Lollipop Magazine

Suede – Coming Up – Review

May 1, 1997

“We kept everything stripped-down; we had a rule that there’d be no more than eight sounds going at any given time. It’s more basic, not so precious.”

Jungle – Review

August 1, 1996

Sorry to burst anyone’s bubble, but “jungle,” arising primarily from black artists in the U.K., is the most significant musical innovation of the ’90s.

Rasputina – Thanks for the Ether – Review

August 1, 1996

The interplay of three cellos on Thanks For The Ether is one of weaving, hypnotic voices, made all the more complex by the sweet voice floating over the top.

Trip 66 – Review

May 1, 1996

This extraordinary debut is loaded with heavy, pounding guitar sounds, immense percussion, and clever bass lines. Maria has the most amazing set of pipes.

The Decline… of Western Civilization – Review

May 1, 1996

SoCal circa ’79 was a scene as vital in its way as London or the Bowery were a couple of years before, and Spheeris captures it all.

Stabbing Westward – Wither Blister Burn and Peel – Review

April 1, 1996

While Hall delivers his lyrics with the stripped, restrained intensity of an awakening volcano, the lyrics are sometimes stunningly pedestrian.

Whipping Boy – Heartworm – Review

March 1, 1996

Whipping Boy play ’80s pop with the distinct lack of hooks that is characteristic of ’90s bands who try their hand at ’80s pop.

Ben Arnold – Almost Speechless – Review

September 1, 1995

This acoustic-pop/indie/rock is as forgettable as it is predictable. “Pop Queen,” it seems, was a fluke.

Season To Risk – In A Perfect World – Review

June 1, 1995

The vocalist sings through an amped-up bull cone. They’ve opened up for Prong, Pain Teens, and Unsane. They’ve got a lot to live up to. They deliver.

Chris Whitley – Din of Ecstasy – Review

June 1, 1995

This disc gets the Fuzz-Drenched-Monster-Wah-Wah-Guitar-Brain-Saturation award.