Lollipop Magazine

I Killed Punk Rock – Review

February 1, 2008

Ex-Ransom member and serial blogger Mikey Von Ransom shows his off his collection highlighted by Turbo A.C.’s, Lower Class Brats, Clit 45, and The Sleazies.

Einstürzende Neubauten – Palast Der Republik – Review

February 1, 2008

The Godfathers of the German industrial movement perform in a palace that serves as the seat of parliament. Demolition is underway; the hall is empty and cold.

Dave Parasite Presents: Pop Punk’s Not Dead – Review

January 1, 2008

Ramones-inspired ditties stemming from ’50’s prom songs and juvenile delinquent movies are present, but these diverse bands show a wide range of vocal styles.

Sex Gang Children – Live At Ocean – Review

January 1, 2008

A bootleg with bad sound and shaky footage. Once past that, it’s pretty enjoyable. Contemporaries of Joy Division, Sigue Sique Sputnik, and Sisters of Mercy.

Naked Raygun – What Poor Gods We Do Make – Review

January 1, 2008

An anomaly. We knew of their urgent style of punk, but the locals knew the mythology. When Riot Fest facilitated a reunion, Raygun added to the legend.

The Jesus Lizard – Live – Review

December 21, 2007

The Jesus Lizard was rhythmic, sweaty, loud, and sexual. Singer David Yow gyrates, howls, and flails, molesting the audience at every available opportunity.

Baby Shambles – Shotter’s Nation – Review

December 14, 2007

Where last year’s Down In Albion gave a medicine-headed snapshot of the singer’s opiate use, Shotter’s Nation has a clarity and energy that the former lacked.

The 69 Eyes – Angels – Review

September 28, 2007

Whilst fellow Scandalnavians Turbonegro send up the ’70s glam of Alice Cooper, The 69 Eyes examine the evolution of glam to Gothic from ’60s to the ’90s.

Only Crime – Virulence – Review

September 21, 2007

Russ Rankin (Good Riddance) vocals, Bill Stevenson (All, Descendents) drums, Aaron Dalbec (Bane) guitar, Zach Blair (Hagfish) guitar, Doni Blair (Hagfish) bass.

The Guts – Sometimes You Just Can’t Win – Review

July 29, 2007

Clear, ’50s sock-hop I-killed-my-baby influences. One dude was in The Queers and Nobodys, which makes sense. Every song sounds different. Even better.