Reviews – Page 847 – Lollipop Magazine

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[ August 28, 2026 ] Russian Circles’ Nine Out 8/28 + 2026 Tour Dates – News News
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[ August 16, 2026 ] Leechers – Molotov Mocktail – Music Stream Bands

To Rococo Rot – Veiculo – Review

March 1, 1998

These techno-krauts suit up with analog instruments, and mellow out. Minimalism reigns, and electronic umbrellas open up to shelter us from musical reality.

Tiamat – A Deeper Kind of Slumber – Review

March 1, 1998

Slumber slinks like a sensuous nightmare. Compared to Wildhoney, which started with a roar and ending breathing shivers along your spine, this ain’t progress.

Thor – Ride of the Chariots – Review

March 1, 1998

Vintage Alice Cooper, Cherry Bomb’s breathy ballads, cock-rock arm wrestling, and material that makes Spinal Tap look serious. That’s right, go with it.

The Simpsons – Songs in the Key of Springfield – Review

March 1, 1998

From Reverend Lovejoy’s “In-a-gadda-da-vida,” Tito Puente’s infectious salsa about “Señor Burns,” the Kwik-E-Mart epic, to the “Itchy & Scratchy” theme.

Therion – A’arab Zaraq Lucid Dreaming – Review

March 1, 1998

Split between a rock album (with covers) combined with leftovers from the Theli sessions and material intended as a soundtrack to a Swedish art film.

The Posies – Success – Review

March 1, 1998

They have crawled back to their childhood home (their original label) to gasp out a final course of high-quality pop songs, and then expire.

The Lazy Cowgirls – A Little Sex and Death – Review

March 1, 1998

Ya listen to ’em and ya realize who the Supersuckers listened to the day before they bought their Les Pauls.

The Joykiller – Three – Review

March 1, 1998

This is as punk as Joe Jackson, if you know what I’m saying. If not, fuck you.

David Bowie – At the Orpheum – Review

March 1, 1998

Gone are the melodramatic posturings, the over-the-top inflections, the overdone stage settings. Bowie is being David, rather than some fantasy construct.

Chemical Brothers – at the Roxy with Death In Vegas – Review, live

March 1, 1998

Why does a band that has become internationally famous for breakbeats and “Loops of Fury” revert to the metronomic bass drum sound that drove so many away?

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