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Recent Press for Popstar Assassins MODERNE:

PLAYBACKstl, November 2005
(And some more niceties! Also Ink-on-Paper.)
Review by Kevin Retnick
Popstar Assassins - Moderne, TriangleBulletLines Recording Company
Originality isn’t everything. In fact, it’s seldom in evidence on this second effort by Popstar Assassins. This is primarily ’80s-era jangle pop, with a strong debt to early R.E.M. (especially in the vocals of Tim Thomas), Psychedelic Furs, Johnny Marr’s guitar work with the Smiths, and maybe the more recent work of the Shins. Yet despite the familiar approach employed by this Seattle outfit, they’ve made a wonderfully listenable recording.

Leadoff track "Headache(s)" has stuck in my head as much as anything I’ve heard lately, owing to its atmospheric, Murmur-like guitar riff and a punchy rhythm section. "I Request Roses" is even better, and though some will gripe about the obvious Michael Stipe-isms, I was thoroughly charmed by the restraint in the vocal delivery amid the sweet guitar sound and clean bass. By the time I got to "Yr Legend Grows," I couldn't help but notice how great the mix is on this 11-song platter; credit for that goes to both producer Thomas and drummer/engineer Dan Mohr. Every note on the guitars is cleanly audible, and on "Legend," there's a very simple keyboard part (mostly one note repeated) that is thoroughly ear pleasing.

There's no doubt that songs like the rousing rocker "Easy for You" and closing "Symbols/Shelter" sound like they're from some great lost early R.E.M. album-and that may prove enticing for those who aren't too thrilled with the Athens legends’ exceedingly contemplative direction these days. But Popstar Assassins do vary things more on the disc's second half. The calm center and yet buzzing guitars of "Unmoved" are impressive, and "Adrenachrome" has a more varied arrangement than other tunes, with Thomas shifting his vocal approach to something darker, and a nice high harmony to accompany him.

My favorite song is probably "For Robert Wyatt" (I'd love to know the origins of this one), which has the most intriguing arrangement and some rather mesmerizing ethereal background vocals. It shows the genuine creative potential of this likable band. "We are big fans of a lot of music," the band says with understated sincerity on their press release. "Some of those influences are probably noticeable in the songs and mixes." Yeah, guys, 'tis true. But not to worry. You play very well, you sing well, you care heaps about how your records sound, and you obviously love what you do. That adds up to something far more impressive than some of the more original records around right now. And I have a feeling I'm gonna be playing this disc fairly regularly, especially on the road. In short, these Popstar Assassins have hit enough musical targets to be well worth the attention of both old-school and modern-rock fans alike.

THE BIG TAKEOVER; Music With Heart, Issue 57, Death Cab For Cutie cover, pg 204
Review by Theo Cateforis
Popstar Assassins - Moderne
If their press profile is to be taken at its word, Seattle's Popstar Assassins have a considerable following there. And listening to their second album, I can believe it. This is classic local bar band material, albeit tempered with a more nuanced '80s power pop edge. There's bits of R.E.M. and The Dream Syndicate and maybe even The Downsiders. Actually they remind me of Indian Bingo for some reason... but I digress. Smalltime clubs thrive on this sort of meat'n'potatoes stuff-- it's not too loud, a lot of the band's friends come out to show their support and the venue sells tons of beer. Everyone's a winner. The Popstar Assassins aren't groundbreaking, but they probably make a lot of people happy, and sometimes that is enough.

LEFT OF THE DIAL; Music For You, Not Them..., December 2005
Review by Nelson Heise
Popstar Assassins - Moderne
Amongst all the glam/metal rock of the eighties, there was a quiet but very influential indie rock scene. Now, most of you know that, because you wouldn¹t be into unheard/unsigned bands otherwise, and wouldn't be reading a review on this indie music friendly website. Most of that influential music is credited by bands nowadays, but a lot of times you can't really hear it in their music; this is not the case for Popstar Assassins' sophomore album Moderne. The band's material is swimming with sounds similar to early R.E.M. and Husker Du, and it also melts a modern twist with influences like Spoon and Radiohead to form a unique sound that makes for good listening.

The band comes from Seattle, but the music here is a far cry from the sounds that made Seattle a hotspot in the early 90s. What you have here is eleven polished tunes that are well structured and catchy. All members seem equally represented with appropriately placed guitar work, a competent rhythm section, and radio friendly vocals. The album never gets too aggressive with its rockers, and this works well for this band. The album has a sound that kind of keeps you hypnotized.

Songs that I particularly like are "Headache(s)" and "I Request Roses." The first is probably the most rocking track on the album with its start-stop, distorted guitars and nice synth melody. The band chose it as the first single, and it's easy to see why; it is a track that will make you want to find out more about Popstar Assassins. "I Request Roses" gave me the feeling of listening to an early R.E.M. song mixed with a little Sonic Youth. I think it must be the vocals that did it for me ­ a bit buried in the mix and sung in a very drawn out way, searching for higher notes, almost sounding as though they weren't certain they were going to hit the note; but just in the nick of time they do. This is very a good album. Part retro and part modern, Popstar Assassins seem to wear their influences like a badge of honor.

THE WIG FITS ALL HEADS; Interviews, reviews and photos for web-savvy music fans, December 2005
(Editors Note: We seem to do well with the ladies... must be those long billowing locks)
Review by Devon McReynolds
Popstar Assassins - Moderne
Seattle-based band Popstar Assassins have already garnered much critical acclaim with the release of their sophomore album Moderne, and have been added to over 200 college radio stations across the country. The band has even made the College Music Journal's Top 30 chart at 20 of these stations. Pretty impressive for a band that records and releases their albums through their own label, TriangleBulletLines Rec Co.

On Moderne, Popstar Assassins indeed live up to the previous rave reviews and wildly complimentary comparisons (the Shins, the Smiths, Husker Du). The opening track, "Headache(s)" starts off with grating guitar, but is then countered by singer Tim Thomas' smooth, but pleading voice, similar to that of fellow "college rock"-er R.E.M.'s Michael Stipe. In "Close My Eyes," Thomas takes on the voice of Morrissey--sad, beautiful, with maybe just a sliver of hope. Popstar Assassins show another element of their music with "Yr Legend Grows," slowing it down to a Rogue Wave pace, and adding additional chime/xylophone sounds that beautifully complement the gentle drumming and strumming. "For Robert Wyatt" is a fitting tribute to one of Popstar Assassins cited favorites, with ambient aaah-ing a la Sigur Ros and synth in the background of a gentle pseudo-ballad.

Popstar Assassins have rejuvenated the sound of "90s college rock," mixing in elements such as synth and chimes to what could have been a typical guitar/bass/drums combo. Those who live in Seattle can pick up a copy of Moderne at Tower Records, Sonic Boom Records, and Cellophane Square. For anyone living outside of the area, check out Popstar Assassins at http://www.myspace.com/popstarassassins or purchase the album through InSound.com.

POPMATTERS, December 7, 2005
5 - Average. Decent, but will probably appeal to fans of the artist the most.
(Editors Note: Savvy review with smart things to say... do we know each other? )
Review by Patrick Schabe
Home page tease: The determination and dreams of DIY bands are alluring, but indie rock will eat itself.

Popstar Assassins - Moderne
What's in a name? The MySpace page for Popstar Assassins lists the band as "post-punk power pop". On their official website (a personalized Comcast page, mind), bandleader Tim Thomas refers to the [group] as "a couple of aging indie rockers." And while there is evident truth in both statements, neither these descriptions nor the music seem to live up to the edge and danger implied in the band's moniker.

In truth, Popstar Assassins is the project of Tim Thomas and his partner Cale Hoopes, along with a small cadre of music-minded friends, releasing some workable, indie-styled music on their independent lonesome. The band's sophomore release, Moderne finds Thomas and Hoopes delivering a disc of middle of the road, familiar and unobtrusive music, self-produced and self-marketed and fingers crossed. The only thing they're assassinating is the idea of pop stardom. Just a couple of guys, their own money, their own labor, and some networking.

How can you say no to that?

There are bands like this everywhere, and that's what makes their story both endearing and ubiquitous. If these Assassins have anything working in their favor, it's that their home base is Seattle, a town no longer flooded with music mogul money and inflated contracts, but still swimming in small DIY pop bands, and supported by a town that still bothers to pay attention to locals. Still, although it may be studio production and label promotion that separates the Death Cabs from the pedicabs, or the Postal Service from the mail men, even the basement pop star has to have the songs to compete. And while Popstar Assassins may have moments of clarity, for the most part the songs here are seldom distinguishable.

It's not for lack of some basic talent, though, but rather the fact that they constantly seem to be imitating other bands with more personal style. "Headache(s)" seems like a grab for Interpol tension, "Close My Eyes" has a loose Wrens feel, and "I Request Roses" is the requisite Smiths-influenced track. And the real killer is that they don't seem like they're deliberately imitating -- not in the way that we suddenly have a bumper crop of "angular post-punk" bands -- but there's just a lot of previously tread ground in these songs. On the other hand, that means that Popstar Assassins have familiarity working in their favor. The aforementioned "I Request Roses" has all the proper amount of jangle in all the right places, and when the song builds to a sort of shoegaze crescendo, the vocals climb in just the right spots. There's as little to complain about as there is to shout about.

Occasionally a hook does surface to catch you off guard, and those are the moments that Popstar Assassins needs to focus on in the future. They've got the melodic structures down just fine -- for instance, "Easy for You", but the song takes a weak break for a plinky solo that leaves an opening. But even the aimless piano and collapsing vocals of "Adrenachrome" work to give the song a slight edge of difference from the other tracks. Similarly, the foregrounded, drooping vocals of "For Robert Wyatt" work great against the lazy backdrop and theremin-styled space sound effects. Likewise, "Symbols/Shelter" mines the Joy Division-esque territory currently in vogue by drawing it out and stripping it down to '80s goth territory, rather than repeat the dance punk disco thing ad nauseum.

But when the album seems to find its own place in the last handful of tracks, there's no chance it's going to stick with you in the long run. For a band going it on their own, Popstar Assassins are worth supporting, but they're not going to impact your life yet. They've got the indie rock vibe down, but they need more of the power pop in their post-punk. Until they start mining for their own hooks, they'll be in perpetual opening act territory; not a bad place to be, but capable of so much more.

HARDER BEAT; Everything that "rocks", October 2005
(Editors Note: This is a low-rent web-rag for Heshers... they gave 5 stars to a dude with poodle hair chunking out muted power chords who partys like it's 1989. This is my favorite review!)
Review by Jason Janik
1 star
Popstar Assassins - Moderne, Tri-angleBulletLines Recording Company(sic)
The band name is right on the money with this one. With just one listen, it’s obvious these Seattle musicians have no plans of becoming pop stars. After all, anyone who actually loved music would never whine through eleven tracks like a Morrissey wanna-be (minus the clever British accent). The music isn’t too bad, but even skillful playing can’t make up for terrible vocals. For fans of crap like Morrissey, this may be a disc worth looking into. For the rest of us, pass this one up.

EARCANDYMAG, October 2005
Review by J.R. Oliver
3 1/2 bolts
Popstar Assassins,"Moderne" (Triangle Bullet Lines)
Well, this is the coolest band name out of the whole stack of cds I received this week to review. They sound a bit like Longwave or the Go-Betweens. British influenced pop rock with an edgy side to it. This album is extremely catchy but not to the point of being annoying. It also has a bit of a Smiths feel to it as well. A little moody but with soaring lyrics if that makes any sense. “Close My Eyes” is great. I also really dig “Easy For You” because it sounds a bit like early R.E.M.

SKRATCH Magazine, "punk.hardcore.emo.screamo.skate", November 2005
(Editors Note: We [heart] dope and sex-- drop some E's and feel the noize!)
Review by "Luke Skywalker"
POPSTAR ASSASSINS, "MODERNE"
A mellow compilation of rock ballads, MODERNE is a good album to relax to. I wouldn't recommend this while driving or operator heavy machinery; but if you're in the mood to smoke drugs or have a sexy time, then this could be the album for you. This 11-song record includes very artistic liner notes with the feel of construction paper that will be especially sensational after downing a pocketful of ecstasy. Perhaps MODERNE is only valuable during those strung-out times. Sorry, straight-edge kids, this is not for you.

SMOTHER.net, September 2005
Review by J-Sin
Popstar Assassins,"Moderne" (Triangle Bullet Lines)
Popstar Assassins remind me a lot of past R.E.M. songs. Each polished track has that signature vocal that Michael Stipe made so famous from the depths of his Athens, Georgia hometown so many years ago. A pop-rock adventure with a well positioned guitar assault, [Popstar Assassins] dig their heels deep into noisy indie pop with deviant memories of the past two decades of rock.

KILLING YOU GENTLY, SHAKE YOUR FIST music blog:
Saturday, August 20, 2005
Post by Amy
As a band name, Popstar Assassins is a little disingenuous. Because these Seattle guys certainly have popstar potential (in the indie sense, naturally), yet aren't gonna slay anyone with their unthreatening, ear-friendly sound. The obvious corollary is The Shins, though Popstar Assassins' song structures are probably a little more traditional (strictly verse-chorus-verse) and they rock harder and noisier. I also hear The Smiths, particularly in those affected--sincerely affected--vocals. (It's like that line from Breakfast at Tiffany's, "She's a phony, but she's a real phony.") I can't find specifics on who the Popstar Assassins players are, leading me to believe this is a one-man DIY band with friends who play backup when required.

Their latest album, Moderne, is available at Insound.

MALKMUS, ETC., SHAKE YOUR FIST music blog:
Thursday, September 8, 2005
Post by Amy
Finally (and there's no Malkmus connection that I know of): A couple weeks ago I posted something about Popstar Assassins, wondering aloud whether this was a one-man band. Main man Tim Thomas was kind enough to contact me and let me know that until recently they were a fully functioning live band, but these days he's more focused on studio work. However, Thomas says that Popstar Assassins--the whole band--might consider hitting the road if the climate was right. You can help make that happen by buying their latest album Moderne. To tempt you, here's another very cool track:

Close My Eyes (mp3) - Popstar Assassins

Moderne promotional MP3 track "Symbols/Shelter" called out on the following music blogs:
SIXEYES
Shake Your Fist
Large-Hearted Boy
Burning World
iPod Nirvana

Here are some of the "meh!" and the outright pans... with editor's notes of course.

SILENT UPROAR, "Music for the Listening Impaired", October 2005
(Editors Note: This reads like a cherry-pick of the least complimentary stuff from other reviews- the old "damning with faint praise." Listening impaired, indeed.)
Review by david
2.8/5 "manstyle" points
POPSTAR ASSASSINS, "MODERNE"
The Popstar Assassins aren't slaying popstars just yet, but they're also not falling into the category themselves. They're definitely not stars, but as far as "pop" goes, they're halfway there. The appeal is there, but Moderne is just a bit rough for that tag. Don't take it as a negative comment, though, for the band has much more to offer...
The jangling guitars stir up memories of early REM. And actually, the vocals do sometimes as well, though only slightly. Far from overproduced, Moderne is gushing with halfway-memorable melodies, and where the lo-fi production fits the album, there is still an abundance of dull moments. "Headache(s)" grabs your attention as the opening song--albeit somewhat predictable--but enjoyable nonetheless, and the swelling keyboards are a nice touch. The remainder of the album follows suit but is so atypical of the genre without supplying anything exceptional.
I can't find much about Popstar Assassins. Their album has no website listed, and search engines yield no results for their website, or even that of their label (ed note- oddly, the site is listed in the header of the review). Possibly a band based solely on a hobby? I don't know, but I can say this--they fall in just above mediocrity. They can be charming on occasions and sleep-inducing on others.

THE PHANTOM TOLLBOOTH, "Your Gateway to Music and More from a Christian Perspective", October 2005
(Editors Note: Contains no songs explicitly about Jesus, therefore it is boring.)
Review by Justin Wright
1/5 clocks
POPSTAR ASSASSINS, "MODERNE"
Moderne didn't really do much for me. The music reminds me of the stuff I helped some friends record in college about ten years ago that ended up in the bottom of a dorm room dresser. Nothing much. The guitars were a bit repetitive. They moved from song to song without much distinction. The vocals seemed a little grating. Kind of a nasally, dragging sensation. There seems to be a touch of early R.E.M. there, but not enough to keep listening to it after the first time through. The title of the first song kind of summed it up for me..."Headache(s)"

EXODUSTER.COM, "Your Indie Cred One-Stop Shop for Grad-Student Rock", October 2005
(Editors Note: Exoduster's grade for vocabulary, spelling and grammar? D+)
Review by The Professor
GRADE: C/C+
POPSTAR ASSASSINS, "MODERNE"
One must be pretty affront to pick a moniker of Popstar Assassins. You could easily read into a variety of meanings and connotations to such a name ­ both good and bad. Lead by Tim Thomas and Cale Hoopes, Popstar Assassins aim for an indie pop sound, but generally get tripped up into just a wall of guitars (in a bad way). The badness often comes via the weak vocals (witness the note-holding attempt during "Close My Eyes"), but that is only part of the story. The more important part is that the eleven songs are just really boring. The music is tight and 'correct,' but there is little to hold on to. Add to that the clearly home recorded guitars that move between tinny and undistinguishable layers and you wind up with a blah record. One has to take further issue with one sheet promoting as sounding like the Shins, Rogue Wave or the Wrens. At best, Popstar Assassins are your favorite local band from a really small college town, but to compare them to such heavyweights is like saying I¹m as smart as Einstein or can basketball as well as Michael Jordan. (Editors Note: Or as good at the English Language as a third grade substitute teacher.)

Press for Popstar Assassins Self-Titled:

These dudes are totally NOT popstar assassins. They are just popstars. The guitar, bass, drums with occasional keyboard lineup. The catchy hooks. The veres chorus verse format. The cheesy choruses: "My love is a [golden lie]... it really didn't change a thing." Not that this isn't interesting or appealing. I love a good pop album. This is a good pop album. Not a great pop album, but a good one. I dig the heavy drums and layered guitars. I dig their voices. I dig it. Perfect college radio fare.

SKYSCRAPER #17 page 142 (Bugles and Band names cover)
Review by Adam Rathe

Polished and poppy, this self-titled debut from Seattle's Popstar Assassins has the distinct sound of a college radio classic. Opening with "Goodbye," a guitar-driven standout destined to be a single, the album manages to hold the listeners attention without going over the top. Conversational in tone, Tim Thomas' singing could be more dynamic at times, but is overall admirable in driving the songs. The brilliant "Mistakes Were Made" holds up the middle of the record with its bright guitar and slow jangle pace, coming as close to a ballad as the band gets here. More intimate is "Morning Song," practically made for mixtape love letters, which manages to find not only the most sincere spots on the album, but also some of the heaviest guitar. Humorous and biting, "In Regards to the Contract, Subsection (c)," taunts the world of major label music, and though it doesn't quite fit with the other tracks, it makes a great addition to the record. Popstar Assassins might need to rethink their name, because one day soon they might find themselves dangerously close to being pop stars themselves.

THE BIG TAKEOVER magazine, Issue 54 Summer 2004 (Stereolab Cover), pg. 273
Review by Marcel Feldmar

This starts off with a strange 80's feel, a little Psychedelic Furs that tends to rock out a little more. I think it is the slight guitar lines and the thoughfully introspective tone in the vocals. There's shimmers and sparks, jags and jangles, creating a full embrace of sound, wonderful melodics, dissonance and noise. PA play these pop songs with a quick wink, saying "We could be popstars, but yeah, we'd rather kill them; this is what we do." They're definitely catchy, but at the same time, it leaves you thinking good things, so don't worry.

AMPLIFIER magazine, May/June 2004 (Beta Band Cover)
Review by Terrence Flamm

On their eponymous full-length debut, Seattle-based Popstar Assassins recall early '80s guitar-driven bands like Translator and Wire with a touch of mystery a la vintage R.E.M. The six-minute "Goodbye" immediately establishes the band's love for extended instrumental passages sparked by guitar solos. Singer/songwriter Tim Thomas still hasn't figured out how to keep slower songs like "Mistakes Were Made," "Yr. Regrets" and "Morning Song" from meandering, but fortunately, there are only three of them on the CD. Otherwise, Popstar Assassins brims with energetic tracks like "The Drowned World," "Why I'm Holding Out" and "Wedding Present" that combine an innovative ambience with a melodic jangle that recalls the folk rock of the Byrds. Thomas has a little more fun on his vocals on "In Regards to the Contract, Subsection (c)," a satiric look at a music industry that Popstar Assassins should do pretty well within, actually.

SPLENDID e-zine, 3-22-2004
Excerpt from review by Theodore Defosse

Popstar Assassins have a well-deserved local following in Seattle. Their lead vocalist has a respectable voice, and their songs are well constructed. The unpretentious tunes grow on listeners like fur on a cat. While "Goodbye" ends with a clash of minimalist buzzsaw guitar, their music is typically straightforward verse-chorus-verse fare, with jangly guitars and slight rhymes. Lyrics are casual, but at least they're not fake. Popstar Assassins don't try to cram a thousand heartaches into a single pop song, [they are] intelligent lads who live and perform in a mostly-minor key. [Popstar Assassins] are worth the time and work involved, because it's rare these days to find a pop album with no jarring moments. They're always bearable, and eventually, after the fourth or fifth time you hear them, they emit a warm glow.

The Planetary Group, 3-22-2004
Radio Promotion Summary

The Popstar Assassins have taken Seattle by storm and are bringing their brand of British influenced pop rock with them. Blending classic college rock with the attitude of their UK counterparts, the result is both catchy and brooding, melodic and atmospheric and just down right good.

Recommended If You Like: Sugar, Ride, Blur

Previous Press for Popstar Assassins:

I had a lovely Valentine's Day (thank you for asking), spent in part with Aveo, S, and the Cock-Ups at the Crocodile. But my most intriguing holiday surprise came in the form of a three-song demo CD enclosed in a card requesting I be the valentine of a local band named Popstar Assassins. I'm very happy to report that the disc, recorded by Silkworm's Tim Midgett, proved to be right up my alley and the band has driven straight into my heart. "Stranger Music Section + Popstar Assassins = TLA?? Yes? No?" asked the hearts- and monkey-covered valentine. Let me think it over for a moment... fast and frenzied guitar with plenty of jangle, sweetly contemplative lyrics sung by a guy who can actually sing, and a Valentine's Day card with a monkey on it? My answer most definitely would be "yes." You can see what all the swooning is about when Popstar Assassins open for the Minders at the Crocodile on Wednesday, March 7.

The STRANGER, Seattle, 8-9-2001
Excerpt from One Night Stand (Live Performance Review) by Jeff DeRoche

Popstar Assassins
Thurs Aug 2, Sunset Tavern

…Overall, the Popstar Assassins' show is strong, simple, and full of college-rock goodness laced with Brit- and jangle-pop. The sound is clean and accessible, and my only complaint would be that the show needed an edge to capitalize on the Assassins' excellent potential.

As I listen appreciatively to these fine musicians, I decide they occupy a no man's land, with neither the grit of their countrymen or the charming pomposity of their overseas counterparts.

But then they win me over. The set closes with a song called "Goodbye." It is moody and insular. Guitars are dreamily effected. Drums stutter, and the show moves into a late but exciting climax.

[Goodbye] is a really great song.

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