Scott Hefflon – Page 169 – Lollipop Magazine

Darkest Hour – The Mark of the Judas – Review

February 22, 2002

The record that came out just before MIA had their plug pulled. This DC hardcore/ metalcore/ whatever band heard At The Gates and it changes their lives.

Metal Dreams – Vol. 3 – Review

February 22, 2002

I’m an admitted speed freak (the verb, not necessarily the drug), and while Goth metal tickles my brooding dark side, I’m just not a fan of ballads.

Identity 7 – Deadly Sins – Review

February 22, 2002

Fans will get hard-ons for Candiria, Iced Earth, Stuck Mojo, and Nevermore while being exposed to Krisiun, …And Oceans, The Forsaken, and other eye-poppers.

Garbage Pail – Fake Band Names – Column

February 22, 2002

Here’s a portion of a list of fake band names I came up with for a mock version of the mp3 CD which should be glued into the center spread of this issue.

Welt – Brand New Dream – Review

February 22, 2002

Doctor Dream died after releasing “Better Days” and “Kicked in the Teeth Again,” and it knocked the stuffing outta Welt, They regrouped for Brand New Dream.

Wayne – Metal Church – Review

February 22, 2002

Nuclear Blast seems convinced we want new records with the original Metal Church singer, David Wayne, as well as live recordings and now this side-project.

Vision Of Disorder – From Bliss to Devastation – Review

February 22, 2002

V.O.D. have always been respectable, ahead of the curve. I’ve stopped what I was doing repeatedly and skipped back to revel in a certain part again. Repeatedly.

Puya – Union – Review

February 22, 2002

Stuttering and annoying much of the time (with the tendency to work the band name into the lyrics), Puya bring a cool percussive take to a played-out sound.

Professional Murder Music – Review

February 22, 2002

Nice, dark, electronic-infused heavy brooding music. A debut.These guys have hints of depth. A decent cover of the Cure’s “A Night Like This” dimly sparkles.

Fenix*TX – Lechuza – Review

February 22, 2002

Blink-182 knock-offs that haven’t developed into much of anything on their own, not that the record-buying public seems to notice or care.