new introductory bit here.

This is a reviews page based on my own collection, which just keeps growing despite itself. If it isn't listed here, it's because I don't own it yet, or I haven't gotten around to it yet.

Also, bother your local "new rock" radio station and make sure they are playing "new rock" and not "Rock the Casbah," which is not new.

note: entries in red text indicate my pick for the artist's best available album. A gold numeral indicates the POPocalypse winner of the year's best album; second- and third-place winners are in blue. Green lettering indicates an obviously exploitative record company compilation without apparent artist input.

Over a four-year mid-90s career, Fem 2 Fem, a five-piece of gay and bi women, thrilled the indie dance scene (centering in Los Angeles) and, later in their career, scandalized the English tabloids. Across mainstream US, they were virtually unknown outside a stunning Playboy pictorial, since radio ignored them and MTV banned their steamy videos. The debut album was calculated to appeal to both "out" lesbians and heterosexual males, containing anthems of pride and belonging, but also kinky lyrical imagery and sexy photos. Some of the tracks are quite listenable for dance, but others seem produced by hacks. The worst offender, "Coming Out," sounds like it was mastered at too high a speed.

Capitalizing on the most obvious mainstream success (the Playboy spread and resultant sexual notoreity), the overt, in-your-face sexual lyrics of the follow-up frequently result in an immature and embarassing tone ("She wants to fuck the human race," they sing in "Wild Woman"). In a massive management blunder, the band failed to react to "Where Did Love Go"s crossover success. The single was their first -- and last -- to be sold in mainstream record stores and managed commercial airplay. The sleeve, again, featured sexy photos of the girls, but the lyrics were nothing saucier than any other radio track. However, Fem 2 Fem spent most of 1995 in the UK, returning to their indie and underground sex-themed roots by providing vocals and occasional bare breasts in a series of banned fetish events throughout London. Their momentum was gone almost instantly, and nothing further was heard from them, although Michelle Crispin has enjoyed minor success and critical praise with her solo work (including one of the Madonna tribute albums) and Lezlie Deane has appeared in several Z-grade horror films.