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The last year has been the most prolific period of Poster Children’s long and illustrious career. Following 1999’s self-produced debut on spinART, New World Record, Poster Children assumed their instrumental alter-ego Salaryman for a splendid groovy effort on Karoshi earlier this year. Singing again, the lads offer up DDD, the first anthem album of 2000 for the indie rock crowd.


Considering they’ve barely taken a breather, DDD is an unbelievably polished and fully-conceived work. In fact, it’s not a stretch to say the workaholicism has been a boon for the band, pushing their artistic limits and stoking the fires of their creativity to new heights. “Judge Freeball” and “Peck N’ Paw” are funky instrumentals more in keeping with their Krautrock Salaryman persona than classic Poster Children, but that’s merely one element of this wildly diverse album. Sporting intense and dark, attack dog guitar, noisy rock (“Time Share”), spacey, psychedelic pop that wouldn’t be out of place on a Ride or Swervedriver album (“Strange Attractors”), and bouncy punk/pop (“Rock and Roll”), DDD is an indie rock tour de force and the best album of the band’s career.

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Sarah Zupko founded PopMatters, one of the largest independent cultural criticism magazines on the web, back in the Internet's early days of 1999. Zupko is a former Executive Producer for Tribune Media Services, the media syndication arm of the Tribune Company, and a 10-year veteran of Tribune. Her other pursuits involve writing historical fiction and research in the fields of Slavic and German history, as well as general European cultural and intellectual history. Zupko studied musicology, film, and drama at the University of Chicago and media theory at the University of Texas, where she received her M.A.


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