Dig Me Out: 90s & 00s Rock

Upon its release in 1992, Beautiful Mess by Thelonious Monster received plenty of critical acclaim yet not the sales or media exposure to launch the band into the new alternative explosion. Lead singer Bob Forrest’s deeply personal lyrics explored themes of addiction, relationships, and self-destruction, not all that different from other bands at the time, but musically the band sounds more in step with Minneapolis bands like The Replacements and Soul Asylum the late 1980s. Featuring a slew of notable names from bands like the Red Hot Chili Peppers, Tom Petty and the Heartbreakers, Porno for Pyros, and more as his backing band, the band succeeds at bringing Forrest's stories to life even if a few lyrics choices didn't stand the test of time. Songs In This Episode Intro - Song For A Politically Correct Girl From The Valley 28:33 - Vegas Weekend 35:36 - Body and Soul 39:20 - Adios Lounge 46:57 - I Live In A Nice House Outro - Bus With No Driver Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With 2024's 3-part documentary LOLLA: The Story of Lollapalooza, and our own Lollapalooza episode many years ago, you might wonder what's left to learn about the famed traveling music festival of the 1990s. Turns out, a lot. Thanks to the hundreds of interviews and thousands of hours of work by authors Tom Beaujour and Richard Bienstock completed for their second book "Lollapalooza - The Uncensored Story of Alternative Rock's Wildest Festival," this extensive oral history talks with everyone involved: artists, tour founders, festival organizers, promoters, publicists, sideshow freaks, stage crews, record label execs, reporters, roadies and more. Songs In This Episode Intro - Terrible Lie by Nine Inch Nails (Live at Lollapalooza 1991) Outro - The Last Beat Of My Heart by Siouxsie and the Banshees (Live at Lollapalooza 1991) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In our second installment of Surviving the 90s, we're revisiting one of the hitmakers from the first half of the 80s - Billy Squier. Responsible for such hits as The Stroke, Lonely Is The Night, Everybody Wants You, My Kinda Lover, and Rock Me Tonite, to name a few, Squier was all over radio and early MTV. Albums like Don't Say No, Emotions in Motion, and Signs of Life each went Platinum, and while musical trends changed, Squier still managed radio airplay into the early 90s. But by 1998, he was done, releasing his final record, Happy Blue, an all acoustic affair. We revisit his greatest hits, his 90s releases, and try to determine if Billy Squier thrived, adapted, or died in the 90s. Songs In This Episode Intro - The Stroke (from Don't Say No) 10:32 - 42nd Street by Piper (from self-titled) 17:41 - The Big Beat (from The Tale of the Tape) 28:19 - Rock Me Tonite (from Signs of Life) 38:28 - Young at Heart (from Creatures of Habit) 1:02:42 - Happy Blues (from Happy Blue) Outro - Angry (from Tell The Truth) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Previously we revisited Idlewild's 2000 breakthrough sophomore album 100 Broken Windows, but for this episode we're going backward to their 1998 debut. The punkier, more aggressive Hope Is Important leans into noisy, almost unpolished intensity, while moments of introspection hint at the more refined songwriting the band would develop on following albums. Frenetic guitars and urgent vocals create a chaotic yet compelling sound, with tracks like "When I Argue I See Shapes" showcase their knack for anthemic hooks. Though it may lack the polish of their later work, Hope Is Important captures Idlewild’s youthful spirit and unfiltered passion. Songs In This Episode Intro - Everyone's Says you're so Fragile 19:58 - You've Lost Your Way 25:54 - I'm Happy to be here Tonight 30:27 - A Film for the Future 34:34 - When I Argue I See Shapes Outro - Paint Nothing Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Alien Lanes by Guided By Voices, their first for Matador Records, expanded upon the lo-fi, hook-driven bursts of songs from previous release Bee Thousand. Its chaotic, collage-like structure packs 28 tracks into just over 40 minutes, thanks to the raw, four-track production gives the album an intimate, unpolished feel. Songs end abruptly, vocals are buried, guitars are out of tune, yet the melodies emerge from the fuzz with a mix of power pop charm and punk spontaneity.Widely considered one of their best works, Alien Lanes remains a cult favorite and a defining record of '90s indie rock. Songs In This Episode Intro - Watch Me Jumpstart 17:09 - Motor Away 20:20 - Closer You Are 30:38 - Ex-Supermodel 36:20 - Strawdogs 38:19 - My Valuable Hunting Knife Outro - Blimps Go 90 Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Two Monkeys, the 1997 album by veteran punk band Cock Sparrer, blends old school British pub rock and Oi! with surprising melodic elements. Despite being released twenty-five years into their career, the album retains the raw energy of their early work, featuring socially conscious lyrics while tackling themes like working-class struggles and personal resilience. The production is cleaner than their classic albums, but it still maintains a gritty, pub-rock feel, though a few of the faster tracks could benefit from a remix due to overly-compressed and thin sounding drums. Songs In This Episode Intro - Bats Out 21:10 - Back Home 24:36 - A.U. 29:05 - Time To Be Me 32:52 - Battersea Bardot 37:00 - Goodbye Outro - Lies Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Los Lobos' 1990 album The Neighborhood showcases their signature blend of rock, blues, and Latin influences through the lense and ears of East Los Angeles. While it didn’t achieve the commercial success of La Bamba, the album captures Los Lobos’ musical versatility and deep-rooted cultural influences. The band shifts from Texas blues and roots rock to old school rock 'n roll and acoustic balladry with the ease of seasoned players, with lead singer/guitarist David Hidalgo guiding the band all the way. At times the reliance on traditional blues structures can stifle the endlessly creative band by locking them into particular styles and arrangements, whereas tracks written outside the format flourish thanks to the skilled band. Songs In This Episode Intro - Down On The Riverbed 19:17 - I Walk Alone 24:25 - The Giving Tree 26:25 - Georgia Slop 43:37 - Be Still Outro - The Neighborhood Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Fiona Apple's 1996 debut album Tidal remains a landmark in alternative music, blending jazz-infused piano melodies with deeply introspective lyrics. The album's breakout single, "Criminal," propelled Apple into the mainstream, earning her a Grammy and solidifying her as a unique voice in the industry. With raw emotion and poetic lyricism, songs like "Shadowboxer" and "Sleep to Dream" showcased her maturity beyond her years. Tidal was both critically acclaimed and commercially successful, influencing a generation of singer-songwriters with its confessional style. Nearly three decades later, the album's haunting beauty and vulnerability continue to resonate with listeners. Songs In This Episode Intro - Sleep To Dream 25:03 - Shadowboxer 34:26 - Pale September 46:16 - Criminal 50:12 - The First Taste Outro - Slow Like Honey Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We'll forgive you if you missed Swimmer's one and only album, 1999's Surreal, because we did as well. Though released on Madonna's Maverick label, the band came and went rather quickly, leaving without making a blip on Billboard, radio, MTV, and the internet in general. What they did leave behind was a forty-three minute long compact disc full of drama-laden alternative rock that sweeps through the eleven tracks with equal parts quiet emoting and bombastic explosion. Nothing about the record is ground-breaking, but as is usually the case, the sum is equal to more than the parts. Songs In This Episode Intro - Playing Jesus 19:12 - Dumb 21:12 - Because Today 30:11 - Kick In The Head 34:59 - Spaced Out Hat 42:50 - Dirty Word Outro - Surreal Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Back in the day (i.e. the 90s), the idea of an indie band jumping to a major label was usually followed by the words "sell out." But without the restrictions of a smaller budget and less time, many artists put their increased resources to good use. Source Tags and Codes, released in 2002 by ...And You Will Know Us by the Trail of Dead, might be one of the first landmark albums in the post-hardcore world of the 2000s. The album blends intense, chaotic energy with lush, orchestral arrangements, creating a sound that is both visceral and melodic. It received near-universal critical acclaim upon release, with many praising its ambitious scope and emotional depth, but has it retained a lasting influence Source Tags and Codes remains a defining moment in the band's career and is considered a classic by fans of the band, but does it stand up over twenty years later? Songs In This Episode Intro - It Was There That I Saw You 18:09 - Another Morning Stoner 22:09 - How Near How Far 25:23 - Baudelaire 30:34 - Relative Ways Outro - Monsoon Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Here at Dig Me Out we spent the last ten years starting each new season by looking back at the albums from each year that stood the test of time, disappeared without a trace, and everything in between. We kicked off with a roundtable in 2015 and revisited the albums of 1995, so it made sense to start a new series of roundtables in 1995 as well. This time we're checking out the singles of each year, looking at the year-end Modern Rock/Alternative and Hot 100 charts in the US, as well as charts from Canada, the UK and Australia for comparison. Like with all roundtables, we enlisted the help of some special guests to revisit this interesting transitional year that saw the rise of the second generation of grunge bands like Bush and Silverchair, the continued success of 1994's pop-punk breakthroughs by Green Day and The Offspring, and the juggernaut that was Jagged Little Pill by Alanis Morissette. But that doesn't tell the entire tale, so former A&R executive and audio tech writer James Barber and music writer Kevin Alexander join us to talk about all the hits, the near misses, and the weirdness that was 1995. Lastly, our third guest, S.W. Lauden aka Steve Coulter was unable to attend due to the tragic loss of his and his family's home in the Eaton, CA. fires. If you are able, please consider donating to the Go Fund Me set-up by Steve's friends. Songs In This Episode Intro - You Oughta Know by Alanis Morissette (Jagged Little Pill) 12:15 - Possum Kingdom by Toadies (Marvel's Thunderbolts 2025 trailer) 24:48 - A Girl Like You by Edwyn Collins (Empire Records soundtrack) 33:18 - Bright Yellow Gun by Throwing Muses (University) 53:24 - No More I Love You's by Annie Lennox (Medusa) 1:00:23 - Common People by Pulp (Different Class) Outro - Alright by Supergrass (I Should Coco) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Papa Vegas' 1999 album Hello Vertigo offers a radio friendly mix of alternative rock with polished production. It showcases the band's bi hit potential, but the songwriting occasionally feels formulaic, relying on the familiar soft/loud trope from the mid to late '90s rock scene. Tracks like "Bombshell" stand out with catchy hooks and a radio-friendly vibe, but others struggle to maintain the same level of energy or memorability. While the album has moments of creativity, such as its layered guitar work and atmospheric touches, it tends to play it safe, rarely straying from the verse/prechorus/chorus format. The album is more than competent at delivering a chorus, but the safe rhythm section and lack of dynamics give the overall record a consistency that could use a shake-up from time to time. Songs In This Episode Intro - Super Telepathy 17:57 - Something Wrong 20:42 - No Destination 36.37 - Mesmerized 46:38 - Bombshell Outro - Sermon Underground Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Despite being a three piece, the Midwestern trio Arcwelder put each instrument to optimum use on their 1993 album Pull. A big, post-hardcore sound without layer upon layer of overdubs thanks to off-kilter chord and melody choices that recall heavier 90s acts like Helmet and the next in the vein of noisier drone of Swervedriver. Arcwelder find a consistent, engaging sound that balances indie rock intensity with an accessibility that reveals itself over the course of several listens, the definition of a slow grower. Songs In This Episode Intro - Truth 14:04 - Lahabim 20:08 - Cranberry Sauce 23:33 - Remember to Forget 34:59 - What Did You Call It That For Outro - It's A Wonderful Lie Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

So much to to talk about when we look back on 2024. Like with our previous year-in-review episodes, we look back at our favorite new album discoveries, most brought to us by our Patreon community, as well as our most enjoyable round table experiences, and our favorite 80s Metal episodes, before previewing what's in store for next year. Here's to season fifteen in 2025! Songs In This Episode Intro - Dig Me Out by Sleater-Kinney 5:17 - 0 for 1 by Poster Children 10:40 - Don't Go Out with Your Friends Tonite by Ho-Hum 18:07 - Love Bomb Baby by Tigertailz Outro - Mirror Mirror by Blind Guardian Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We're always looking at new ways to approach the 90s, and in the past we've revisited the output from bands and artists that got that start in the 1970s and 80s, like Tom Petty, KISS, Van Halen, and others. At the suggestion of our friend and 80s Metal co-host Chip, we've revamped the format for a fresh start. We kick it off with progressive arena rock veterans Styx, and start by checking out their 70s and 80s greatest hits to re-familiarize ourselves with the songs that became staples on classic rock radio for decades - "Come Sail Away," "Renegade," "Mr. Roboto," "Lady," and many more. Then we check out their 90s releases - the 1990 album Edge of the Century, which did not feature guitarist Tommy Shaw, then guitarist for Damn Yankees, and then their 1999 reunion with Shaw, and last with lead singer/keyboardist Dennis DeYoung, Brave New World. Unlike many of their classic rock peers, Styx managed to score a hit single at the start of the decade with the ballad "Show Me The Way." From their, we catch up with the band and current status to determine if the band thrived in the 90s, merely adapted to the times, or creatively died. Songs In This Episode Intro - Show Me The Way (from Edge of the Century) 7:40 - Blue Collar Man (Long Nights) (from Pieces of Eight) 28:42 - Suite Madame Blue (from Equinox) 38:56 - Back To Chicago (from Edge of the Century) 41.57 - All In A Day's Work (from Edge of the Century) 58:57 - What Have They Done to You (from Brave New World) Outro - Everything Is Cool (from Brave New World) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

From the ashes of acclaimed but underheard Royal Crescent Mob, bass player Harold "Happy" Chichester switched to guitar and lead vocal for his new band Howlin Maggie, who released their debut album Honeysuckle Strange in 1996. With an all-star cast of Columbus, Ohio players, the band produced a fierce yet catchy album for Columbia Records at the height of alternative rock, but didn't make a dent with national radio or MTV. Which is a shame, because Honeysuckle Strange is more than just your run-of-the-mill 90s alt-rock album. Carrying over from his funk rock background in RC Mob, the album never rests on simple rhythms, chord progressions, or vocal hooks, always coming up with something a bit more interesting or challenging, even if it means pushing the volume and harshness up a notch. Songs In This Episode I Intro - Miss Universe 18:54 - Rubbing The Industry Raw 21:40 - You Are 25:57 - $3.99 31:45 - Promise To Be Happy 34:56 - I'm A Slut 40:13 - How The West Was Won Outro - Easy To Be Stupid (Beautiful Girls soundtrack) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

San Diego-based band No Knife released their sophomore album Hit Man Dreams in 1997 during the peak era of underground emo and post-grunge indie rock. The album marked a pivotal moment in their evolution thanks to the intricate guitar work by Mitch Wilson and Ryan Ferguson, who blend angular post-hardcore riffs with melodic indie rock sensibility. Tracks like "Your Albatross" and the title track showcase the band's knack for crafting dynamic compositions that shift seamlessly between tension and release. Producer Mark Trombino dials in their sound to perfection, highlighting the two-guitar attack and melodic vocals that define their style. While the band isn't as well know as many of their former pre-00s emo and post-hardcore contemporaries, Hit Man Dreams and the pair of album that follow suggest a serious reconsideration. Songs In This Episode I Intro - Roped In - Lock On 13:30 - Your Albatross 21:34 - Charades 30:25 - Median Outro - Jackboots Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

It's our fifth year of getting the patrons together and giving thanks for the new music that gave us happiness and good vibes in 2024. There's a wide array of bands and artists, new and old, that helped make 2024 a great year for music. New albums from 1980s, 90s and 00s artists like The Cure, Pearl Jam, Judas Priest, Underworld, The Black Crowes, John Davis (Superdrag), The Sheila Divine, Jack White, Pig, the Pixies, Watershed, Sebastian Bach, Silver Sun, D-A-D, J. Mascis, Nick Cave and the Bad Seeds, Primal Scream, The Smile, and many more all released great late career records, while newer bands like Return to Dust, Ahem, Friko, The Blackburns, Crows, and several others landed on our radar. Songs In This Episode Intro - Alone by The Cure (from Songs from a Lost World) 3:38 - Trust In Me by Silver Sun (from Mild Peril) 11:49 - (Hold On) To The Dream by Sebastian Bach (from Child Within The Man) 18:11 - Lapdog by Ahem (from Avoider) 21:34 - Fallout by Pig (from Feast of Agony EP) 31:17 - Free To Fall by John Davis (from JINX) 34:32 - Trial By Fire by Judas Priest (from Invincible Shield) 42:00 - Automaticity by J. Robbins (from Basilisk) 52:01 - Wanting and Waiting by The Black Crowes (from Happiness Bastards) 1:08:41 - The Darkness by The Sheila Divine (from I Am The Darkness. We Are The Light) Outro - Dark Matter by Pearl Jam (from Dark Matter) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1994 album Let Love In by Nick Cave and the Bad Seeds is a masterful exploration of beauty and brutality. Blending gothic rock with bluesy undertones, Cave delivers haunting melodies with vivid, poetic lyrics. Tracks like "Do You Love Me?" and "Red Right Hand" showcase Cave's magnetic storytelling and the band's dynamic range, taking the wildness of his previous band The Birthday Party, and the noisy experimentation of fellow Aussies The Dirty Three, and utilizes it in surprisingly restrained ways. Themes of passion, despair, and redemption weave through the music, and while a few of the louder tracks break up the flow, overall the album creates a dark, immersive experience unlike anything from the decade. Songs In This Episode Intro - Red Right Hand 15:55 - Do You Love Me? 20:02 - Ain't Gonna Rain Anymore 23:45 - Jangling Jack 27:06 - Do You Love Me? (Part 2) 30:48 - Thirsty Dog Outro - I Let Love In Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1998 concept album Nightfall in Middle-Earth by Blind Guardian brings the epic scope of J.R.R. Tolkien’s The Silmarillion to life through power metal. The album tells the tragic tales of elves, men, and gods embroiled in a war against the dark lord Morgoth, blending rich lyrical storytelling with complex arrangements, and finds a sweet spot between the technical skill of bands like Metallica and Helloween with the melodic bombast of Queen. Each track serves as a chapter in the larger saga, with both interludes and full songs capturing key moments via a variety of unique approaches. Mixing soaring vocals, symphonic elements, and Brian May-esque guitar riffage, the band create a sense of grandeur that mirrors the mythic subject matter. Songs In This Episode Intro - Into The Storm 14:49 - A Dark Passage 19:42 - Nightfall 24:50 - The Eldar 34:08 - Thorn 38:53 - Mirror Mirror Outro - The Minstrel Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Almost Here is the 1998 debut album by the Unbelievable Truth, fronted by Andy Yorke, who you may have just discovered (like us) is the younger brother of Radiohead’s Thom Yorke. Infused with haunting melodies and introspective lyrics that lean on melancholy, emotional conflict, and introspection, the album showcases Yorke's evocative vocals and a minimalist approach Throughout the album, songs like "Settle Down" and "Stone" highlights the band’s thoughtful arrangements and subdued sound, tasteful integrating keys and organs without overpowering the mix. Songs In This Episode Intro - Solved 15:27 - Higher Than Reason 18:02 - Stone 25:57 - Settle Down Outro - Finest Little Space Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1991 debut album Gish by The Smashing Pumpkins marked the band's entry into the alternative rock scene with a unique mix of psychedelic rock, heavy metal, and dream pop elements. Produced by Butch Vig, who would later work with Nirvana on Nevermind, the album showcases the band's early experimentation with layered guitars, intricate rhythms, raw energy, and dense sonic textures that would become hallmarks of the Pumpkins sound. Although Gish did not initially achieve mainstream success, it garnered a strong underground following, helping to set the stage for the band's breakthrough with Siamese Dream in 1993. Celebrated for its unique blend of intensity and melody, it serves as an early glimpse into the Pumpkins' evolving musical ambitions, complete the fingerprints of Jane's Addiction, Van Halen, and Black Sabbath. Songs In This Episode Intro - Tristessa 16:57 - I Am One 21:57 - Rhinoceros 30:36 - Window Paine 33:46 - Siva Outro - Bury Me Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Most people know Jesus Jones from their big hit in 1991, "Right Here Right Now." Thanks to the explosion of grunge and alternative rock that was already bubbling up from the underground to the mainstream, the techno-rock of Jesus Jones took a back seat and relegated them to one-hit wonder status. But instead of changing their sound to blend in with the loud guitars from Seattle, the band and primary songwriter/singer Mike Edwards went in the opposite direction and leaned into their electronic elements for 1993's Perverse. Recorded entirely on computers, the album marks on the second fully digital release, and the sounds Edwards and band created sound positively futuristic compared the 1993 musical landscape. Songs In This Episode Intro - Zeroes and Ones 24:43 - Spiral 27:49 - The Devil You Know 41:09 - Yellow Brown Outro - Magazine Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

An original member of KMFDM, producer, musician and singer Raymond Watts has been ensconced in the electronic and industrial music scenes for going on five decades. His own project PIG started out far more raw and aggressive, but over time Watts evolved the sound and eventually found a home on Trent Reznor's NOTHING label for the 1996 release of Sinsation (released the previous year in Japan only). With nods to Reznor's Nine Inch Nails and fellow industrial metal act Ministry, among others, Sinsation adds some unexpected and well-placed orchestra and horn samples to give the album a cinematic feel that would sound appropriate backing a dystopian science fiction film. Songs In This Episode Intro - Hamstrung on the Highway 16:01 - The Sick 22:04 - Serial Killer Thriller 30:31 - Transceration 35:48 - Hot Hole Outro - Paniac Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Although they've released over a dozen albums covering four decades, odds are if you ask someone on the street to name a song by Soul Asylum, it's going to be the mega-hit "Runaway Train" off their 1992 album Grave Dancers Union. There were other singles, "Black Gold" and "Somebody To Shove" off Grave Dancers Union, "Misery" and "Just Like Anyone" off the follow-up Let Your Dim Light Shine, but those albums and songs represented a band that had worked and toured and recorded since the early 1980s, taking a primordial post-punk and hardcore sound and slowly evolving album by album, starting with their debut Say What You Will, Clarence...Karl Sold The Truck in 1984. Like their Twin/Tone Records labelmates The Replacements, the manic youthful energy gave their lead singers an opportunity to gradually find their literal and lyrical voice. On each successive album, and a jump to major label A&M, the band continued to refine and improve their brand of midwestern alternative college rock, and reached the heights of their songwriting prowess just as a second major, Columbia, took a chance that would land them a home for their sixth album and eventual double platinum seller, the aforementioned Grave Dancers Union. Songs In This Episode Intro - Down On Up To Me (from Hang Time) 22:24 - Voodoo Doll (from Say What You Will, Clarence...Karl Sold The Truck) 28:36 - Masquerade (from Say What You Will, Clarence...Karl Sold The Truck) 33:16 - Tied to the Tracks (from Made To Be Broken) 36:46 - Can't Go Back (from Made To Be Broken) 40:20 - Freaks (While You Were Out) 47:22 - Endless Farwell (Hang Time) 51:30 - Cartoon (Hang Time) Outro - Closer To The Stars (While You Were Out) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

On their second album Young And Full Of The Devil, Magic Dirt blended fuzzed out psych and stoner riffage with a grunge-tinged snarl. The throat shredding vocals of Adalita Srsen lend comparisons to bands like Hole, The Distillers, or L7, but the band delves into darker, scuzzier territory on tracks like the opening opus "Babycakes" and the closer and bonus track "Babycakes You Always Freeze Me Up." The foursome display a penchant for uptempo riffage on songs like "Rabbit With Fangs" and the appropriately titled "She-Riff" layered in a variety of guitar pedals and effects, but some odd choices on the back half of the record left us scratching our heads about what started out with strong intentions but veered into less concise territory. Songs In This Episode Intro - Short Black 22:03 - Shrinko 28:54 - She-Riff 35:02 - Ascot Red 43:36 - X-Ray Outro - Rabbit With Fangs Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

It's hard to reconcile the importance of a band like Pavement considering their lack of mainstream popularity and pedestrian album sales But like The Velvet Underground and others before them whose underground popularity helped launch a thousand bands, Pavement's twisted takes on pop rock, post-punk, jam bands, and even country somehow make their 1994 sophomore album Crooked Rain, Crooked Rain made a big impression on those looking for something the radio and MTV didn't offer. Witty lyrics, slacker vibes, jangly and occasionally conflicting guitars were present on their debut, but the band honed their skills to craft catchy, off-kilter melodies on tracks like "Cut Your Hair" and "Range Life." Songs In This Episode Intro - Cut Your Hair 24:36 - Silence Kid 37:06 - Fillmore Jive 46:59 - Heaven Is a Truck 56:53 - Range Life Outro - Gold Soundz Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Like so many second and third wave grunge bands, aka post-grunge, the opportunity for chart and sales success depended on a big hit. For Atlanta, Georgia's doubleDrive, they didn't manage to score the big radio or MTV single in 1999 with their debut album 1000 Yard Stare, but what they produced was something more interesting than what many of their contemporaries had to offer. The production gives the entire band a chance to shine, and the twin guitar attack gets closer to the post-hardcore of Helmet, Quicksand, and Handsome at times. Unlike their post-grunge contemporaries Puddle of Mudd or Creed, the band doesn't slog around the mid-tempo for long, injecting plenty of energy and avoiding a ballad completely. But also like their post-grunge contemporaries, a reliance on the vocal stylings of singers like Eddie Vedder and Scott Weiland put a stamp on the sound that chips away at the originality. Songs In This Episode Intro - 1000 Yard Stare 22:31 - Belief System 27:12 - Tattooed Bruise 35:02 - Vamp 38:45 - Gone 40:50 - Reason Outro - Hell Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The only way a radio listener or MTV watcher could avoid Basket Case, Longview, Welcome To Paradise, or When I Come Around in 1994 or 1995 was to be in a remote jungle or alone on the moon. The pop-punk explosion, led by the Bay-area trio Green Day and followed a few months later by The Offspring, would unseat grunge as the dominant underground scene making waves in the mainstream and open the door for a plethora of bands getting signed to major labels, like Rancid, NOFX, and Jawbreaker. With Dookie, the band found the perfect collaborator in producer Rob Cavallo, who kept punk energy and edge while helping the band dial in the guitars, bass, and drum sounds that would pop off the speakers. Thirty (!) years later, the album retains its energy, and repeated listens get under the hood of the band, showcasing the lock-step rhythm section of drummer Tre Cool and bassist Mike Dirnt that often carries the songs while lead singer Billie Joe Armstrong crafts catchy, relatable lyrics with tasteful harmonies that elevate the album to something special. Songs In This Episode Intro - Burnout 19:35 - Basket Case 37:41 - Longview 42:44 - F.O.D. 47:59 - When I Come Around Outro - She Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Not many 90s rock bands called Arkansas home, and even fewer looked to the straightforward radio pop of 1970s and 80s as a launching point for their sound. Yet on Ho Hum's 1996 debut Local, the band from Bradley, Arkansas tuned the radio dial to sounds of Big Star, The Plimsouls, The Knack, Dramarama, and early Tom Petty, to name a few, for their catchy, unpretentious sound. Though released in the middle of alternative decade, there isn't a note of angst or grunge to be found, instead forging a sound closer to likes of Velvet Crush, Sloan, Superdrag and Matthew Sweet at their most straightforward. From uptempo gems like opener "Around the World" to the infectious "Don't Go Out with Your Friends Tonite," to soulful ballads "Disappear" and "Superhuman," both featuring horn sections, the band clearly has an ear for an earworm melody. Songs In This Episode Intro - Around the World 21:15 - Here She Comes 24:41 - Pills and Guns 27:04 - Frozen 31:06 - Disappear 34:12 - Superhuman Outro - Don't Go Out with Your Friends Tonite Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Emerging from the same mid-90s Chicago scene that saw bands like Veruca Salt, Loud Lucy, Menthol, Triple Fast Action, and Local H get signed to major labels, Fig Dish delivered alternative guitar rock that paid homage to the legends of Mt. Rockmore - Zander, Mascis, Mould, and Westerberg - under the Polygram Records (and subsidiaries) banner. Their discovery is the stuff of legend: the band sent demo cassettes to various major labels with a handwritten note from “Steve,” claiming to have found a band worth checking out, banking on the idea that everyone knows a Steve and the label would think it was a genuine tip. Despite their immediately catchy songs that could easily fit into any alternative rock radio playlist, the band (Blake Smith - vocals/guitar, Rick Ness - vocals/guitar, Mike Willison - bass, Andy Hamilton - drums) struggled to grasp the elusive brass ring. Their single “Seeds” was released with a video but saw limited play on MTV’s 120 Minutes. Touring across the country, they opened for acts like Juliana Hatfield, Veruca Salt, Ned’s Atomic Dustbin, Owsley, and Walt Mink. However, their 1995 album, That’s What Love Songs Often Do, produced by Lou Giordano, failed to make a significant impact. Their 1997 follow-up, When Shove Goes Back to Push, recorded under challenging circumstances, also ended up in used CD bins despite featuring some of the catchiest rock tunes of the year. In a last-ditch effort, the band filmed a video for “When Shirts Get Tight” featuring adult film stars in humorous, over-the-top scenarios. The video, too risqué for MTV, became more myth than reality. By 1998, Fig Dish’s tenure with Polygram ended unceremoniously. They recorded new songs at Andy Gerber’s Million Yen studio in Chicago, hoping for a second chance that never materialized. Smith and Willison went on to form Caviar (known for “Tangerine Speedo”), while Ness and Bill Swartz (who played drums on Shove) formed Ness. Recently, Forge Again Records from Chicago reached out to the band to release their two albums on vinyl for the first time. While the band agreed, navigating the bureaucratic red tape with record labels has been time-consuming. In the meantime, Forge Again asked if Fig Dish had any unreleased material, leading to the release of their 1998 demos as Feels Like the Very Second Time on vinyl. In this interview, Smith and Ness reveal there was no dramatic story behind the band’s breakup; the members remain friends and stay in touch. While they won’t be quitting their day jobs to relive their (less than) glory days, there’s a strong possibility that Fig Dish will release new material in the near future. Songs In This Episode Intro - Burn Bright For Now 13:54 - Pretty Never Hurts Outro - When Shirts Get Tight Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Is Nü Metal the most divisive music subgenre of the 1990s? It sure seems to generate a lot of hate, but is also beloved by millions of fans. Eschewing the traditions of classic NWOBHM bands (guitar solos, leather, fist-pumping athems), Nü Metal rose from the same underground that embraced both hip-hop and mosh pits, with its own style (baggy pants, tracksuits, baseball caps) more reminiscent of Run D.M.C. than Judas Priest. In the same way that punk was a response to the bloated stylings of 70s corporate and progressive rock, Nü Metal stripped away the overindulgence of previous metal incarnations and focused on rhythm and catharsis. Bands like Korn, Papa Roach, and Linkin Park wrote about the dark underbelly of suburban home life, with varying musical approaches, while others like Slipknot, Mudvayne, and Static-X added a layer of theatrical presentation in their looks. We revisit not just the Nü Metal period, but also what came before it, bands like Anthrax and Public Enemy teaming up, the alternative approaches of Primus, Faith No More, and Rage Against The Machine, and explore the looks, the sounds and legacy of Nü Metal. Songs In This Episode Intro - Blind by Korn (from Korn) 17:11 - Snap Your Fingers, Snap Your Neck by Prong (from Cleansing) 26:20 - We Care A Lot by Faith No More (from Introduce Yourself) 37:04 - Denial by Sevendust (from Home) 49:32 - Last Resort by Papa Roach (from Infest) 50:27 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 58:21 - A.D.I.D.A.S. by Korn (from Life Is Peachy) 1:11:24 - 10 Seconds Down by Sugar Ray (from Lemonade and Brownies) 1:24:35 - Boom by P.O.D. (from Satellite) Outro - Rollin' (Air Raid Vehicle) by Limp Bizkit (from Chocolate Starfish And The Hot Dog Flavored Water) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Bands scoring a hit with a single that doesn't sound much like the rest of the album is not unusual. Blur, Sugar Ray, the Butthole Surfers, Nada Surf, and more had hits that might have confused buyers when the bought the respective albums, and the same goes for Faithless, and their 1998 album Sunday 8 PM. Thanks to the uptempo house hit "God Is A DJ," the band gained fans on both sides of the Atlantic. However, aside from one other track, the rest of the album runs at half that speed, mixing electronic downtempo and soul sampled trip-hop. It results in an uneven album that feels more like a collection of really good singles instead of a cohesive musical statement, but the highs, including a stirring vocal performance by Boy George, make the record one worth checking out. Songs In This Episode Intro - The Garden 20:19 - Why Go? 32:02 - Hour of Need 36:01 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 39:03 - Bring My Family Back 42:12 - God Is A DJ Outro - Killer's Lullaby Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 90s featured the rise of a several varieties of electronic music into the mainstream. The electronica of Prodigy and The Chemical Brothers and the industrial of Nine Inch Nails and Stabbing Westward became household names thanks to MTV and alternative radio station playlists, but not far behind were the late night grooves of trip-hop thanks to Portishead and Massive Attack. Combining samples and live instrumentation, and taking influence from reggae, dub, soul, jazz and more, the 1998 third album Mezzanine slowly unfurls from the start with opener "Angel" and keeps the listener entranced. From there, the band carefully weaves drum, bass, synths, and a variety of other instruments with three perfectly matched guest vocalists into a constantly shifting sonic landscape. Songs In This Episode Intro - Teardrop (from Mezzanine) 27:20 - Angel (from Mezzanine) 32:57 - Risingson (from Mezzanine) 35:57 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 52:54 - Paradise Circus (from Heligoland) Outro - Inertia Creeps (from Mezzanine) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Though hailing from the same Champaign, Illinois scene that birthed Hum and Braid, Poster Children might have flown under your radar. Their major label years were fruitful artistically, but record sales didn't match the critical acclaim, and so the band ended their deal with 1997's RTFM. Opener "Black Dog" unleashes a thumping uppercut with massive guitars and a pummeling rhythm section, and while some of their indie-rock brethren from the time esched showy guitar licks, brothers Rick and Jim Valentin have no qualms about turning up the distortion and letting it rip, like on the frenzied "Music Of America" or dancy "21st Century." The album packs an unexpected punch, but doesn't ignore the subtle moments as well, like on the new wave-ish "Afterglow" or bass-driven "King Of The Hill." Songs In This Episode Intro - Black Dog 18:49 - 0 for 1 22:39 - Dream Small 25:33 - King Of The Hill 30:45 - Rock That Doesn't Roll/Dope Nostalgia podcast promos 44:55 - 21st Century 48:00 - Music Of America 1:01:40 - Afterglow Outro - Happens Everyday Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Thanks to the sales explosion of compact discs in the 1990s, the expanded playable length of time from forty-four minutes of vinyl to nearly eight minutes gave bands plenty of room to stretch and experiment not only on albums but other releases as well. Re-enter the single, once the domain of 7" vinyl and cassingles, cd singles allowed for bands to release even more material across multiple formats, occasionally helping to propel bands on multiple charts with dance remixes and such. Depeche Mode were no stranger to using singles to release non-album material, and one fine example is the 1990 World In My Eyes maxi-single released by their American label, Sire Records. Compiling the single remix of the title track along with 12" club remixes, and adding a pair of non-album tracks in multiple mixes, turns a simple single into a forty minute, seven-track mini-album, and gives us even more Depeche Mode material to talk about. Songs In This Episode Intro - World In My Eyes 7" Version 29:13 - World In My Eyes (Oil Tank Mix) 33:25 - World In My Eyes (Mode to Joy) 38:50 - Rock That's Doesn't Roll / Dope Nostalgia podcast promos 50:02 - Happiest Girl (Jack Mix) 55:11 - Sea of Sin (Tonal Mix) Outro - Happiest Girl (The Pulsating Orbital Mix) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Plenty of guitar-oriented bands rose to prominence in the 1990s thanks to wave after wave of new artists from various genres. The Seattle sound, pop punk, Britpop, etc. all offered a diverse array of sounds for six-string fans. It was like the 1980s era of guitar heroes, but with an emphasis on diversity of tone and style - the melodic mayhem of J. Mascis to the angular buzzsaw of Kim Thayil to the jazzy funk of John Frusciante - all finding the balance between creative tangents and serving the songs. That brings us to Big Hate, an Atlanta via New York band that utilize a fuzz pedal to its maximum potential. From the opener "Century," that features a lazy slide adding just the right amount of dissonance, to the riffing "Writer's Block," the band takes full advantage of their twin guitar attack. But while it shines musically, the band leaves a bit to be desired vocally, from not nailing a truly hooky chorus, to often sliding into early Our Lady Peace / Raine Maida territory. Songs In This Episode Intro - Century 15:46 - West Virginia 20:34 - Disappointed 22:45 - Writer's Block 24:41 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 34:35 - Lemonade 38:13 - Sufi Outro - Beauty Mark Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

By the end of the 1990s, mixing rock and other genres was no big deal, but in the first half the first half of the decade it was still a novel idea. 311 established their unique sound by mixing elements rock, reggae, hip-hop, and funk, and on their sophomore album Grassroots, bits of 70s progressive rock and psychedelic jam bands. The innovative fusion of genres, combined with high-energy vocal and musical performances, make the album an undeniable head-bobber. On the flip-side, the band can lock into a staccato delivery across instruments, not exploring interesting counter melodies or rhythms, while certain genre touches can go overboard into straight-up imitation. Depending on your musical preferences, it can make for an exciting experience or a repetitive disappointment. Songs In This Episode Intro - Homebrew 23:54 - Lucky 28:32 - Salsa 40:40 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 48:47 - Omaha Stylee 57:43 - 8:16 AM Outro - 1, 2, 3 Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

After achieving massive success in the 1970s and 80s, Bruce Springsteen began the 1990s with the release of two albums in 1992, "Human Touch" and "Lucky Town," which showcased a departure from his work with the E Street Band. Like with his 1987 album "Tunnel of Love," Springsteen explored more personal themes at the end of his marriage and relocation from New Jersey to Los Angeles. Despite mixed critical reception, the albums produced notable singles like "Human Touch" and "Better Days." While some wrote off Springsteen as stale and out of touch, he returned on the soundtrack to the movie Philadelphia with the haunting and sparse "Streets of Philadelphia." He followed that up in 1995 with "The Ghost of Tom Joad," a stark, acoustic folk album that harkened back to the style of "Nebraska" and focused on social and economic issues, earning him critical acclaim and a Grammy Award for the title track. This period, though less commercially dominant than the 1980s, demonstrated Springsteen's versatility and commitment to evolving as an artist, and the 1998 four-disc compilation Tracks made up of 66-outtakes from the earliest years of his career up to the 90s showcased his hidden gems and concert-only favorites, leading up to his induction into the Rock 'n Roll Hall of Fame in 1999. Songs In This Episode: Intro - Better Days (Lucky Town) 19:12 - Leap of Faith (Lucky Town) 34:42 - Streets of Philadelphia (Philadelphia soundtrack) 45:27 - Rock That Doesn't Roll / Dop Nostalgia podcast promos 50:20 - Youngstown (The Ghost of Tom Joad) 1:03:45 - Born In The U.S.A. (Tracks) 1:11:52 - American Skin (41 Shots) (Live) Outro - 57 Channels (And Nothin' On) (Human Touch) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The provocative album covers and lyrical content have kept the Dwarves an underground band for four decades, appreciated by punk enthusiasts and fellow musicians across musical genres. After getting dropped by Sub Pop, the band returned with The Dwarves Are Young and Good Looking in 1997. While a cursory listen pins this as classic punk rock, the band isn't afraid to push the pop end of punk thanks to doubled and harmonized vocals spitting out obviously catch choruses that only missed mainstream attention thanks to a liberal use of explicit language and themes. Songs In This Episode Intro - Crucifixion Is Now 20:43 - I Will Deny 25:54 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 28:17 - Everybodies Girl 30:08 - You Gotta Burn 39:02 - Unrepentant 45:52 - Demonica Outro - We Must Have Blood Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

No one would have faulted the surviving members of For Squirrels for moving on from music after the horrific accident that claimed the life of their singer, bassist, and road manager. It took years for guitarist/singer Travis Tooke and drummer Jack Griego to regroup with new bassist Andy Jim Lord under the new moniker Subrosa and land a new record deal, the end result being their 1997 lone release Never Bet The Devil Your Head. While For Squirrels drew comparisons to the college rock of R.E.M., Subrosa dials up rock, dabbling in a post-hardocre riffage while Tooke switches between a lower register singing voice and a fiery growl. Passionate but uneven, the record doesn't shy away from the past for the Tooke and Griego, who channel their catharsis in equal parts volume and melancholy. Songs In This Episode Intro - Never The Best 13:42 - World's Greatest Lover 23:01 - The Life Inside Me Killed This Song 28:38 - Antigen Fiend 32:33 - Dope Nostalgia Promo 34:27 - Damn The Youth Outro - Rollercoaster Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

It's hard to look back on the 1990s and remember a time when Alanis Morissette was not one of its most recognizable artists. At the start of the decade, unless you were familiar with Canadian pop music or the Nickelodeon show "You Can't Do That On Television," you'd be forgiven for not knowing her name. In 1995, that all changed. Thanks to a meeting with songwriter/producer Glen Ballard, the creatively frustrated 19-year old teen pop star was able to reinvent herself by stripping away the restraints of her previous career and starting anew. Songwriting sessions with Ballard allowed Morissette to unleash her voice, sonically and lyrically, one demo at a time into what would become one of the most successful albums in history. As impressive as the sales numbers are, unlike other massive multi-platinum world sellers, Jagged Little Pill does it without being glossy and over-produced, relying on simple drum loops, tasteful guitars, and the occasional bouncy bassline to provide the foundation for Morissette's singular voice. Songs In This Episode Intro - You Outta Know 29:52 - Right Through You 32:35 - Dope Nostalgia Promo 37:03 - All I Really Want 46:55 - Not The Doctor 50:56 - Mary Jane Outro - Head Over Feet Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Nine Inch Nails' second studio album, The Downward Spiral, is Trent Reznor's chronicle of self-destruction through themes of addiction, depression, and existential despair. Free from the interference of TVT Records, it marked a significant recording and songwriting evolution for Reznor, building upon the . While the industrial rock genre had already combined heavy guitar riffs with electronic elements, Reznor's innovative production techniques combined with his ear for melody helped launch the album and band from the underground world to dance charts, daily MTV play, and global recognition. Songs In This Episode Intro - Mr. Self Destruct 33:07 - Piggy 36:42 - I Do Not Want This 40:58 - The Becoming 46:02 - Heresy 58:39 - Closer To God (single) Outro - Hurt Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With their tenth album, Jump Rope, just released, a fortunate stroke of serendipity landed Buffalo Tom's third album Let Me Come Over at the top of our most recent Patreon album poll. Having recorded their first two albums with J Mascis of Dinosaur Jr., the band took a different approach for their 1992 release, heading to Fort Apache Studios to work with Sean Slade and Paul Q. Kolderie. With guitars and tempos dialed down a bit, introspective lyrics and melancholy melodies become clearer in the mix, while tasteful layers of acoustic guitars, keys, and other additions help fill-out the three-piece sound. Songs In This Episode Intro - Staples 15:27 - Mineral 17:24 - Stymied 26:25 - Taillights Fade 29:54 - I'm Not There Outro - Porchlight Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Following the end of Galaxie 500, Damon Krukowski and Naomi Yang were ready to give up on music. Thanks to Mark Kramer of Shimmy Disc, who coaxed them back into the studio, the pair formed Damon and Naomi, and released their debut More Sad Hits in 1992. While continuing the dream pop/slowcore sound of Galaxie 500, the band stretch their sound in various ways, with subtle basslines playing off the vocal melodies, hits of French pop and jazz, and the varied vocal approach with each taking lead, as well as harmonizing on several tracks. Neither high or lo-fi, it's melancholy but not depressing, a fine needle to thread. Songs In This Episode Intro - Boston's Daily Temperature 13:25 - E.T.A. 17:28 - Information Age 24:19 - Once More 28:43 - Astrafiammante Outro - This Changing World Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Starting as the inexplicable Rainbow Butt Monkeys in the early 90s, the band wisely changed their name after the 1995 debut release and reconfigured their sound on 1998's Tip as Finger Eleven. With the capable Arnold Lanni behind the board, the band combined contemporary elements of Our Lady Peace, Helmet, Quicksand, and more in their post-grunge approach. A pair of big, thick guitar sounds with a rock steady rhythm section give singer Scott Anderson a strong base to work with, like on the riff-heavy "Condenser" and "Glimpse." But the band has multiple gears, like the subdued "Awake and Dreaming" and Tool-lite closer, "Swallowtail." If there is anything working against the band, it's the restraint they adhere to, keeping second guitar leads to a minimum and occasionally drifting vocally into Raine Maida territory. Songs In This Episode Intro - Condenser 26:46 - Alone 35:33 - Quicksand 40:25 - Swallowtail Outro - Glimpse Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In terms of unexpected successes in the music industry, Hootie & the Blowfish might be the biggest one of all. Having spent years playing southern bars as the 80s gave way to the 90s, the band couldn't get a record deal despite success with an independent EP. The A&R rep that signed them did so because they didn't sound like what was popular, and Atlantic Records gave them a fraction of their standard advance and no money to make a video for their 1994 debut Cracked Rear View. Years of honing their chops on the SEC circuit meant the pop-rock tunes with a tinge of southern flavor were tight and catchy - the perfect antidote to the domination of minor chord and drop-tuned Seattle sound that dominated after the release of Nevermind. Naturally, as their record sales exploded, backlash wasn't far behind, which quickly made the band fodder for comedians and music journalist poison pens. So is the hate directed at four compentent musicians with a goofy band name and over twenty-million albums sold valid? Thank you to Tara for her years of support, please check out Prism United. Songs In This Episode Intro - Hold My Hand 26:47 - Hannah Jane 29:35 - Drowning 48:40 - Only Wanna Be With You 52:29 - Running From An Angel Outro - Goodbye Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Led by vocalist Angie Hart and guitarist Simon Austin, Frente! emerged from Melbourne, Australia, with a sound that blended acoustic folk with a touch of alternative rock. On their 1992 debut Marvin the Album, Hart's angelic vocals combined with Austin's intricate guitar work create an intimate listening experience. It was completely out of step with the heavy Seattle sounds dominating radio playlists at the time, but the band made commercial inroads thanks to their non-album cover of New Order's classic synth-pop dance hit "Bizarre Love Triangle." For such a focused, stripped down record, some of the production choices left us scratching our heads, like an obnoxiously loud snare caked in heavy reverb, or a free jazz excursion completely out of step with the rest of the record. Songs In This Episode Intro - Accidently Kelly Street 23:17 - No Time 27:00 - Cuscatlan 32:38 - 1.9.0 35:23 - Ordinary Angels 39:58 - Most Beautiful Outro - Labour of Love Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1994 album Foolish by Superchunk might be the defining indie rock album of the 1990s. Raw musical energy paired with introspective lyrics and hooks that grab hold from the first track to the last. The band's signature blend of punk and pop shines through in every distorted chord or note that guitarist and lead singer Mac McCaughan sings or strums, creating an album that feels both urgent and timeless. Tracks like "Driveway to Driveway" and "Like a Fool" showcase the band's knack for crafting sneakily catchy melodies while maintaining the emotional depth of a record that famously followed the breakup of McCaughan and bassist Laura Balance. The end result is a vital record that defines the 1990s indie rock sound. Songs In This Episode Intro - Water Wings 17:23 - Driveway to Driveway 29:41 - Why Do You Have to Put a Date on Everything 35:07 - Kicked In 40:18 - Like A Fool Outro - The First Part Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

When Muse released their debut album Showbiz in 1999, the Radiohead and Jeff Buckley comparison were unavoidable. Lumped in with Coldplay, Paloalto, Ours, and other bands whose male vocalists utilized a falsetto, the band never actually quite fit in, and their trajectory in the 2000s is evidence they were thinking bigger. While so many music critics were happy to cast aspersions of Matthew Bellamy for his vocal approach, the actual music got less attention than it deserved. Only a three piece, the rhythm section of bassist Chris Wolstenholme and drummer Dominic Howard were largely overlooked, which is a shame. Plenty has been written about Bellamy's vocals, but combined with the melodic bass lines often harmonizing with the vocal, or the variety in Howard's playing, that slyly incorporates non-rock rhythms like on the tango-influenced "Uno," the band is much more adventurous than any of its contemporaries. Songs In This Episode Intro - Sunburn 16:11 - Muscle Museum 23:39 - Falling Down 30:20 - Uno Outro - Sober Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.