Great news! HYPERBUBBLE are back with twelve more blasts from their pink & blue pop gun! On their latest release, "Airbrushed Alibis", futurewave action figures Jess & Jeff deliver all new tales of supermodels, cyborgs, and sexy surveillance.
Hyperbubble fill their musical test tube with a mixture of both influence and invention. Jess has a voice reminiscent of Blondie,Ladytron, and Young Marble Giants, while Jeff's bouncy synth riffs will appeal to fans of Yello, Devo, and Giorgio. Imagewise, the pair bare a strong resemblance to Hasbro cartoon rockers Jem & The Holograms, as well as another synth-weilding duo from the 70's: The Captain & Tennille.
Yet, while there is the occasional nod to the past, Hyperbubble reject the term "retro", utilizing their stacks of synthesizers and sequencers to give "Airbrushed Alibis" a fresh, 21st Century sound. Digital samples are also employed, ranging from electronic bird feeders, to microwave ovens, to Jeff's favorite percussive device, his Bee Gees lunchbox.
The harder, faster, and fuller-sounding follow up to the duo's 2004 debut, "Airbrushed Alibis" will transport your mind to the dark side of the bubble on “Non-Biodegradable Hazardous Waste Disposal“(with guest vocalists from GirlsRiseWihHeat, Polarized Mind, Femme Fatality, Mission Giant, and Moog Mafia, journey to the center of your spine with "Nervous System", then peek into the future with "I'm in Love with My Clone". Each new song is an invitation to switch on, plug in, and pop out!
Having demonstrated on their debut that they know how to make peppy synth pop par excellence, Jess and Jeff DeCuir keep at it with their second effort, a dozen delights as dayglo-entertaining as the album artwork. Unlike so much of the almost too-apologetic neo-keyboard-new-wave, the DeCuirs actually sound like they want to hit a dance floor, and one overseen by the self-knowing wryness of Devo at that. So opening "Synesthesia" is a full-on celebration of their artistic approach, detailing all the pieces of equipment needed to hit the beats and bleeps in traded-off then shared vocals, all with the kind of weird and wonderful nagging synth lines that make listeners of a certain age want to hit the arcade to play Pac-Man or Defender right this second. (The concluding unlisted "Bonus Track" does much the same thing with the very concept of such a song.) Jess's delivery is again the kind of witty ice-cool warmth that could almost be a solo cyborg Shangri-Las, while the two create perfectly in sync arrangements of tense and brisk such as "Hyperdome" and the slow-crawling ballad that's the title track. It's no surprise that Jeff in particular has such a sharp eye for sheer froth given his roots in an act like Pink Filth, and song titles like "Rollerboogie Babydoll" and the ultimate mouthful of "Non-Biodegradable Hazardous Waste Disposal" further demonstrate it. (Meanwhile there's even a subtle Queen nod in the title of "I'm In Love With My Clone.") Perhaps the cherry on the sundae is a classic disaffected anthem-of-youth, "Indoor Kidz," simultaneously a tribute to any number of generations chilling in front of some sort of screen (the music may be early eighties, but the mentions of laptops are newer and the quote from the Who rather earlier) and straight-up herky-jerky dance delight.
- Ned Raggett, All Music Guide
Retro-techno-bubblegum pop for robots and the kids who love them! It's happy feel-so-good-lucky joyousness that loves drum machines and microkorgs, like The B-52's doing New Order Devo on a minimalist scale. It's like robot love machines playing 80's wave to seduce the kids until everyone is dancing in binary.
There are nifty pop blips and rock beeps, and cuteness abounds in a robotic way. It's like The Cars crashing into The Faint and taking them back in time to give them happy pills. Or Freezepop jamming on a version of M's "Pop Muzik" with Ladytron in the back seat of a spaceship, but there's only two of them. It's like that Pulsars song about the Silicon Teens, but it's about Hyperbubbles instead.
The Humans are dead.
-Marcel Feldmar, Big Takeover magazine
With a groove that splits the difference between New Traditionalists-era Devo and early Berlin, Airbrushed Alibis is inspired silliness and a charming demonstration of how to commit to a concept. The formula works because Jeff and Jess genuinely love their bubblegum kitsch fantasy, and also because they have a reliable feel for pop hooks, best displayed on "Commuter" ( a celebration of cutting-edge transportation) and "Rollerboogie Babydoll" (Donna Summer meets Isaac Asimov). A cartoonish, Hanna-Barbera view of the future informed by 1960s visions of the 21st century as an era of flying cars and robotic romance: In Hyperbubble's world, science is sexy.
-Gilbert Garcia, Current magazine
Boy and girl - Jess and Jeff lay down some fine synth-pop tunes with great aplomb and are bound to strike a chord with any lover of Freezepop, Ladytron, et al.
-Keytars and Violins
Hyprbubble make music with an undeniable beat. Jess has an excellent power-pop voice that brings to mind Blondie. Synthesizers and drum machines provide the music, the noise and the sound effects. Hyperbubble's not-so-secret weapon is humor. Instead of playing the chill of technology to the hilt, Hyperbubble heats it up with songs such as "Rollerboogie Babydoll" and "I'm In Love With My Clone". Those songs could warm the cockles of a robot's circuit board.
-Jim Beal Jr, Weekender magazine
Jess and Jeff have been whiling away the last few years crafting honey crusted slices of sumptuous synth pop that isn’t afraid to wear its Buggles badges on its sleeve. Hyperbubble are very much children of the first wave of electro pop. Reference markers such as New Musik, the Normal and Thomas Dolby are pretty much in evidence, yet their knack for calibrating melodically astute machine grooves does hint at a Tosca fan in their midst. Sample the delights of the impossibly infectious buzzcore ‘Nervous System’( Client meets Vince Clark era Depeche Mode )
...neat or what?
- Losing Today magazine
HYPERBUBBLE OFFICIAL WEBSITE: www.hyperbubble.net