The Joy Poppers | Zoomar!

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Rock: Psychedelic Pop: Psychedelic Pop Moods: Mood: Weird
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Zoomar!

by The Joy Poppers

Psychedelic pop-rock
Genre: Rock: Psychedelic
Release Date: 

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  Song Share Time Download
1. Zoomar!
1:02 album only
2. The Marmoset
3:18 album only
3. Dreams of Gac
3:50 album only
4. Happier Sad
3:50 album only
5. Paraphernalia
3:11 album only
6. Dolorous
3:25 album only
7. Who Tripped the Burlap Sisters?
3:11 album only
8. Laughing Underground
2:45 album only
9. Chalk Boy
5:02 album only
10. Malcolm Inverarity
3:04 album only
11. The Boy Who Could Not Stop Washing His Hands
5:01 album only
12. Magnetic Mildred
3:10 album only
13. Downers Grove
4:29 album only
14. Gangrenous Heart
5:17 album only
15. The Stirling Siliphant
3:01 album only

ABOUT THIS ALBUM


Album Notes
"The Joy Poppers consist of Brian Wilson-like figure Tom Szidon and Jason Batchko, but others have passed through their ranks. They have put out two fabulous albums of quirky, hook-laden psych-pop."
Galactic Zoo Dossier

"How can be written a critic with the minimum rigor on a group on which does not know, nor absolutely nothing will be known, unless mouth-to-mouth works? When it was published "Zoomar" was an impossible adventure. Today all son of neighbor has Internet at least. That it knows The Joy Poppers is only the result of the bet of a disc store that was ventured to concern of Chicago few units, with such fortune, that one fell in my hands exploding like a great fresh air tank. They convinced to me that me it took it of the store so that was the product of a completely irreverent mixture of styles that approaches Pavement XTC or Beatles of a certain much more novel way that the one that carries out santones of the panorama indie, being in the end, that The Joy Poppers, is only looked like The Joy Poppers, which is called personality, we go. From the wild instrumental opening of the disc in that they mix the rates of fair with indebted guitars of the ucraniano experiment of Wedding Present to the slowed down end of the disc there is almost one hour of secret hymns of the 1996 rock in which all the woods of the rock are touched almost. Recommendable by its self-confidence and originality. Pain is one that had no promotion nowhere, since it would serve many to him to make sure that lo-fi existed a different life deranged after Pavement. A high notable its facility to compose gems of rock and roll that could not more be done than in 1996."

One of the weirdest as well as most melancholy stories of human deformity is that of Edward Mordake, said to have been heir to one of the noblest peerages in England. He never claimed the title, however, and committed suicide in his twenty-third year. He lived in complete seclusion, refusing the visits even of the members of his own family. He was a young man of fine attainments, a profound scholar, and a musician of rare ability. His figure was remarkable for its grace, and his face—that is to say, his natural face—was that of an Adonis. But upon the back of his head was another face, that of a beautiful girl, "lovely as a dream, hideous as a devil." The female face was a mere mask, "occupying only a small portion of the posterior part of the skull, yet exhibiting every sign of intelligence, of a malignant sort, however." It would be seen to smile and sneer while Mordake was weeping. The eyes would follow the movements of the spectator, and the lips would "gibber without ceasing." No voice was audible, but Mordake avers that he was kept from his rest at night by the hateful whispers of his "devil twin," as he called it, "which never sleeps, but talks to me forever of such things as they only speak of in hell. No imagination can conceive the dreadful temptations it sets before me. For some unforgiven wickedness of my forefathers I am knit to this fiend—for a fiend it surely is. I beg and beseech you to crush it out of human semblance, even if I die for it." Such were the words of the hapless Mordake to Manvers and Treadwell, his physicians. In spite of careful watching he managed to procure poison, whereof he died, leaving a letter requesting that the "demon face" might be destroyed before his burial, "lest it continue its dreadful whisperings in my grave." At his own request he was interred in a waste place, without stone or legend to mark his grave.

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Reviews


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Ben Is Dead

Wifts of the 60s. Nice harmonies. Silly lyrics.
Record Rating 1-10: 8. Wifts of the 60s. Nice harmonies. Silly lyrics. Can you say analog? XTC, Julian Cope, etc., good.
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Jason Roth, Chicago Tribune

Szidon has exhumed the syrupy sweet heart of lightweight early '60s pop
The Joy Poppers (Highland Park's Tom Szidon) occupy the middle ground between the bright-eyed simplicity of pre-Rubber Soul Beatles and more wayward pop explorers like XTC and Robyn Hitchcock. Zoomar!'s analogous cover art shows a lovelorn young man cuddling a freshly extracted human heart. Szidon has exhumed the syrupy sweet heart of lightweight early '60s pop (lilting harmonies, handclaps, la-la-la's), but has directed the prerequisite love confessionals towards animal obscurities like the South American monkey namesake of The Marmoset and human oddities such as Chalk Boy and The Boy Who Could Not Stop Washing His Hands. Standouts include the four closing songs culled from a 1993 demo tape, particularly a sardonic tribute to the heretofore un-groovy Downers Grove.
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Peter Margasak, Chicago Reader

One of the more impressive examples of wiggy pure pop to come out of Chicago in
Essentially the handiwork of singer-guitarist Tom Szidon, Zoomar! (Widely Distributed), the debut album by The Joy Poppers, arrives as one of the more impressive examples of wiggy pure pop to come out of Chicago in years. Taken alone the band's melodic skills would be nothing to sneeze at, but Szidon clearly favors the sideways quirkiness of XTC: his songs go in myriad directions, interrupting hooks with weird passages of noise, gloppy harmonies, and off-kilter instrumental virtuosity. Things get a bit too clever here and there, but if you view Andy Partridge as a genius, you'll probably dig these acolytes.
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Gwen Inhat, Illinois Entertainer

They churn out cotton-candy fluff lyrics, hit amazing harmonies, and have a very
You know how a toddler loves to sit on the kitchen floor and gleefully bang on pots and pans? The Joy Poppers are the grown-up version of that little lad, judging from the sheer joy that pours out of this pop disc. There isn't an instrument they won't try (bells are used as percussion on the pop riot The Marmoset, along with maracas, congas, and a bucket) as they churn out cotton-candy fluff lyrics (Happier Sad: Can one feel bad feeling glad?), hit amazing harmonies, and have a very, very good time. You will too.
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Junkmagnet

The crown prince of clanky fuzzy psychadelipop
Tom Szidon, that guy you thought you knew, walking across the street with umbrella in hand, is in actuality the crown prince of clanky fuzzy psychadelipop—all the licks in the world won't get you to the Bubble Yum center, visible even from the surface. Selling lemonade for 50 cents a shot glass makes me wonder about the heart on the cover; why plastic-wrap for fake blood? Nice people in the world don't ask such questions, they just line up at the bus stop, pay in pennies, and sing happy songs on the way to the monster truck marathon.
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Nelson Orwell


The music reminds me of one of my favorite artist, Andy Partridge, in his more flippant moods. The tone is one of innocence and adolescent longing and fears. Nice use of guitars to achive different colors. I digg it!
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