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Superdrag | Last Call for Vitriol | review | alternative | rock | Lollipop


Last Call for Vitriol (The Arena Rock Co.)
by Katy Shea

In 1996, Superdrag released their MTV smash "Sucked Out" (remember "look around, could it bring somebody down/if I never made a sound again"?) and it seemed to many that they were yet another one hit wonder, albeit a memorable one. Not so! Their newest release - their second on indie label Arena Rock (and fourth total) - is a shining beacon to all bands who think they know how to rock. Listen up, boys, this is how it's done. Last Call for Vitriol brings the band back to their roots: True power pop with gorgeous melodies that seem gleaned from the power pop Delphic oracle, and a lyrical depth that's consistent, sincere, and rarely seen in a band that writes such catchy and powerful rock tunes. You're humming along and bobbing your head on the first listen! Superdrag rocks effortlessly, smoothly, and instinctively, making so many other bands in the power pop genre seem labored and affected.

Last Call for Vitriol is immediately likeable, opening with "Baby Goes to Eleven," the most perfect and euphoric pop song I've heard in a long time, with back-up vocals from Robert Pollard (Guided By Voices) adding a harmonic depth that brings the song to a higher level. "The Staggering Genius" is another stand out; a bitter love song that lives up to its title, answering the call for Vitriol with a vengence. Superdrag is back, infusing their rock instincts into their own brand of perfect power pop.
(242 Wythe Ave, Studio 6 Brooklyn, NY 11211)

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