Bubblemath Minneapolis, Minnesota
Condensing out from the icy mists of Minneapolis, Minnesota, the first official incarnation of Bubblemath took shape in 1995. But the winds of circumstance were hard on poor, innocent Bubblemath, and the band found itself shaped and re-shaped, again and again, until the current and definitive lineup achieved full realization in October of 1998. ... more
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supported by 32 fans who also own “Making Light of Traffic”
Argh, this almost wandered down the withlist, but this artfull prog album really can't wait to become one of the lovely Cuneiform weekend specials to be integrated in my collection. As many have said before: Strong contender for prog album of the year!
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supported by 11 fans who also own “Making Light of Traffic”
got recc'd this on youtube and loved it- reminds me a lot of late 60's and early 70's records i used to hear playing out of my parents' stereo on sweltering summer days.
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supported by 10 fans who also own “Making Light of Traffic”
Mysterious, yet nostalgic, Isolubilia is truly an ode to the romance found in the pursuit of a mystery. Musically rich in turbulence and serenity, majesty and humbleness, this album made me feel both lonely, yet understood as an isolated individual. Perhaps we're all fellow romantics, looking up at the same night sky, trying to wring our own meaning out of the stars. I hope that pursuit never ends.
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Progressive music ensemble The Grand Sbam's bombastic compositions defy tempo, genre, and description.
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The Dublin trio melds post-rock and jazz, adding electronic touches, for a signature sound that's energetic, spacious, and resonant.
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featured on Bandcamp Radio Aug 20, 2013
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supported by 10 fans who also own “Making Light of Traffic”
The album takes off nicely with David Longdon's "The Strangest Times", but then gets into immediate free fall and deeply underwater for the next few tracks, quite unexpectedly. Fortunately, it recovers with Nick D'Virgilio's "Apollo" (hey, this guy CAN write good music, although he hides this ability most of the time) and the remaining three tracks, one of which is another Longdon masterpiece. So in the end the final impression is somewhat in the positive range.
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