Paul McCartney Really Is Dead: The Last Testament of George Harrison

By Christian Lipski

I took a class on Ancient Roman history once, and slogged my way through the textbook and its dry recounting of the emperors’ lives. Later I discovered Robert Graves’ historical fiction I, Claudius and suddenly the facts came to life. The personalization of the information made it more real to me, and I actually learned more through that book than my class. Presentation can mean a lot, even when the material is lifeless. This is what director Joel Gilbert puts into effect with his film Paul McCartney Really Is Dead: The Last Testament of George Harrison, which gives a living voice to the “Paul is dead” phenomenon.
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Richard Thompson, Dream Attic

By Chelsea Spear

In the early 1990s, British folk music hero Richard Thompson found himself the subject of a surprise revival. While his instrumental and songwriting ability had remained at a consistently high level throughout his career, his signing to Capitol and subsequent MTV success (with “I Feel So Good,” which would later appear as Puck’s unofficial theme on The Real World: San Francisco) brought him a younger, more diverse audience.
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Isobel Campbell and Mark Lanegan, Hawk

By Noreen Sobczyk

Mark Lanegan and Isobel Campbell are well-known artists, each in their own right, coming from The Screaming Trees and Belle and Sebastian respectively. On their three collaborations thus far, the duo often resembles the lazy, hazy ease of bands such as Mazzy Star or The Cowboy Junkies.

While the Campbell/Lanegan collaborations are often gorgeous, Hawk proves that this formula might have worked best in one concentrated dose—perhaps as one release—instead of being portioned out repeatedly over multiple efforts.
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Don’t Be Afraid Of The DVD?

By Less Lee Moore

As a fan of the 1973 made-for-TV movie Don’t Be Afraid Of The Dark, the news of the upcoming remake made me skeptical.

Don’t Be Afraid Of The Dark was one of those movies from my childhood that could scare me just thinking about it. I can’t even remember if I actually ever saw it, but like I said a few years back, I always remembered it as “the movie with the things in the fireplace.”
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The Prids, Chronosynclastic

By Jemiah Jefferson

Fully recovered from an intensely bad 2009, the black-clad Portland-based quartet emerges as if from a chrysalis, their sound now fully formed. These days, the Prids have a sound all their own, no longer reminiscent of New Wave pastiche and riffs cribbed from old goth favorites. The Prids are their own group now, with a sound as distinctive and unique as any of their inspirations while allowing enough room to shout out as the mood strikes.
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Sparks: No. 1 Songs In Heaven

By Matt Keeley

Sparks are awesome.

This is a given.

And, finally, Sparks have joined the rank of awesome things that have books about them. Two books, actually: Talent Is An Asset has already been reviewed in Popshifter, so now we bring you the other unauthorized Sparks bio, Dave Thompson’s Sparks: No. 1 Songs In Heaven.
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Candy Claws, Hidden Lands

By John Lane

I happily stumbled upon the duo named Candy Claws (now a sort of band) not too long ago. Their 2009 album, In the Dream of the Sea Life gives off a Wes-Anderson/Steve-Zissou vibe, from the quirk,y mostly-instrumental cinematic sounds right down to the design and packaging.

Sound architects Ryan Hover and Kay Bertholf return this year with Hidden Lands, an album that represents somewhat of a sideways progression. For hipsters clamoring for another boy/girl duo-combo (i.e., Beach House, She & Him), this will satisfy that need. What separates Hover and Bertholf from the pack, however, is the fact that there is a certain joyous naiveté that seems to guide them and makes their existence all the more curious and appealing.
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Los Lobos, Tin Can Trust

By J Howell

It speaks volumes about a band when, after 30 years and 19 albums, they remain vital. Los Lobos is just that, as Tin Can Trust demonstrates. For listeners who’ve slept on this institution of American music, or only know the cover of “La Bamba” from the 1987 movie of the same title, you’re missing out on one of the most consistently great bands, well, ever.

Don’t think you like Latin music? The cumbia “Yo Canto,” with its Marc Ribot-esque guitars, is brilliant. The norteno-flavored “Mujer Ingrata” bounces with such a joyous spirit that’s impossible to dislike. While the band does good by its Mexican-American roots, Los Lobos have always been masterful at incorporating all manner of American roots music into their work; Tin Can Trust is no exception.
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Our July/August 2010 Issue Is Out Now

July/August 2010 Issue

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to read the issue!

July/August Issue 2010

Issue 017—Staff Picks: Nerd References In Hip Hop, Hilarious American Commercials; Interviews with Shad; Ergo Phizmiz; Feature on À La Recherche du Brooding Perdu; Reviews of Inception, Manorexia, Steroid Maximus, Rufus Wainwright, Jesca Hoop, Wild Beasts, Neu!, Concrete Blonde, Billy Squier, The Rolling Stones/Mick Taylor; GOLD: Before Woodstock, Beyond Reality, Mister Fusty, Japanese Gum, and K-X-P.

San Diego Comic-Con Diary, Day Four

By Christian Lipski

Read:
Day One’s Diary
Day Two’s Diary
Day Three’s Diary

And then there was the last day. We eventually got up and packed our bags for checkout, and made our way to the convention floor for our last visit. Since it’s the last day and exhibitors want to ship as little as possible back home, there are rampant sales and many attendees only buy Sunday tickets.

Mile High Comics put their entire stock on sale for 50% off, for example. Independent publishers were willing to make deals, for the most part.The show closes at 5 p.m. as well, so the action in the convention center was tinged with both sadness and anxiety.
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