Reviews – Page 329 – Lollipop Magazine

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Division Of Laura Lee – Dasnotcompute – Review

December 1, 2004

Any garage band can sound like The Stooges/MC5, but D.O.L.L. mixes in danceable Goth with skull-crunching, ball-buzzing goodness.

Dismember – Where Iron Crosses Grow – Review

December 1, 2004

Still got that “classic” Swedish death sound: Unmistakably gnarly guitars, fuzzy production, semi-melodic riffs (but not Gothenburg melodic), and quick tempos.

Die Hunns- Long Legs – Review

December 1, 2004

15 songs (10 originals and five covers) running the gamut from hardcore to punk to quasi-surf to flat out ROCK. And it clocks in at about 40 minutes.

Death Angel – The Art of Dying – Review

December 1, 2004

The Art of Dying is the sound of a creative entity so far beyond rudimentary thrash, that they can’t even fake their discomfort in “returning to roots.”

Liquid Mercury – Beat Box Explosion – Review

November 29, 2004

Their sound drips with old school analog and the occasional cat-scratching record. It raises your temperature incrementally, like a locomotive building speed.

Kylesa – No Ending/A 110 Degree Heat Index EP – Review

November 29, 2004

Follows a strong stream of powerful, twisting, visceral, punk ID’d metal chomping punk; covers a Nausea song, and throws a Pushead cover as signifier.

Morgion – Cloaked by Ages, Crowned in Earth – Review

November 29, 2004

Near-infinite doom, My Dying Bride ground up by sort of gravelly Entombed tones, death vocals, and Neurosis chill-outs added, just to make you extra sad.

Hieronymus Bosch – Havin’ Fun, Soundin’ Good – Review

November 29, 2004

Surf-based band with nods to classic garage rock (un-ruined by duh punks or pop scammery) fuzz chime with kinda geeky vocals.

The Sleazies – Trite Ditties And Meaningless Crap – Review

November 22, 2004

Subjects exhibit immature snickering and irreverent guffawing as fast-acting goof punk is administered intravenously.

The Judas Cradle – Too Bad They’re All Dead – Review

November 22, 2004

The insane heavy-set grooves of Darkest Hour, the fiercely potent riffs a la Cannae, and the emotional substance of Remembering Never.

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