Maybe you remember the Candyskins from their cover of that classic '60s folk anthem "For What It's Worth." No? How about their (very) minor alt-rock hit "Wembley?" No again? Oh well, you're not alone. Back in the days when Dave Kendall was hosting MTV's "120 Minutes" (we're talking ancient history on the pop- cultural timeline here, like 1991), the Candyskins were at best a third- tier Britpop group, overshadowed by the likes of Ride and the La's. Still, I remember them rather fondly. I don't know why, really-- maybe it's just the high school nostalgia talking.

Death Of A Minor TV Celebrity is the Candyskins' first American release since getting dumped by DGC in 1993, and despite a few incremental changes in their sound (such as the cheap synths that sound like they were bought at a Spiritualized garage sale), I wouldn't be surprised if they get labelled as Oasis clones. With the shambling rhythms, nasal vocals and anthemic gestures on tracks like "A Song" and "Teenage Suicide," the comparison to the brothers Gallagher isn't too far off. Of course, the Candyskins' songwriting sense isn't as keen as Oasis', but they also have a great deal more heart (although you could probably say the same thing of any other band today).

Overall, Death Of A Minor TV Celebrity is rather underwhelming: a collection of decent pop moments which don't add up to much. It starts off promisingly enough with the catchy dreaminess of "Feed It" and the Pixies- flavored rocker "It's A Sign," but the Candyskins' energy wanes soon thereafter. Their sound wasn't terribly unique to begin with-- it's really just your garden- variety mushpot of Britpop influences-- but the uneven production and general bogged- down feel of the album is something even the summery "Swimming Pool" and the morning- after dreariness of "Friday Night, Saturday Morning" can't redeem. The Candyskins have made an okay pop album, but not one that's going to finally get the recognition in America that they might deserve.

-Nick Mirov