Lollipop Magazine

The Strokes Release First Single From Angles, “Under Cover Of Darkness” – News

February 8, 2011

The Strokes are set to release their newest single, “Under Cover Of Darkness,” on February 9th via a stream on their website.

Anti-Flag – For Blood and Empire – Review

December 8, 2006

If you can swallow their cheerleader stage banter and their lowest common denominator lyrics, you get the payoff of a decent, politically-charged punk record.

Priestess – Hello Master – Interview

October 27, 2006

An interview with singer/guitarist Mikey Heppner

Bullets and Octane – In The Mouth of The Young – Review

September 22, 2006

A neo-glam band who sport eyeliner and tattoos, use the word punk to mean fast, and you’ll dig it, but always be a little suspicious of how honest it is.

The Strokes – First Impressions of Earth – Review

March 17, 2006

The logical extension of Room on Fire, the band trying to outgrow their rag-tag image, pulling together their best “we are grown up, take us seriously” ideas.

Sahara Hotnights – Kiss & Tell – Review

January 24, 2005

These four don’t fool around, cuz they just don’t have the time. No ballads, no freaky jams, no 24-second intro tracks, just another 11 cold classics.

Velvet Revolver – Contraband – Review

December 13, 2004

Contraband is a fantastic ALBUM, something you’ll want to play from start to finish, not unlike G N’ R’s Appetite For Destruction or the first few STP discs.

The Cooper Temple Clause – Kick Up The Fire, and Let the Flames Break Loose – Review

July 26, 2004

A hybrid of Britpop, industrial noise, dance beats, and surprisingly loud, cacophonous choruses, the band can’t seem to figure out what it does best.

Vue – Down For Whatever – Review

March 8, 2004

Vue melds raucous Stones struts with barrelhouse stomps. Rex Shelverton’s great rock ‘n’ roll voice rails, howls, and finesses into center focus.

The Strokes – Room on Fire – Review

February 2, 2004

More of the same downstroke, bare bones cool, albeit with a tad more guitar fireworks thrown in (those are guitar effects, not keyboards, on “12:51”).