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by Bill Gibron

20 Aug 2009

The purists are already up in arms. Less than 24 hours since it was announced that Robert Zemeckis was helming a motion capture 3D remake of the Beatles classic bit of animated psychedelia, Yellow Submarine, and you’d swear the State of New York was paroling Mark David Chapman (don’t recognize the name? Go read something else!). Everyone, from film fans to protectors of the Fab Four sonic flame are arguing over the implied heresy of such an idea, complaining that technology and a “fresh” approach can’t contribute anything to what is already a classic.

And for the most part, they are right. The original project, completed without the pop phenomenon’s direct input (voices were impersonators, songs were leftovers along with some past classics), has remained a fixture of the artform, a post-modern Fantasia finding depth and meaning in the Lennon/McCartney songbook classicism. Dealing with the faraway kingdom of Pepperland and Old Fred’s battle against the bad vibe aggression of the memorable Blue Meanies, there was something very twee, and quite terrific, about George Dunning’s Peter Max-inspired effort. Now comes the threat of a Tinseltown treatment, the work of late ‘60s artisans sacrificed for a few gigs of RAM and a more photorealistic look.

by Jennifer Cooke

20 Aug 2009

For some acts, even the title of “One Hit Wonder” is too extravagant an honor. For self-proclaimed “scabby witches from Glasgow”, Strawberry Switchblade, OHW status can only be claimed in Europe and Japan—in the US, they didn’t even rate as a blip on the radar screen, unless you were a moody teenager who subscribed to Smash Hits and bought creepers and Communards 12” dance singles at import shops with names like the Berlin Wall.

To such a teenager, however, the heady mix was unbeatable: morose but danceable electronic pop about certifiable anxiety disorders and unrequited love, sung by the Scottish love children of Siouxsie Sioux and Frida Kahlo after an explosion at the squaredance costume factory. Rose MacDowell and Jill Bryson wore getups and hairstyles so massive, so elaborate, it was a wonder they could even stand up, much less strum guitars or shake maracas. They covered songs by the Velvet Underground and Dolly Parton! Their record label (Korova) was named after a reference from A Clockwork Orange! I couldn’t have found a more perfect duo to worship if I had constructed it from whole cloth myself. My favorite subjects were depression, polka dots, dolls, strawberries, fishnet stockings and obscure British pop music. What were the odds of finding such a tailor-made treasure?

Strawberry Switchblade scored a #5 hit in England in 1985 with “Since Yesterday”, but by 1986, collapsing under the weight of all those ribbons, silk flowers and pancake makeup, they were history. Their eponymous album remains one of my favorite of that decade, and one that bears surprisingly frequent listens today. So even if your adolescent fantasy wasn’t to look like Blueberry Muffin working behind the MAC counter… give Strawberry Switchblade a try. I’ll bet you dollars to donuts it was their version of “Jolene” and not Dolly’s that first inspired Jack White to cover it.

“Since Yesterday”

“Jolene”

by Sarah Zupko

20 Aug 2009

Canada’s Spiral Beach has a unique performance style, putting on wildly interactive shows where the band kicks up their heels with the audience and even are known to cook for the crowd on occasion. These events routinely last until dawn. Now that is Concerts 2.0. Spiral Beach’s new album (The Only Really Thing) hits U.S. shores on 22 September and you can get a sense of their poppy sonic mayhem on this live video for “Domino” that we are premiering today. It’s one of the highlights of the new record. Full release details and an MP3 of the tune are below the jump.

by Christian John Wikane

20 Aug 2009

PopMatters’ Christian John Wikane talks about his massive project documenting the history of Casablanca Records that is running this week.

by Katharine Wray

20 Aug 2009

A literary/pulp mashup. At its best? That remains to be seen. Author Seth Grahame-Smith must have some real cajones to tamper with a such loved classic as Pride and Prejudice by adding a Zombie story line. This book trailer has a b-movie quality to it; a nod to the cinematic genre, hopefully. This will book could be a great as Danger Mouse’s mashup of the Beatles’ White Album and Jay-Z’s Black Album. Or as far-fetched as the stoner mashup of The Wizard of Oz with Pink Floyd’s Dark Side of the Moon.

//Mixed media
//Blogs

Moving Pixels Podcast: Highbrow, Middle Brow, and Lowbrow in Free-to-Play Gaming

// Moving Pixels

"From the charmingly trashy to the more artistically inclined, there is a wide variety of gaming options in the free-to-play market.

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