October, 2008 | Lollipop Magazine

Angel – On Earth as it is in Heaven – Review

October 1, 2008

Angel’s third album has been quite the collectible, and here it is, freshly reissued on an upstart label that also addressed Spread Eagle’s excellent debut.

Amon Amarth – Twilight of The Thunder God – Review

October 1, 2008

Accessible Sunlight Studio death circa grinding Entombed, crossed with In Flames, Six Feet Under, and a bunch of holler-along anthems from power metal.

Civilization – Revolution – Review

October 1, 2008

An artfully streamlined approach to the plan/build/conquer RTS template. Matches between dueling civilizations are mostly quick and fun.

Marc Almond – Live At Lokerse Feesten 2000 – Review

October 1, 2008

Marc Almond hit the charts with one of the most enduring, wettest, sleazy hits of synth-pop, Soft Cell’s “Tainted Love,” a cover of Gloria Lewis’ 1964 hit.

Lydia Lunch – Video Hysterie: 1978-2006 – Review

October 1, 2008

A menacing cool urban ’50s heroin vibe jimmied through a less-polite take on the ’90s Tom Waits/Cop Shoot Cop wheezy industrial/song writerishness.

Iggy & the Stooges – Escaped Maniacs – Review

October 1, 2008

Sex Pistols, Dead Boys, and The Damned covered’m: Their groove landed in The Avengers lap, the Flesheaters hands, then, with their true heirs, Black Flag.

Spread Eagle – Review

October 1, 2008

Spread Eagle made equal or better scratch ‘n’ claw party metal than Guns ‘N Roses ever did. Now the molten, screechy, hell-raisin’ debut has been reissued.

Sound and Fury – Review

October 1, 2008

Buckcherry juiced by Murderdolls/Wednesday 13. A punk integrity that leans it into Hanoi Rocks/New York Dolls terrain, due to the wild child vocal twang.

Ross The Boss – New Metal Leader – Review

October 1, 2008

Original Manowar guitarist Ross The Boss was also a Dictator, so he’s been around a bunch of cool bands. Solid grounding in meat and potatoes rock ‘n’ roll.

Jeff Loomis – Zero Order Phase – Review

October 1, 2008

(Aging) boy wonder for Nevermore, he lets rip with riffs that are likely just too complex and extreme to serve as vehicles for Warrel’s words.