BUY Poptastic's debut album: The Teen-Pop-Noise Virus at TARGET Or BUY it on iTunes!POPTASTIC: The Teen-Pop-Noise VirusSeeland Records is pleased to present one of the most absurd albums of all-time: Poptastic’s “The Teen-Pop-Noise Virus.” The music, like the band itself, was spawned from the warped minds of experimental producers Chris Fitzpatrick and Thomas Dimuzio. At the core of their debut release are twelve intricately mangled songs, but in the spaces between, there is much more.
Fitzpatrick assembled Poptastic as a coed “boy-band,” conjuring the spirit of Lou Perlman, who manned the helm of the millennial teen-pop wave. Accordingly, Fitzpatrick wrote and performed pop music and enlisted random friends to sing the sappy break-up-to-make-up lyrics he wrote in an imagined teenaged perspective. Once complete, the process had really only begun, and the production team of Dimuzio and Fitzpatrick set out to obsessively destroy the album masters with electronic effects until the music sounded as if a virus had infected the studio. Although the producers suggest the album still vaguely resembles the original, all of the original masters have been destroyed; only the remix remains.
Poptastic’s alien sound has found a welcome home at Seeland Records. Influenced by and aligned with the spirit of Negativland’s music and philosophy, Poptastic has applied similar methodologies to itself. Poptastic was created for the sole purpose of sampling itself into a collage—a version of a version of something unknown and inaccessible.
Poptastic’s basic concept is accessible and humorous, yet buried in the layers of sound is a complex web of mixing, remixing, editing, re-editing, arranging, and de-arranging that continues to reveal something new with each listen. It was also designed so that in CD shuffle play, only the “hits” play, yet when in continuous linear play, the entire album is a single interwoven work; the spaces in between songs are arenas in which fragmented elements of each song collide and blend discordantly. Fitzpatrick explains, “We are finding that people are not as confused by the music as by why they find themselves listening again and again.” With a smile, Dimuzio sums up the entire project, “Poptastic is just plain wrong.”
You are kind gentlemen. Gentlemen with hats, wet from a bucket poured by Agnes from the seventh floor. Agnes is pataphorical, the hats are metaphorical. In reality, you remain gentlemen.
CHRIS 2:4
CIMI MONSOON
THE RASP
KATIE YATES
AMANDA BOMBSHELL
POPTASTIC: The Teen-Pop-Noise VirusSeeland Records is pleased to present one of the most absurd albums of all-time: Poptastic’s “The Teen-Pop-Noise Virus.” The music, like the band itself, was spawned from the warped minds of experimental producers Chris Fitzpatrick and Thomas Dimuzio. At the core of their debut release are twelve intricately mangled songs, but in the spaces between, there is much more.
Fitzpatrick assembled Poptastic as a coed “boy-band,” conjuring the spirit of Lou Perlman, who manned the helm of the millennial teen-pop wave. Accordingly, Fitzpatrick wrote and performed pop music and enlisted random friends to sing the sappy break-up-to-make-up lyrics he wrote in an imagined teenaged perspective. Once complete, the process had really only begun, and the production team of Dimuzio and Fitzpatrick set out to obsessively destroy the album masters with electronic effects until the music sounded as if a virus had infected the studio. Although the producers suggest the album still vaguely resembles the original, all of the original masters have been destroyed; only the remix remains.
Poptastic’s alien sound has found a welcome home at Seeland Records. Influenced by and aligned with the spirit of Negativland’s music and philosophy, Poptastic has applied similar methodologies to itself. Poptastic was created for the sole purpose of sampling itself into a collage—a version of a version of something unknown and inaccessible.
Poptastic’s basic concept is accessible and humorous, yet buried in the layers of sound is a complex web of mixing, remixing, editing, re-editing, arranging, and de-arranging that continues to reveal something new with each listen. It was also designed so that in CD shuffle play, only the “hits” play, yet when in continuous linear play, the entire album is a single interwoven work; the spaces in between songs are arenas in which fragmented elements of each song collide and blend discordantly. Fitzpatrick explains, “We are finding that people are not as confused by the music as by why they find themselves listening again and again.” With a smile, Dimuzio sums up the entire project, “Poptastic is just plain wrong.”
