Chicago-based indie artist Bad Bubble has a new album out ‘The Triumph of The Puissant,’ so we sat down for a chat about the new release
Bad Bubble’s new album ‘The Triumph of The Puissant’ is out now.
We got to chat with the enigmatic artist to break down this complex new release and the inspirations behind it.
Sonically reminiscent of a unique fusion between Wham!, Empire of the Sun, and New Order, ‘The Triumph of The Puissant’ delivers an immersive experience designed to reignite listeners’ passion for indie music.
The album represents Bad Bubble’s signature heavy musical themes while taking audiences on what’s described as a “mystical, sonic journey” through the creator’s mind.
Scroll down for a deep dive into the release in our exclusive chat with Bad Bubble.
HAPPY: What are you up to today?
BAD BUBBLE: Today, I am in the studio working on making a calm album for Flor. You’ll meet her album after next. She played a playlist for me yesterday and I told her, “hey I can do that”. So I’m working on making her one at the moment. 2 down, 7-8 to go.
HAPPY: Tell us a little about where you’re from, what do you love about it?
BAD BUBBLE: I am from the Midwest, USA. What do I love about it….hmmm. I love how the people who call it “fly-over” do just that. People here have been beaten down pretty good. But most are still standing tall with a smile on their face when they have every reason & every right not to. The character.
HAPPY: Your music blends electronica, synthpop, and new wave with “cosmic ambient escapism.” How do you achieve this balance, and which artists have influenced this unique fusion?
BAD BUBBLE: Ya know, it wasn’t until I started BB I found out my genre. I honestly had no clue. I also had no idea just how many genres there are. I do not know what many of them even are and couldn’t pick them out of a line up if I had to.
I wasn’t exactly aiming for anything in particular. A lot of it is simply due to the hardware I was using when these songs were recorded. I made my own waves with the Korg Wavestate. A glorious weapon. I do love Korg! Influence…Nobody anyone reading has ever heard of. Most, if not all of those who influenced me are unknown, various people from the Midwest.
Some are still playing, some are not. Some alive, some not. But all did play a key role.
HAPPY: As a multi-instrumentalist who avoids software production, what drives your commitment to analog methods in an increasingly digital music landscape?
BAD BUBBLE: I get asked this a lot. It’s nothing more complex than I like to play and perform. I love playing the piano, guitar, drums, etc. Although my drums are not organic on my albums, and that is only out of respect for my neighbor who is enjoying his retirement.
I am not going to blast him at 3:45 am when I am usually recording. No one deserves that. But other than drums, what you hear is me. And I do just love playing. I suppose it would be easier to loop certain things and ya know…nip and tuck here and there, but where’s the fun and growth in that?
An artist can choose his/her gear, of course. But I guess I like gear that makes ya look cool while playing it. Can’t look that way at a desk.
HAPPY: The symbolism in your branding—from the purple colour scheme to the use of squares—seems deeply intentional. Could you elaborate on how these visual elements connect to your personal story?
BAD BUBBLE: Sure thing. Purple represents the part of myself that is not quite gone as of yet. There is still a little light left before the darkness does its thing. The yellow is the warnings I give myself from the future to the past. Waving my arms, desperately trying to get my own attention.
The squares represent stability and dependability. Boring, albeit. But steady and calm. The name, Bad Bubble. It’s that of a child. The font, incursive and regal. Executive. The child who grew up and took on life’s responsibilities. Never looks forward, always looks behind to the past at something or someone he wants to make peace with.
And the window. Where I ended up. The place I am now, and the place I’ll remain, watching life go by in peace and relative safety from afar, as I have seen and done enough. Some may see that as tragic or even cowardly. I look at it as, I’ve earned it.
HAPPY: You’re described as having built your career “without support or resources, without mentorship or guidance.” What were the greatest challenges you faced, and how did you overcome them?
BAD BUBBLE: I suppose this inquiry stems from my career, so I will keep it there. I did this 100% on my own. No encouragement (quite the opposite), no support, financial or otherwise, and no resources, meaning I had to prepare for a long time to be here. But that was the blessing.
This gave me a little while to plan what I was going to do. I ended up planning 3 years ahead. 4 by the time it’s over. I don’t say these things to gain sympathy. I say them because that is what gives me the lion’s share of the pride I take in being an artist. And the level of seriousness and respect I possess for this craft.
I had to fight to get here, like I’m sure a lot of people have had to do. And I wouldn’t have it any other way. When I started, January 2022, I was as green as the grass. I knew nothing about anything and just had to learn along the way. The biggest challenge was dealing with the scams.
An artist needs help along the way. Things that move you forward, like an EPK for instance. Artwork. Tech help for pixel count or anything else like that. There’s always someone wanting to take advantage in every way possible. I had to learn what to look for when given an offer. That was the hardest challenge. It was really bad.
HAPPY: With hundreds of original songs created between 2021-2023, what was your creative process like during this intensely productive period?
BAD BUBBLE: I don’t know. I wish I could tell you what happened. The best I can do to explain is to say I went over ten years without laying a finger on a piano key or a guitar or anything. I turned my back on music and swore it off.
When I decided to give it a try again and go pro, I started writing with a seriousness I never had before. And I just kept writing. I just wouldn’t stop and didn’t want to. After awhile, I do recall reaching out to a couple of people to express a mild concern I had for myself.
They told me not to worry about it and eventually it will stop. That was the Summer of 2022. It still hasn’t stopped. But it’s going to have to happen sometime soon.
HAPPY: Your bio mentions “complex lyrical meanderings” and multi-part harmonies. How do you approach songwriting structurally, and has this approach evolved over time?
BAD BUBBLE: As weird as this sounds, I let the songs find me. I’ll put my fingers on the keys and tinker around for a few seconds and it will pop its head up. Like pulling a puppy from the rubble of an earthquake. I say, “hello there” and pick it up, dust it off, and make it look presentable.
That’s about the best I can do to describe. The song always presents itself when I am quiet. Lyrically, I steer the song where it needs to go according to whatever album I’m working on to tell a coherent story.
HAPPY: There’s a fascinating duality in your work—between vulnerability and intensity, between nostalgia and innovation. How do you navigate these contrasting elements?
BAD BUBBLE: That is a fine question. I would say these things can never be mutually exclusive. They must be presented as intertwined. Being vulnerable is to be brave. And the best offense is a great defense.
Not every should ever be as it seems and nostalgia is only landlocked if you allow it to be. There is plenty of room. Even if it seems crowded at times. And everyone is fighting to get the warm light. The light will find you only when you are not running around.
It will begin to think you are running from it. It’s the navigation that makes it worthwhile. For someone who writes of loss and pain. Loneliness, trauma, and sadness…I am happy when I get to navigate these waters and negotiate these obstacles.
HAPPY: And finally, what makes you Happy?
BAD BUBBLE: Happy Mag makes me happy!!!
