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 "Sunday Bloody Sunday," 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.
ULTRA VIVID SCENE: Rev (***)
Not even remotely catchy, this very strong hint of Britpop moves from attempted single stardom to ominous epic and back, with the stunning guitar work by Kurt Ralske more suited to the monsters like "Blood and Thunder" than the shorter, less stressful "Candida."
THE UNDERTONES: The Sin of Pride (1983, UK #43, **)
The fourth and last album from the Derry, Ireland band was released in 1983 to a very disinterested public after the pre-release singles saw how they'd abandoned their shuffling, postpunk, eager teen energy for blue-eyed soul. Feargal Sharkey's voice is very strong, and the whole album's quite good, but it remains an unfortunate example of how to alienate your audience. Ryko's out of print domestic reissue included six bonus tracks; these are available on a pricy import of this fine final effort.
VOICE OF THE BEEHIVE: Let it Bee (1988, ****)
VOICE OF THE BEEHIVE: Honey Lingers (***)
Their mostly smashing sophomore effort isn't as immediate as their debut, but "Monsters and Angels" happily remained a radio essential for years (for good radio stations anyway), and the cover of the Partridges' "I Think I Love You" still brings a smile to hardened faces. Tends to drag a bit in the middle, though.
VOICE OF THE BEEHIVE: Sex & Misery (***)
After what seemed like an ages-long break, Melissa and Tracey returned in '95 with a new band and precisely the same sound, having refused to evolve an inch. It results in some good songs like "Scary Kisses" and "So Hard," but is otherwise disappointing.
Continue to W or...
Back to POPocalypse, citizen!