Lollipop Magazine

The Seymores – Treat Her Like a Showcat – Review

September 1, 1998

With the lolling-tongue vocals of TMBG and some of the lyrical silliness of Violent Femmes, The Seymores drop neatly into the category of laughworthy pop.

Alana Davis – Blame It On Me – Review

September 1, 1998

Sweet and slow as maple liqueur dripped over ice, Alana Davis’ voice eases down into the fine space between slow jazz and folk rock.

Sugarsmack – Tank Top City – Review

September 1, 1998

Hope Nicholls’ larynx-tearing style is strongly reminiscent of The Runaways’ “Cherry Bomb” played through an 8-track player that had a speedball spilled in it.

Ivy – Apartment Life – Review

April 1, 1998

Singer Dominique Durand add some interest with her British-trained Frenglish, as when she sings, “Eet ees a queek ahnd painless death.” So sweet and powdery.

Transister – Review

April 1, 1998

Powdery, girl-woman vocals drive deep into voluptuous minor chords, evoking something of Elastica, an element of Garbage, and a good measure of Eurythmics.

Superchunk – Indoor Living – Review

March 1, 1998

McCaughan’s slightly falsetto, river-of-angst vocals communicate suburban teen melancholy through a long, slow, dissonant wash reminiscent of empty classrooms.

Love American Style – Undo – Review

December 1, 1997

If you miss the days of wan-voiced, incomprehensibly emotional English boys droning musical eulogies, Love American Style might be your panacea.

Velour 100 – Of Color Bright – Review

November 1, 1997

The sound is slow and flooded, overly plush with child-like high vocals, chiming tambourines, and a wash of mezzo guitars.

Subcircus – Carousel – Review

November 1, 1997

Solid production, great and short songwriting, and a definite heavier metal influence.

Siddal – Mystery and the Sea – Review

November 1, 1997

Tribal rhythms, aluminum-tongued electronica and even a haunted, minor-keyed waltz evoke a sharp spectrum of color-coded wires.