Press:
"Throughout Frienemies, Broomfield-based Deadbubbles roars out of the garage with supercharged rock fueled with the swagger of '70s punk like the Dead Boys and the Stooges. Hell, these lo-fi sonic producers even made an album that sounds like it was made three decades ago, and that's about as rock-solid as it comes."

~Jon Solomon, "Moovers and Shakers rounds up our favorite local releases of the year" article in Denver Westword 12/24/09
"Opening act deadbubbles set the pace for [Six Month To Live's last] show with an energetic set of rock and roll full of more than its fair share of weirdness and eccentricity mixed in to keep things interesting. Frontman Arlo White leaped, pranced and gestured with tasteful bombast about the room during the band's set, and during "6669," he held a utility light with a red filter close to his face. Normally this might come off as kind of a cheesy gesture, but White and the rest of the band performed each song with absolute conviction in the material that even this momentary affectation added to the showmanship. Toward the end of the set, the guys played one of their strongest numbers, the early solo Eno/T. Rex-esque "Sparkle Jets," before concluding with another of its best songs, "Rock Solid!" aided by Six Months to Live's Greg Hill on sax and Zack Littlefield of Dario Rosa on tambourine."

~Denver Post review of 11/14/09 show by Tom Murphy

11/14/09 DenverThread.com writeup of deadbubbles by Billy Thieme. Read on!
"The night’s show-stealers Wednesday night, though, had to be Deadbubbles. Their sound is a resplendent mashup of Sonic Youth from “Death Valley ’69,” Iron Butterfly and Mudhoney, splayed across solid guitar work that recalls the Stooges and MC5. Frontman Arlo White is somewhere between the Fluid’s John Robinson and Rob Tyner of MC5, with almost as much charisma. At one point, during the anthemic “Rock Solid,” which would’ve made a great Kiss song, Paul Humphrey’s guitar and Matt Martinez’s bass built a mountain of sound on a single chord for over a solid minute, almost recalling Loop. Deadbubbles’ straight- on, solid garage rock deserves more notice, and White’s personality should have no trouble attracting a loyal following."

~Denver Post review of 4/29/09 show by Billy Thieme
"Mixing opposite ends of the ridiculous in band names, Deadbubbles combined death and happiness for their name. Which suits their music just fine since it is an increasingly vital mélange of glam, power pop and flashy guitar rock. Because this band’s approach is so alien in a climate where a perverse earnestness and being “real” seems to be the order of the day, they’re easily misunderstood. According to frontman Arlo White, “I’m tired of bands who get up and play wearing the same thing that they were wearing when they were painting the fence that day; and their set is like an in-joke between the band members. I’m a lifelong live music fan, and I’m addicted to the flow, the spectacle, the energy, the creating-a-moment-that-can-never-be-duplicated feel of live shows.” Indeed, whether that be an over the top performance and taking risks even if they don’t always work, a Deadbubbles show stays with you because you can tell they’re actually trying to put on a show and not getting up and faking it. As a frontman, White has the spastic energy of Kevin DuBrow in his heyday with a backing band that is able to transform that energy into something more akin to Tanx-era T-Rex. Their latest record, Frienemies, has certainly confounded a critic or two with its appropriation of hints of Roxy Music, but it introduces new layers to the band’s sound and shows that it doesn’t just rock, but it also has the imagination to go beyond mere rocking to creating an interesting collection of music that doesn’t merely aim to strip things down to the basics and keep grinding away at the same tired formula that makes many of their peers so boring. This is one act that continues to push its own boundaries and that’s always what has made for any band with any chance of making an impact."

~Tom Murphy, Cairn Magazine
"Dead Bubbles is one of those bands that thinks rock and roll needs saving and that they are the ones to save it. There’s a certain innocence to their belief that ends up working in their favor. The lead singer, Arlo, shakes as he sings/shouts the lyrics, and the backing players keep the songs going forward in barre chord, enthusiastic fashion."

~Denver Daily News: Event briefs, Gene Davis, DDN Staff Writer, Friday, December 5, 2008
"Loud, unabashed, unforgiving, relentless, rock-n-roll music; Deadbubbles are contributing to a style of music made famous by late 70’s early 80’s punk-rock. The production quality may also remind you of this era. Chalk-full of “sex, drugs, rock-n-roll” attitude, Frienemies is reminiscent of such acts as The Misfits, Dead Kennedy’s, Iggy Pop, and The International Noise Conspiracy."

~Kaffeine Buzz review by Matty H., August 8, 2008
"deadbubbles are here to 'reclaim rock from the undeserving' with their self-identified 'psychedelic cock rock.' They've showed up just in time to save us from the current emo-ness of the airwaves. Their versatile, British retro-electronica sound make me think that if Beck were raised by The Who in the 80's, then did the Warped Tour, not in the 90's but in 1972, he'd reincarnate himself as deadbubbles.

Arlo White, lead vocals, is the die-hard metal head, while Matt Martinez plays on influences of Danzig, The Clash, and Marvin Gaye, and with drummer Dave Rosset influenced heavily by The Red Hot Chili Peppers, you can see how many sounds there are in deadbubbles. Arlo grew up listening to Kiss, The Monkees, Sid & Marty Krofft, and mixing with his metal-mania brain, his childhood is apparent in his amusing, pleasurable lyrics. 'I typically write the lyrics; the music is more organic amongst Paul, Matt, and Dave,' White notes, 'We all have our own unique quirks and talents that we bring to the table.'

White tells me they are going back into the studio this spring. The next album is completely written, and they've been performing some of the songs live for a while now. deadbubbles are playing this month at 3 Kings Tavern, NOWhere Limited, and at Old Curtis Street Bar.

'We're always adding shows,' White says, 'We're constantly writing new music. We have tons of plans that include live recordings, music videos, new merch...we also have a deadbubbles tribute album in the works.'

As far as the future goes, Matt Martinez replies, 'Maybe some designer footwear and an El Camino.'

I'd drive that."

~Judy Wolf, Colorado Music Buzz, March 2008
"With unhinged twanginess, unabashed spaciness and unapologetic snottiness, deadbubbles plays raunchy, raucous rock and roll that exists out of time. The Broomfield-based outfit's psychedelic rhythm-and-blues-a-billy seethes, surges and snarls as it spans the rock decades, comprising the rhythmic romp of the Crickets, the sassy swagger of the Yardbirds and the lysergic liturgies of Syd Barrett. Arlo White's nasal taunts rile the restless rhythm section of bassist Matt Martinez and drummer Dave Rosset, while jittery guitarist Paul Humphrey eggs them all on with barre-chord bravado. The melee can get a little messy at times, but there's no denying the inexorable intensity of the quartet's zeal. There's nothing esoteric or remotely subtle about the group's devil-may-come barn-burners, but the metamorphic, rowdy rock of deadbubbles (due at Old Curtis Street this Saturday, January 26) rolls recklessly and gathers no moss."

~Eryc Eyl, "Critic's Choice," Denver Westword, January 24, 2008
"Less than a minute into Deadbubbles' latest offering, Frienemies, frontman Arlo White makes it clear that his band is all about "rock and roll music." And indeed, the Broomfield act roars off the line with some supercharged rock infused with the swagger of '70s punk from outfits such as the Dead Boys and the Stooges. From there, the guys add in a quart of garage and take a drive into Cramps territory on "6669," a tune about getting down with a she-devil, while on "Song for Robert Pollard," they pay spirited tribute to the Guided by Voices frontman. Save for a few tunes, Frienemies sounds and handles like it could have been made three decades ago."

~Jon Solomon, Westword, May 2009
"reclamation forklift provider seems instead a greatest hits CD created after years of work, rather than a debut album. Yet in a way it is a compilation, seeing that Paul Humphrey, guitar and vocals, and Matt Martinez, bass, have been friends since high school. deadbubbles' lead vocalist Arlo White and Humphrey had been playing a while already when Martinez joined his old friend, with drummer Dave Rosset ultimately coming on to wrap up the synchronicity. The group emanates the "pure rock n' roll sexual energy" of bands like MC5, T-Rex, and post-psychedelic rock like The Velvet Underground, Modern Lovers, and Big Star, to name a few.

Opening with bagpipes on "reclamation: declaration," mixing in a tribute to Trio's "Da Da Da" [ed: huh?] inside "man for you," and moving on to electric guitar solos accompanied by whistling [ed: huh?] in the last track - aptly named "fin" - deadbubbles' experimental-yet-retro sounds definitely bring out the "T-Rex-ness" that we all know and love.

Arlo White's bright lyrics, which if you are not careful about listening to, will catch you feeling really good. "zoo kicker and i" harks back to Harry Nilsson's "Me And My Arrow," while in "dream hard!," Arlo speaks of letting your subconscious lead the way. Who knew "cock rock" could kick so much heart-rending ass?"

~Judy Wolf, Colorado Music Buzz, March 2008

"There's a giant cock on the cover of the Deadbubbles' debut album. It's a large, disgruntled rooster, and it symbolizes their self-designated style of music: psychedelic cock rock.

With band members from Broomfield, Longmont and Boulder, the Deadbubbles seem determined to fit the entire Front Range onto this CD. Reclamation Forklift Provider is an interesting and ballsy attempt to combine Pink Floyd's The Wall with Pretty Boy Floyd's Leather Boyz with Electric Toyz. They come down heavy on the psychedelic and light on the cock, but they definitely rock on songs like the swampy "Middleman" and the eerie "Reclamation: Declaration."

This CD is cool because it's kind of like Thomas Pynchon's Gravity's Rainbow in that it teaches you how to understand it as it progresses. I wouldn't call Reclamation Forklift Provider a concept album, but I wouldn't be surprised to see one of those from Deadbubbles soon enough."

~Dale Bridges, "The Short List," The Boulder Weekly, July 2007