Taang! Records | Lollipop Magazine

Dropkick Murphys – The Business – Mob Mentality – Review

September 1, 2000

What began as a 7″ split with Dropkick Murphys and The Business playing each others’ songs, turned into this 12-song, 29-minute EP with some extra covers.

The Business – Dropkick Murphys – Mob Mentality – Review

September 1, 2000

What began as a 7″ split with Dropkick Murphys and The Business playing each others’ songs, turned into this 12-song, 29-minute EP with some extra covers.

Stars and Stripes – Shaved for Battle – Review

September 1, 1999

Slapshot but gone full-on bootboy Oi, wherein Kelly’s more-familiar route is temporarily dropped in favor of subcultural concerns peculiar to skinheads.

The Proletariat – Voodoo Economics and Other American Tragedies – Review

June 1, 1999

These ranters got tagged with the “hardcore” label cuz of the company they kept, but The Proletariat had more in common with early Fall and pre-sellout Wire.

Swirlies – Strictly East Coast Sneaky Flute Music – Review

January 1, 1999

DJ Spooky, DJ Soulslinger, Reese N20, and other mixmasters took tracks from the Swirlies and chopped ’em, processed ’em, and put ’em back together. I think.

SlapShot – Old Tyme Hardcore – Review

November 1, 1998

SlapShot, a fixture on the Boston hardcore scene since the mid-’80s, has (according to various reports) released Old Tyme Hardcore as their final album.

Reverberation – Blue Stereo Music – Review

September 1, 1998

Possibly the most shameless ripoff act I’ve ever heard, Reverberation are merely a grade-B Spiritualized with French accents.

Gang Green – Preschool – Review

March 1, 1998

As fast, chaotic, sloppy, and pure snot-flickin’ angry as you’d expect from the heyday of Boston hardcore in the early ’80s.

Gang Green – Back & Gacked – Interview

October 1, 1997

An interview with Chris Doherty and Walter Gustafson

The Business – Harry May – The Singles Collection – Review

November 1, 1996

Their obnoxious moments, highlighted by songs like “Smash the Discos” and “Drinkin’ n’ Drivin’,” always shone brighter than their preachy working class anthems.