Lollipop Magazine

Baboon – Secret Robot Control – Review

September 1, 1997

Baboon has succeeded in interjecting some high-quality, palpable, and richly if not delicately textured material into Secret Robot Control.

Lard – Pure Chewing Satisfaction – Review

September 1, 1997

Jello’s points sometimes risk getting lost amongst the slam-racket. Refer to the shocking, revelatory, and hilarious newsprint collage in the lyric booklet.

Autumn Dawn – …Emptiness – Review

September 1, 1997

Nice throaty growling, some even-tempoed riffing, a few melodic transitions to break up the monotony, but with weak drum production and overall muddy sound.

L.A.P.D. – Review

September 1, 1997

Combining ’90’s self-titled EP and ’91’s, Who’s Laughing Now, this re-issue shows three members of Korn in their early, funky metal, solo-happy stages.

Attrition – Étude – Review

September 1, 1997

This album sound human, as if they were in a sitting room, with a few spectators, creating a music that is both dark and haunting as well as organic and fresh.

Jack Drag – Unisex Headwave – Review

September 1, 1997

The tone is at times pure pop ethereal or woozy psychedelic “slackadaisical” and at others, an inventive, overly fuzzy organ-fueled search for a melody.

Arab on Radar – Queen Hygiene II – Review

September 1, 1997

There’s no melody or harmony here, and singing along would be a difficult feat. This is not funny or a joke. It is totally raw, driving, piercing.

Hooverphonic – A New Stereophonic Sound Spectacular – Review

September 1, 1997

These guys in Belgium realized that if ya take half of a Portishead and do something Tricky to it, you end up with A New Stereophonic Sound Spectacular.

Amorphis – My Kantele – Review

September 1, 1997

If you grew up on the early, guttural vocals of Amorphis, then this is going to require an open mind. They’re more like a coffee-shop Queensrÿche now.

Alastis – The Other Side – Review

September 1, 1997

Slow, strong, and powerful, the majority is chunky and gruff, while interludes such as the intro/bridge in “Slaves of Rot” break up the monotony.