Lollipop Magazine

Foetus – Hole – Review

September 1, 1995

Using electronic percussion, sheet metal, and pop culture destruction, Jim Thirwell produced an album as humorous as it was self-destructively nihilistic.

Ultra Bidé – with Halcion, Foetus at Mama Kin – Review

September 1, 1995

The Japan-cum-New York trio weaved between ambient drone, punk, and all-out noise rock, and somehow made it work.

Halcion – with Foetus, Ultra Bidé at Mama Kin – Review

September 1, 1995

Midway through the set, I realized that I was enjoying them. By the time they took off, the music had turned noisy and intense, and hate had turned to love.

Foetus – with Halcion, Ultra Bidé at Mama Kin – Review

September 1, 1995

Thirwell strode onstage amid a wash of lights and the Debussy-in-a-blender intro to “Godboy” playing at two hundred decibels.

Foetus – Null – Review

May 1, 1995

Foetus albums have always been better when they’ve had space to develop; this EP is no exception. Good as these songs are, the full-length Gash is better.

Foetus – Null – Review

February 1, 1995

Foetus completists will want it for the extra songs, but everyone else should probably save their money and buy the album.

Foetus – Gash – Review

February 1, 1995

They have been dubbed an “industrial” band, but this album’s pure genius is orders of magnitude better than anyone else in the genre.

The Black Box: The First 13 Years – Review

December 1, 1994

Three CDs, 41 songs, and a 76 page, fully-illustrated booklet. Many of the tracks are outtakes or remixes found only on 12″ or 7″ single collections.