We’re not sure whether we’re missing a clever allegory slotted into Money Bubble and its tracks, but we’re certainly not missing the bounce…
Money Bubble’s general aesthetic, full of deep subs and compressed samples, isn’t completely unique; the delivery, though, stands out above everything else we’ve listened to this week in the search for our Music We Love.
Mad Opal’s main success is how close he brings Money Bubble to failure; at times the camel’s back is one straw away from breaking, but the final ingredient to be introduced to tracks is often the flavour that ties the rest together. The rhythm on Being Blue nearly falls apart until the main break drops in and suddenly everything slots into place,
The number one problem affecting most short-lengthed, long-tracklist EPs is the way that the format tempts so many producers into using very basic sketches, content to, in some cases, hide behind a short runtime instead of making a track interesting over a longer period (this stops being a problem when the content in question is genuinely top of the pile). A more daring approach, the one that Mad Opal takes on most tracks, is to use the short track lengths to play with arrangements, slotting sections in and around each other in a way that will keep you on your toes – the closer, African Hips, is an excellent example of how Mad Opal tends to use a unifying element in the tracks on Money Bubble to allow him to bounce other, almost disparate parts off of.