What's more expensive: laptop software or instruments? How do you survive as booking fees, publicity, production, recording costs—not to mention living expenses—landmine around you?

I talked to bands, solo artists, and people that either blur the line or have recently switched sides. Here's what a few of your neighbors had to say.

Albert Alaniz/Bubbles

"Being in a band is more cost effective—if there is some measure of control. The issue isn't how many people there are to split the costs, the issue is the strength of the organization, i.e., the club, and whether it's meeting its goals. For example: all the money I have made, both solo as a DJ, or with my group, has been reinvested into the collective of which I am a part of. We buy things like blank CDs, paper, ink for printing, studio equipment, etc."

Tommy Harrington/The Wanteds

"When I started playing music there was very little investment involved—playing a show or two a month brought in a little income, but once it was divided among the band members there wasn't much left. Plus, in every band I was in I was always the only member paying for things: flyers, recording, etc. But I never ran things like a business. Being in a one-man band that uses a lot of technology has required a lot of investment in gear, and I am also functioning as my own label and booking agency, which has meant expenses to cover PR, college radio, posters, CDs, merch, and general office expenses."

Jeff London/ex-Boycrazy

"I find that it is a little more cost effective to go solo, as one's expenses are lower in terms of sleeping, housing, and size of vehicle. Often you can ride in another band's van, as I have done."

Nick Arneson/Paint By Numbers

"I don't know how small solo artists tour for any long amount of time. From my personal experience it seems like the expenses, stress, and overall burden of the road would be too much for one man/woman to handle alone. Just the drives alone would probably be enough to break most people."

Whip/Timesbold

"For a month to two-month stay in Europe, playing close to nightly, we make and spend around 30 grand. Solo is about one-fourth that earning, spending about one-fifth of [that]. The only way I bring money home is solo."

Josh Kirby/The Empty Set

"We do not pay individuals with money that the band makes. Like, I assume, many bands, we have a 'band fund' in which we put the proceeds from CD sales and shows, not to be touched by individuals. We use this fund to pay for the more expensive parts of making records and promoting shows—tape, mastering, duplication, printing, etc., and we have talked about using some of it for services like outside publicity as well. It does not go toward instruments, strings, picks, drumsticks, or beer."