Dig Me Out: 90s & 00s Rock

In 1992, INXS released Welcome to Wherever You Are and instead of touring, headed back into the studio for a quick follow-up. 1993's Full Moon, Dirty Hearts was the result, a mixed bag of innovation incorporating bass grooves on tracks like "The Gift" and "Cut Your Roses Down" while still writing anthemic choruses on tracks like "Days of Rust" and "Time." In the midst of the grunge takeover of America, it's not surprising the album didn't fare well with radio or the charts. While guest vocalists Ray Charles and Chrissie Hynde of The Pretenders are welcome, their inclusion didn't push the needle. Revisiting the album, it's an interesting crossroads of what the band was and the sounds of the decade to come, with electronic elements sneaking in that wouldn't sound out of place later in the decade. Songs In This Episode Intro - The Gift 21:17 - Time 25:13 - Cut Your Roses Down 32:16 - Kill The Pain 41:12 - Please (You Got That...) Outro - Days of Rust Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

All the way back in season seven, we reviewed Save Ferris’s 1997 release It Means Everything, the first ska album discussed on a deep dive for the podcast. Seven years later, we catch up with Save Ferris lead singer Monique Powell who discusses how she joined the ska-punk band, the highs and lows of signing to a major label, what it was like being on the road with artists like Sugar Ray and The Offspring in the late ‘90s and the current status of the band. During the interview, we briefly discussed the legal fight Powell was engaged in with former members which led to Powell taking ownership of the group and retroactively being given co-songwriting credits for songs that appeared on It Means Everything and 1999’s Modified. To read more about the case, read the 2019 Forbes magazine feature. Songs in this Episode: Intro - The World Is New 30:47 - Come On Eileen Outro - The World Is New Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Rock music genres often get reduced to a "Big Four." For Grunge, it was Alice In Chains, Nirvana, Pearl Jam, and Soundgarden. For Thrash, Anthrax, Megadeth, Metallica, and Slayer made the grade. In 90s Britpop, Oasis, Blur, Pulp and Suede got the nod. But as if often the case, the bands on the cusp are often as interesting or even more-so thanks to being just outside the spotlight. In the case of Supergrass, The Beatles and The Rolling Stones creep in as influences like their Britpop contemporaries, but the energetic attitude and willingness to embrace the chaos of The Who's rhythm section and the concise songwriting perfection of The Kinks helps their second album, 1997's In It for the Money, exceed not just their debut, but most of the Britpop catalog. Looking at the charts, it's not hard to see why killer singles like "Richard III," "Cheapskate," "Sun Hits The Sky" and "Late in the Day" failed to impact American radio and pop culture consciousness. While Blur had "woo-hoos" and Third Eye Blind had "do do do's," Supergrass ditched guitar solos for theremins and vintage synthesizers, constructing layered pop gems that deserve revisiting. Songs In This Episode Intro - In It for the Money 27:40 - Sun Hits the Sky 31:42 - You Can See Me 35:45 - Going Out 40:08 - Tonight Outro - Richard III Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

You're forgiven if you tried to search for Pollen on the internet and struggled to find this band. Besides the numerous bands named Pollen, there is also the issue of their debut 1998 album The Glorious Couch Life not appearing on streaming services, rendering it hard to find for the average music listener. That's a shame, because throughout the record, Pollen finds the combination of indie rock energy tinged with a little garage and some danceable rhythms, topped with catchy melodies and smart lyrics. Shades of American bands like Superchunk, Guided By Voices, Beck, Death Cab For Cutie, and Sebadoh peak through, as well as Australian contemporaries like Screamfeeder, Ratcat, Ammonia, and Moler, permeate the sound, from the propulsive "Greater Than" and "Sin as Fast as You Can" to the angular "Walruses to Whales" and quirky "Settle the Score on the Dancefloor." Songs In This Episode Intro - Million Destinations 12:25 - Sin as Fast as You Can 16:18 - Brighter Day 21:28 - Settle the Score on the Dancefloor 25:08 - Soma and Nerves of Steel 27:56 - Special Features Outro - Not Rocket Science Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Formed in a city best known for either Motown Soul or Garage Rock, shoegazers Majesty Crush were an anomaly in the early ‘90s Detroit music scene. Inspired by the music coming out of the UK, Majesty Crush’s sound employed swirling guitars, hazy vocals, and captivating dreaminess while incorporating elements of soul and R&B. After their song “No. 1 Fan” received significant airplay during prime hours on the Windsor radio station 89X, Majesty Crush - David Stroughter (vocals), Mike Segal (guitars), Hobey Echlin (bass) and Odell Nails (drums) - signed with Dali Records, a subsidiary of Warner/Elektra and released their debut full-length, Love 15, in 1993. However, just a month after the album came out, Dali Records folded bringing Majesty Crush’s momentum to a halt and, ultimately, to an end just a few years later. Though their time was short, the band amassed a small but loyal following in the shoegaze scene of the early ‘90s and have been cited as an influence for everything from indie guitar groups to metal bands. And curators of this style of music have sought out Majesty Crush’s music to include on compilations like Third Man Records’ Southeast of Saturn which features 19 tracks from Detroit shoegaze and dream pop artists. In March 2024, Numero Group released Butterflies Don’t Go Away, a 2 LP set featuring the Love 15 album as well as singles, EPs, and rarities, all remastered from the original tapes. The package is completed by a 24-page booklet. Majesty Crush bassist Hobey Echlin joins us on this episode for a deep dive into not only his band’s career but the ‘90s independent music world. As a music journalist, Echlin has amassed a number of stories over the years and this conversation - at times - goes to places you’d never expect. Songs in this Episode: Intro - No. 1 Fan 29:33 - "Club Connect" TV show intro 33:46 - Worri 1:25:17 - Space Between Your Moles 1:30:47 - Where the F**k is Kevin Shields? (by PS I Love You) Outro - Uma Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Leitmotif, released in 1999 by Los Gatos, California quartet Dredg, is a concept album exploring themes of identity and time. The album blends elements of alternative rock, progressive rock, nu-metal, and post-hardcore, showcasing the band's skillful versatility, drawing comparison to fellow California bands Tool and Deftones. With its intricate instrumentations and dynamic shifts, Leitmotif takes listeners on an emotive musical journey through its narrative arc. Where the band runs into trouble is in the indulgences, stretching out noisy outros or delayed intros far too long, and ending on an unnecessary jam below their skill set. What looks like an album quickly shrinks to something more like a long EP, missing a few tracks that focused on their talents instead of their experimentation. Songs In This Episode Intro - Movement I: @45N. 180W 13:15 - Lechium 16:57 - Movement IV: RR 23:40 - Penguins in the Desert 32:13 - Traversing Through the Arctic Cold, We Search for the Spirit of Yuta Outro - Yatahaze Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Released during the decline of 80s hair metal and rise of 90s Seattle grunge and alternative, the 1992 album It's A Shame About Ray by The Lemonheads is rarely mentioned as being in the pantheon of 90s album, but maybe it should. Sporting tight and smart songwriting arrangements with track after track of catchy hooks, lead singer and guitarist Evan Dando, bassist and backup singer Juliana Hatfield, and drummer David Ryan make the most of their sub-thirty minute album, packing short songs with simple but well-thought-out changes and dynamics on par with contemporaries like Sugar, Buffalo Tom, and Dinosaur Jr. Songs In This Episode Intro - It's A Shame About Ray 21:39 - Hannah & Gabi 27:41 - My Drug Buddy 33:05 - Alison's Starting to Happen 40:30 - Bit Part Outro - Confetti Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With the music landscape dominated by the grunge movement coming out of Seattle, it’s little wonder that Pennsylvania’s Riverside, a band influenced by the likes of The Smiths and Echo and the Bunnymen, didn’t stand a chance. Featuring Keith Kochanowicz (vocals, guitar, organ) and his brother Glenn Kochanowicz (bass, vocals), Kenneth Jackson (guitars), and Geoff Verne (drums), the band’s debut - and ultimately lone - album for Sire Records, One, was released in 1992. While featuring a number of alt-rock-radio friendly songs (“Waterfall,” “Cinnamon Eyes,”), Riverside couldn’t catch a break and were dropped by the label despite finishing a sophomore album, Taste. More than 30 years after One’s release, the Kochanowicz brothers hooked up with the Lost in Ohio record label and a Kickstarter campaign was launched to fund the first-ever pressing of the album on vinyl. Despite never achieving massive success in the ‘90s, the campaign was fully funded within weeks of the announcement and the vinyl will be available later this summer. In this conversation, the Kochanowicz brothers discuss the formation of the band, how fellow Pennsylvania band The Ocean Blue served as mentors, the realities of having a major label record deal in the ‘90s, and what happened after Sire dropped Riverside. Songs in this Episode: Intro - Waterfall 7:15 - General Nature 57:00 - Waterfall 1:04:48 - Marvel (from Taste) Outro - Cinnamon Eyes Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

By 1994, Sinéad O'Connor had established herself as a musical powerhouse willing to take risks behind the microphone and under the hot spotlight of the media. Following up her third album, the 1992 release Am I Not Your Girl?, consisting mostly of jazz standards, O'Connor returned with an album of diverse musical styles, blending elements of folk, rock, and traditional Irish sounds. The mix of acoustic and electric instrumentation, from the trip-hop flavored singles "Fire On Babylon" and "Thank You For Hearing Me," bookend a much more subdued and intimate affair, including a cappella tracks and a hushed cover of "All Apologies" by Nirvana. While some of the 90s electronic production ends up sounding dating, overall the album reflects a generational talent pushing the limits of mainstream music. Songs In This Episode Intro - My Darling Child 20:36 - John I Love You 23:41 - Fire on Babylon 34:44 - All Babies 40:59 - Famine 1:00:26 - Thank You For Hearing Me Outro - Red Football Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Compilation albums have helped define a musical scene or time period for decades, and the roots of 90s alternative rock are unmistakably tied to the underground music of the 1980s. While punk exploded into the mainstream 1994 thanks to million selling albums by Green Day and The Offspring, the seeds were planted in the small scenes across the country more than a decade earlier, many of which were never documented. Luckily, those that got laid down on vinyl or tape often have unknown gems waiting to be discovered. In the case of the 1984 compilation, It Came From Slimey Valley, which documents the Oxnard, California "nardcore" scene, the hardcore sound isn't as predictable as one might expect, with bands occasionally slowing the tempo, incorporating more dynamics, or turning up the fuzz. Songs In This Episode Intro - Prophesy by False Confession 16:24 - Death of Two Lovers by Flower Leperds 20:08 - Violent Children by Reign of Terror 22:43 - In the Trenches by Rigor Mortis 34:37 - Old Towne Mall by The Grim 39:09 - Boy's Life by Dr. Know Outro - There's Someone in the Cellar by Crankshaft Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1999 album Black Visions of Crimson Wisdom by The Hookers is a loud, pummeling rock record that draws influence from the New Wave of British Heavy Metal as well as '80s hardcore and punk. Guitar riffs that would sound at home on Iron Maiden or Judas Priest albums rip while a thundering rhythm section propels the band with hardcore energy, keeping the songs short and tight and the album under thirty minutes. That turns out to be the right move, as the pummeling sound of the band never lets up, and lead singer Adam Neal has one gear - full-throat-shredding-throttle. Songs In This Episode Intro - Maximum Overdrive 19:03 - Behold God's Candy 23:38 - Black Magic Stallion 27:10 - The End Is Comin' 47:09 - Ride The Dragon To The Crimson Light Outro - Ball Crusher Love Machine Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In a bar in Perth, Australia in the late 1980s and early 1990s, Fred Negro and his various bands tore through country-tinged punk rock soaked in beer and satire. One of these incarnations was The Brady Bunch Lawnmower Massacre, a short-lived name that produced a single, an EP, and the 1992 album Desperate Football. Like fellow garage post-punks The Scientists or The Birthday Party, on the surface the sound is big, loud and messy. But repeated listens reveal tighter than anticipated musicianship with some chorus hooks that will stay in your brain longer than expected. Songs In This Episode Intro - Drink Myself to Live 20:21 - Nothing on Telly 24:59 - When Jesus Goes Surfing 31:09 - Carpark 36:00 - Blood Money Outro - I've Only Got One Dick Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

By the time 1995 rolled around, punk had exploded into the mainstream thanks to releases the previous year by Green Day and The Offspring, as well as Bad Religion, Rancid, NOFX, and many more. It was also the year Jawbreaker released their third album 24 Hour Revenge Therapy, as well as the year they made the jump to a major label for their fourth and final album, Dear You. Showcasing a departure from their earlier raw sound towards a more polished, melodic approach, the band faced criticism from some punk purists who felt the band had strayed too far from their DIY roots, with accusations of selling out and alienating their hardcore fanbase. Despite the divided opinions, the album's impact has endured, influencing subsequent generations of punk and alternative rock musicians. Songs In This Episode Intro - I Love You So Much It's Killing Us Both 19:00 - Save Your Generation 30:10 - Bad Scene, Everyone's Fault 42:04 - Oyster Outro - Fireman Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Released in 1994, the Indigo Girls' fifth album "Swamp Ophelia" marked a significant chapter in their career, following the critical and commercial success of their earlier works. The album, co-produced by Peter Collins, showcases the duo's distinctive harmonies and poignant songwriting, seamlessly blending folk and rock influences. Tracks like "Galileo" and "Power of Two" became anthems of the era, displaying their lyrical prowess and melodic charm. "Swamp Ophelia" received acclaim for its introspective and socially conscious themes, tackling issues such as love, identity, and environmental concerns. Despite its positive reception, the album leans towards a more polished sound compared to their previous works, potentially sacrificing some of the rawness that defined their earlier releases. Songs In This Episode Intro - Fugitive 15:16 - Reunion 21:37 - The Wood Song 31:17 - The Power of Two 45:09 - Touch Me Fall Outro - Least Complicated Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In our latest and final "Albums of..." roundtable, we're tackling what might have been the most prolific year for releases of the entire decade. With the major labels scooping up bands to ride the alternative and grunge wave explosion into mainstream radio and on MTV, 1994 saw not only huge album releases from Soundgarden, Pearl Jam, Stone Temple Pilots, Nine Inch Nails, Alice In Chains, R.E.M. Nirvana, and more, but also the punk explosion thanks to Green Day, The Offspring, Rancid, Bad Religion, and others. This was also the year that across the pond from the US, Britpop topped the charts in the UK thanks to Blur and Oasis, while a new wave of alternative bands shot up the charts like Veruca Salt, Bush, Live, Weezer, Toadies, etc. while the indie underground produced classic records from Pavement, Guided By Voices, Low, Stereolab, Sebadoh, and Superchunk, to name a few. For a big year, we have a big group with a super-sized length. Enjoy! Songs In This Episode: Intro - 1994 Medley (Interstate Love Song by Stone Temple Pilots, Loser by Beck, Self Esteem by The Offspring, Buddy Holly by Weezer, I'm Broken by Pantera, March of the Pigs by Nine Inch Nails) 16:05 - Last Goodbye by Jeff Buckley 23:36 - Girls & Boys by Blur 39:10 - Everything Zen by Bush 50:25 - Very Best Years by The Grays 1:07:19 - Suffering by Satchel 1:13:30 - Bernie by Failure 1:30:40 - I Am I by Queensrÿche 1:50:51 - Feel The Pain by Dinosaur Jr. Outro - Faster by Manic Street Preachers Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Although only active for a short time in the 1990s, Baltimore, Maryland's Love Nut still managed to bounce from indie to major labels back to the indies over the course of their two albums. Originally recorded for Interscope Records, the band ended up releasing their second and last album on the smaller label Big Deal, meaning more freedom but less budget money for promotion and marketing. Which is a shame, because revisiting ¡Baltimucho! it's clear the band were ripe for discovery with big, hooky power pop choruses that leaned on the 70s glam pop of Sweet as much as Cheap Trick. Songs In This Episode Intro - Love Found You 15:58 - Everchanging World 21:20 - Bomb Pine 26:48: Everything Is Going Your Way 34:48 - Crop Duster Outro - Stolen Picture Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While Britpop bands like Oasis and Blur aped the sounds of British invasion bands like The Beatles and The Kinks, other UK bands explored less radio-friendly material. In the case of The Verve, long psychedelic jams improvised in the studio established the sound of the band on their 1993 debut album A Storm in Heaven. For their long-play 1995 follow-up, A Northern Soul, the band entered the studio with more composed ideas that edged away from formless psychedelia to incorporate more defined verses and choruses, and even an acoustic ballad on par with Wonderwall. Songs In This Episode Intro - A New Decade 16:50 - On Your Own 19:12 - Life's An Ocean 21:58 - So It Goes 31:57 - History Outro - A Northern Soul Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Nailing down what exactly is "power pop" can be frustrating (we did a whole roundtable on it!), but the "power" end of it is usually found in the guitar section. From the big riffs of Cheap Trick's Rick Nielsen to Robert Quine's excited guitar leads on Matthew Sweet albums, just because it's "pop" doesn't mean it doesn't rock. For their second album, Fountains of Wayne duo Adam Schlesinger and Chris Collingwood recruited former Belltower guitarist Joey Porter and former Poises drummer Brian Young to complete the foursome. Two veteran players mean a tightened rhythm section and a bigger guitar sound that allows the band to expand their sound, touching not only on power pop from the 70s, 80s, and 90s, but elements of Britpop, psychedelia, and Queen grandiosity. Songs In This Episode Intro - Red Dragon Tattoo 13:00 - Utopia Parkway 17:48 - Lost In Space 25:45 - Denise Outro - A Fine Day For A Parade Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

It's hard to imagine a piano-led trio playing power-pop and 70s singer-songwriter influenced songs making headway in the sea of sorrow that was the first half of the 90s. Maybe it's better Ben Folds Five made their debut in 1995, when labels abandoned looking for the next Pearl Jam or Nirvana and went after anyone with a radio-friendly song that could pair with an MTV video. Boasting Billy Joel and Elton John-style piano flourishes over fuzzed out basslines and active drums, the trio move deftly through a dozen tracks of "punk rock for sissies" with smarts and savvy, keeping the songs tight with memorable melodies throughout. Though they would shoot into the mainstream on their follow-up, the self-titled debut effort shows the band had the songwriting chops from the start. Songs In This Episode Intro - Jackson Cannery 21:55 - The Best Imitation of Myself 38:32 - Video 44:47 - Underground Outro - Philosophy Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

There is a lot to talk about when we look back on 2023. Albums new and old from 90s and 00s artists blasted from our speakers and headphones everyday. As 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 interviews conducted by Chip Midnight. Here's to season fourteen in 2024! Songs In This Episode: Intro/Outro - Dig Me Out by Sleater-Kinney Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The explosion of Nevermind in 1991 pushed Sunset Strip bands that dominated the 1980s off of radio and MTV in favor of Seattle's Big 4 - Nirvana, Pearl Jam, Soundgarden, and Alice in Chains. Promotion and marketing budgets dried up, tours saw decreasing attendance, and it left many hair and glam rock bands wondering what to do next. For Warrant, who made a name on power ballads and Cherry Pie, the shifting winds allowed them to explore the songwriting talent of frontman Jani Lane. On 1992's Dog Eat Dog, innuendo is swapped for political and social commentary on "April 2031" while "All the Bridges Are Burning" tackles drug addiction, neither standard fare for LA bands. While there are a few straightforward nods to the first two albums, the band make it clear they were capable of entering Queensryche or other previously unexplored territory with ease, whether their fanbase and radio were ready or not. Songs In This Episode Intro - Machine Gun 13:06 - April 2031 32:01 - Sad Theresa 41:13 - The Hole In My Wall 57:12 - Inside Out Outro - Bonfire Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

For the next installment of our series looking back at the Diamond selling albums of the 1990s, we're revisiting the 1991 debut album Ten by Pearl Jam. Though it wasn't an immediate smash upon release, Ten built success on the back of singles like "Alive," "Evenflow," and "Jeremy" with heavy support from radio and MTV. Though the band pulled the plug on videos from then until their 1998 album Yield, demand for the band didn't diminish, as the follow-up Vs. became one of the bestselling debut weeks in music history. But Pearl Jam was not without their detractors, criticizing everything from Eddie Vedder's singing style to album production choices, lyrical content, their credibility as "Seattle band," dismissed as nothing more than classic rock, and more. Much has been said and written over the two-plus decades since its release, so is there really much more to explore? Yes, there is. Like, was Jeff Ament's bass playing the secret sauce that drove the Pearl Jam engine? Is the derided reverb-tinged production actually what makes the album special? And in the world of Gen Z and Alpha sporting Nirvana t-shirts, is Pearl Jam relevant to anyone under forty? Or have they become the new Grateful Dead? Songs In This Episode Intro - Evenflow 28:49 - Once 38:35 - Yellow Ledbetter 45:07 - Footsteps 45:47 - Times of Trouble (Temple Of The Dog) 55:18 - Alive 1:14:59 - Black (Live, Dissident Single) Outro - Release Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

"Ágætis byrjun" by Sigur Rós was released in 1999 but didn't get proper attention until touring with Radiohead in 2000. The Icelandic post-rock band's sophomore album is lead by Jónsi Birgisson's haunting falsetto vocals partially in Hopelandic, a nonsensical language created by the band, is unlike anything from the time period. The album blends ambient, classical, and rock elements, creating a dreamlike and cinematic atmosphere. Each track is like it's own mini-movie, exploring a new sonic landscape that evokes everything from blissful euphoria to introspective melancholy. Hailed as a landmark album that pushed the boundaries of experimental music, the band employ a mix of classical orchestration and modern electronic elements, creating a one-of-a-kind cinematic and atmospheric experience. Songs In This Episode Intro - Starálfur 21:14 - Svefn-g-englar 25:33 - Hjartað hamast (bamm bamm bamm) 45:06 - Olsen Olsen Outro - Ný batterí Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

After a string of indie label seven inch releases, Velocity Girl from College Park, Maryland, released their debut album Copacetic on Seattle's legendary Sub Pop records. Taking their name from the Primal Scream track, the band leans into the UK sound of shoegaze with a layer of American indie and noise rock. Lead singer Sarah Shannon's vocal hover above the fray, the anchor in the three-to-four minutes of brittle guitars and thin rhythms that hamper the potential of Copacetic. This episode is dedicated to Steven Jon, who passed away on November 23rd, 2023. RIP. Songs In This Episode Intro - Crazy Town 19:15 - Audrey's Eyes 26:09 - Here Comes 30:49 - Pop Loser 38:29 - A Chang Outro - Void I: Thousand Year Drift by Hollow Earth Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

It's our fourth year of getting the patrons together and giving thanks for the new music that gave us happiness and good vibes in 2023. There's a wide array of bands and artists, new and old, that helped make 2023 a great year for music. New albums from 1980s, 90s and 00s artists like Slowdive, The Hives, Louise Post of Veruca Salt, Depeche Mode, Drop Nineteens, Samiam, Gaz Coombes of Supergrass, Madder Rose, Juliana Hatfield, The Hold Steady, Brad, Ash, OMD, Allen Epley of Shiner and The Life And Times, The Church, PJ Harvey, Blur, DJ Shadow, and many more all released great late career records, while newer bands like Crown Hands, Spotlights, Houston, Vast Robot Armies, and several others landed on our radar. We also spend an inordinate amount of time rambling about the new Andre 3000 album, New Blue Sun. Songs In This Episode Intro - Scapa Flow by Drop Nineteens 5:30 - Ghosts Again by Depeche Mode 20:43 - In The Moment That You're Born by Brad 35:40 - Graveyard Love by Mutoid Man 57:30 - Ants To You, Gods To Who? - Andre 3000 Outro - Countdown to Shutdown - The Hives Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Elastica burst onto the scene in 1995 with their highly acclaimed self-titled debut album, showcasing the band's distinctive blend of punk-inspired energy and catchy pop hooks. Elastica's minimalist sound and frontwoman Justine Frischmann's laid back vocals separated the band from their Britpop counterparts Blur, Suede, Oasis and Pulp. To help us revisit their freshman effort, we're joined by Rob Harvilla, host of the 60 Songs That Define the 90s podcast and his new corresponding book, out November 14th. Songs In This Episode Intro - Connection 27:09 - Car Song 35:05 - Blue 39:43 - Indian Song Outro - Line Up Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Leaving behind traditional rock 'n roll structures for more experimental avenues is nothing new for post-rock bands stretching back to The Velvet Underground drones or Brian Eno's ambient albums. It's stretches boundaries into free jazz, krautrock, math rock, and more often with a mechanical feel. That is quite the opposite of what the Dirty Three accomplish on their 1996 album Horse Stories, filled with the improvisations of Warren Ellis on violin, Mick Turners on guitars and bass, and Jim White on drum. The three-piece creates a wide cinematic scope, using space and slow building dynamics to evoke European folk ballads, traditional blues, classical music and much more. Songs In This Episode Intro -Sue's Last Ride 19:39 - At The Bar 28:03 - Warren's Lament Outro - Red Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Superdrag first gained recognition with their debut album, "Regretfully Yours," which featured the hit single "Sucked Out." Elektra records upped the dough for a sophomore album hoping the band would follow-up the hit with more radio friendly singles. Instead, "Head Trip in Every Key," marked a significant departure from their freshman effort. The band continued to deliver their trademark catchy melodies, but this time, they incorporated more diverse musical elements, like psychedelic rock and Beach Boys-esque pop. The album featured a broader range of instruments and experimental sounds, showcasing the band's evolving musical maturity. The band's sound became more intricate and layered, reflecting a greater musical complexity in their compositions. Despite these changes, Superdrag's unmistakable energy and John Davis' distinctive vocals remained at the core of their sound, making "Head Trip in Every Key" an important milestone in their musical evolution. Songs In This Episode Intro - Do The Vampire 19:32 - I'm Expanding My Mind 30:36 - Pine Away 42.25 - Mr. Underground Outro - Hellbent Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Dark, brooding atmospheres with intense, pulsating rhythms complemented by searing guitar work and haunting, enigmatic lyrics roughly sum up the wild ride that it is self-titled debut album by Course Of Empire. If an album can be called "dystopian," which is usually reserved for science fiction novels and movies, Course Of Empire may qualify. Thanks to hypnotic, almost tribal percussion via a pair of drummers, the band stretches from tabla jams to industrial beats to ambient drone guitar to poppy new wave, all drenched in a very specific moodiness. Defined by its experimental and uncompromising nature, the album is a great example of the 1980s/90s crossroads that alternative music found itself as college rock rose to prominence on MTV and radio, resulting in the band re-releasing the album in 1992 via a major label deal with Zoo Entertainment. Songs In This Episode Intro - Ptah 17:40 - Peace Child 23:14 - Copious 27:01 - Dawn Of The Great Eastern Sun 35:58 - Sins of the Fathers Outro - Mountains Of The Spoken Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Duster's 1998 debut Stratosphere came out to little fanfare at the time of release. Featuring a distinctive blend of dreamy, reverb-soaked guitars, buried vocals, and a deliberate, slow tempo, the band creates an atmospheric sound that is occasionally mesmerizing. Characterized by its introspective and melancholic mood, tracks like "Heading for the Door" and "Gold Dust" transport listeners to a sonically immersive and otherworldly place, making it a cult classic in the indie rock and shoegaze communities. Over the years, the album has gained recognition for its influence on subsequent generations of musicians exploring similar sonic landscapes. But buzz can be a double-edged sword, so will this revered record live up to the hype? Songs In This Episode Intro - Inside Out 22:00 - Heading For The Door 26:32 - Stratosphere 29:23 - Gold Dust 33:50 - Earth Moon Transit 37:23 - Topical Solution Outro - Docking The Pod Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Following the release of 1994's Clumsy for Atlantic, Samiam took their completed fifth album back from the major label and found a new home with Ignition. Unfortunately, that label ran into money troubles, leaving copies of You Are Freaking Me Out difficult to come by. For a band that evolved out of the same Bay Area punk scene as Green Day, Bad Religion, Operation Ivy, and many more, the band never reached the same commercial heights as some of their contemporaries, but maintains a dedicated fanbase to this day. While some may have questioned the band's evolution from skate punks to something closer to post-hardcore, emo, and even pop-punk, the key ingredients - catchy hooks, big guitar riffs, and a propulsive rhythm section, keep the record on track even when they take chances with quieter and more subdued moments, and even a Beatles cover. Songs In This Episode Intro - She Found You 20:44- Full On 27:06 - Cry Baby Cry 29:46 - Charity Outro - Ordinary Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Having blazed a trail with some of the most successful Britpop albums of the 1990s, Blur was heading for implosion following their tabloid battle with Oasis in 1995 and inter-band turmoil. To reorient themselves, they turned to the country that used to be a target of scorn - America. Specifically, American indie rock like Pavement. You can hear the influence throughout the album as the band takes the noise, the jagged guitar lines, the lo-fi aesthetics, and put their unique spin on it. That unique spin, of course, would end up creating one of the most memorable songs of the 90s, "Song 2," that still gets played in stadiums at sporting events around the world, and is a staple on 90s classic radio. But "Song 2" is just the tip of a very weird, very singular sound that would find the band taking chances that mostly paid off. Songs In This Episode Intro - Song 2 18:57 - Strange News From Another Star 24:40 - On Your Own 29:56 - Death of a Party 37:56 - I'm Just A Killer For Your Love Outro - Beetlebum Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Major label debuts for any artist can be a double-edged sword. Recording a group of songs you've had years to craft means they've spent plenty of time in the woodshed, but the pressure to produce a hit, especially in the back half of the 90s, means sometimes the obvious singles get the most attention in the studio and post-production. That is the semi-issue with Tracy Bonham's 1996 freshman release The Burdens of Being Upright. Chock full of interesting, catchy tunes like the hit single "Mother Mother," the bouncy "The One," the punky "Bulldog," and others helps the record fly by in entertaining fashion. As high as the highs are, there are no low lows, just some disappointing valleys that sound like the first draft of what could have been much more. Songs In This Episode Intro - Navy Bean 16:28 - Mother Mother 22:45 - Tell It To The Sky 32:29 - Sharks Can't Sleep Outro - The One Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Before changing their name to Diffuser and scoring a couple of hits in the early 00s, the long island quartet Flu Thirteen banged out jagged post-hardcore riffs and rhythms on par with bands of the time. Getting producer J. Robbins, whose work in the 90s on albums by Braid, Texas Is The Reason, The Promise Ring, and many more helped define the late 90s indie rock sound, was a perfect match to help refine and define the band's sound. On their 1998 album In The Foul Key of V, the band unleashes a steady stream of dynamic arrangements, shifting between blazing dissonance and subdued restraint that occasionally recalls the valleys of Sunny Day Real Estate. Songs In This Episode Intro - Romeo-Core 12:30 - Stale 17:41 - The Ghost of the Organ Player at the Hockey Coliseum 20:45 - Accessing the Know-How 26:10 -Jerome Does a Dance in Hi-Fidelity Outro - My Beijing Hot Rod Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

"Sell-out" was a phrase tossed around in the 1990s whenever an indie or small-label band jumped to a major record label. Among the most surprising were Bad Religion because their guitarist Brett Gurewitz owned the label they had released their first seven albums on Epitaph Records. While sell-outs were accused of trading integrity for money, Bad Religion's eighth album "Stranger Than Fiction" makes the case that not only was the jump a good move, but helped kick-start the pop-punk takeover of 1994 along with Green Day and The Offspring, who released million-selling albums the same year in "Dookie" and "Smash," respectively. Thanks to a re-recording of "21st Century (Digital Boy)," a song the band was unhappy with the previous studio version, they had a proper radio and MTV single to expose the suburban masses around the United States to a headier lyrical approach backed by sugar-sweet harmonies. Songs In This Episode Intro - Incomplete 25:23 - 21st Century (Digital Boy) 30:46 - Stranger Than Fiction 38:39 - Infected Outro - The Handshake Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Incorrectly tagged as Rage Against The Machine followers (they actually existed before Rage), downset. offer a glimpse into the Los Angeles hardcore and metal scene as it transitioned from the 80s to the 90s. Like Rage, downset. combined big guitar riffs with social and political commentary on their self-titled 1994 debut, but traded the guitar histrionics of Tom Morello for a more streamlined approach. The result is a prime example of the unique 90s rock subgenre of rap rock, which would later evolve into nu-metal with the emergence of bands like Korn and Limp Bizkit, who brought the volume without the content. Songs In This Episode Intro - Downset 18:54 - Ritual 22:18 - Anger 30:22 - My American Prayer Outro - About To Blast Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We don't think of many bands coming out of the UK in the early nineties that could fit nicely on a bill with The Jesus Lizard or Mudhoney, but the 1991 album Tantrum by UK band Milk makes the case that noise rock wasn't just an American phenomenon coming out of hardcore. Frenetic rhythms and dissonant guitars shine on the record, covering for a solid but unremarkable vocal performance. The band is at its best when the volume and intensity quickly shift into quasi-blues riffs and thrash metal shredding via Neil Young. Songs In This Episode Intro - Is That It? 13:08 - Claws 19:46 - Hot Seat 28:36 - Book One, Page One Outro - Billy and Bobby Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The slowcore sound can be simplified down to tempo and a minimalist approach, but like every genre or subgenre of rock music, there are always those pushing the boundaries and reinventing. On the 1996 album Three Sheets To The Wind by Idaho, the boundary pushing comes as a pair of straight-up rock songs that wouldn't sound out place on a Dinosaur Jr. or Heatmiser album. From there, the band adds jazzy and soulful elements - brushed drums here, an electric piano there - paired with Jeff Martin's evocative vocal that falls somewhere between the folky sadcore of American Music Club's Mark Eitzel and the more experimental post-rock of Low's Alan Sparhawk. Songs In This Episode Intro - If You Dare 18:18 - A Sound Awake 23:03 - Shame 30:08 - Alive Again 34:00 - Pomegranate Bleeding Outro - Catapult Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Ever wonder what it would sound like if Terry Lewis and Jimmy Jam, famous for producing the likes of Janet Jackson and Boyz II Men, got behind the board of a three-piece rock band? And what if that band drew influence from bands like Queen, Van Halen, and Faith No More? You might end up with the 1992 self-titled (and lone) album from T-Ride, a record that sounds simultaneously of the time and completely out of place during the grunge explosion. Though tagged as "heavy metal," even a cursory listen informs the listener that there is much more going on, from the deranged power-pop of "Luxury Cruiser" to the industrial dance of "Hit Squad." At just thirty-four minutes long, the band finds a sweet spot of not overstaying their welcome but loading up each song with sonic gold nuggets that demand multiple listens. Songs In This Episode Intro - Luxury Cruiser 15:28 - Hit Squad 25:09 - I Hunger 31:40 - Fire It Up Outro - Zombies From Hell Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

An established band changing lead singers is always a tricky proposition. With the departure of founding member, singer, and bassist Ian Masters following their second album In Ribbons due to a lack of interest in touring, Pale Saints could have called it quits. Instead, guitarist and backing vocalist Meriel Barham stepped into the fire, having briefly filled the same spot in Lush well before the band established themselves. The result draws obvious comparisons to Barham's former band, but Pale Saints have a few more tricks of their sleeves on their third album Slow Buildings. Whether it is long, slow burn tracks like "Henry" or "Suggestion," or three-minute rockers like "Under Your Nose" or "Angel (Will You Be My)," the band gels around the ethereal voice of Barham. Songs In This Episode Intro - Angel (Will You Be My) 18:59 - Under Your Nose 27:53 - King Fade 33:19 - Little Friend Outro - Henry Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

After splitting from Depeche Mode in 1995, Alan Wilder focused his full attention on Recoil, his side-project going back to the mid-1980s. In 1997, the same year DM released "Ultra," Wilder released the fourth Recoil studio album, "Unsound Methods." Free to explore the electronic soundscape, Wilder enlisted several vocalists to tackle the electronic/trip-hop material, including Douglas McCarthy from Nitzer Ebb and NYC spoken word artist Maggie Estep. The result is both of the time and ahead of its time, fitting in nicely with the mid-90s trip-hop sounds of Massive Attack, Sneaker Pimps, and Portishead, while also foreshadowing the more experimental and cinematic sounds of James Lavelle's Unkle. Songs In This Episode Intro - Stalker 16:19 - Incubus 29:11 - Control Freak 36:14 - Drifting Outro - Missing Piece Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Skirting the edges of stardom, Chris Whitley passed away far too young at 45, but left a catalog of albums more influential than they were ever popular. A wide array of artists, from John Mayer to Joe Bonamassa have lauded Whitley's playing and songwriting, so we're diving into this 1995 sophomore album Din of Ecstasy. Whereas his debut was a slickly produced blues rock album that produced a Top 40 Mainstream Rock chart hit, the follow-up sounds more in line with the happenings of the decade. The big fuzz of Dinosaur Jr. appears on "Din," while a guitar solo on "God Thing" conjures images of Soundgarden's Kim Thayil, as Whitley embraces complex guitar riffs and atmospheric production that sound both of the time and timeless. The only hitch? The album is a slow burn, and a checked-out, background noise listen won't do it justice. Songs In This Episode Intro - Din 22:21 - God Thing 40:06 - Know 45:20 - Some Candy Talking 59:02 - Never Outro - Narcotic Prayer Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The line between rock and metal is a thin one, often based on the listener and their personal preferences. Numerous bands in the 1990s blurred the line, injecting heavy riffs and guitar tones into their sound that pushed bands like Alice in Chains and Soundgarden onto Headbanger's Ball alongside Metallica and Slayer. But other bands like Spot took their inspiration and applied it differently, like on their self-titled debut from 1995. Opening with "Drop Down," the rhythm section gallops like Iron Maiden, while the riffs on Hole draw from 80s thrash, all while the vocals shift from the boozy "L'America" to harmonized power-pop without a hitch. It's a weird, singular sound that works when it works, but limps when it doesn't. Songs In This Episode Intro - Ground 22:57 - Moon June Spoon 28:02 - Drop Down 33:12 - L'America 39:11 - Hole Outro - Absalom Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The story of Glide is one of potential cut short with the death of lead singer William Arthur before the end of the decade. Commanding a voice with equal parts sneer and croon, the appropriately titled debut Open Up & Croon from 1995 manages to fuse a variety of sounds into a coherent vision. Jangly acoustic guitars accompany fuzzed electrics and a potent rhythm section across the twelve tracks that range from the uptempo title track opener to a wide array of moods, from the Westerbergian "Why You Asking?" to the more dramatic twists in turns on the back-half of the album like "Caterwaul" and closer "Picking At Your Paws." Songs In This Episode Intro - He Sees A Way 14:30 - Caterwaul 18:21 - Line 21:59 - Why You Asking? 27:43 - Spin Doctor 31:36 - Open Up and Croon Outro - Something Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

From the cover art for Ritual de lo Habitual by Jane's Addiction to the music videos for Jeremy by Pearl Jam or Closer by Nine Inch Nails, the 1990s were full of controversial and provocative artists and music. Whether it was rapper Ice-T fronting hardcore thrash band Body Count and their single "Cop Killer" to Marilyn Manson pushing boundaries musically and visually, there was no shortage of outrage and hysteria aimed at Gen-X musicians and their fandom. Bands and artists as varied as Tool, Soundgarden, Nirvana, Madonna, Green Day, Megadeth, NOFX, Tin Machine, Ministry, Sublime The Prodigy, Suede, Van Halen, Manic Street Preachers, Slayer and many more faced backlashes for lyrics, album artwork, videos, or just existing. Songs In This Episode Intro - Closer by Nine Inch Nails 25:55 - Jesus Christ Pose by Soundgarden 32:55 - Smack My Bitch Up by The Prodigy 40:52 - Cop Killer by Body Count 55:24 - Love Is a Good Thing by Sheryl Crow Outro - Jeremy by Pearl Jam Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

After her 1996 self-released EP was picked-up and re-released by MCA, Holly McNarland set out to make her debut album Stuff. In the wake of the success of fellow Canadian singer/songwriters Alanis Morissette and Sarah McLachlan, the table was set for McNarland to make similar waves even if the alternative rock field was getting more crowded by the day. While there is no "You Oughta Know" or "Building a Mystery" on Stuff, there is McNarland's voice, which finds the balance between on edgy angst rockers one moment and soaring pop balladry the next. Backed by a solid band, including then ex-Pixies guitarist Joey Santiago in the studio, the songs are elevated beyond straightforward singer-songwriter material to deeper depths thanks to occasional cello and synths popping in and out of tracks. But while the first half is full of knock-out material, the back half left us divided on experiments with trip-hop and Seattle grunge. Songs In This Episode Intro - Elmo 11:27 - The Box 17:34 - Mystery Song 23:46 - Water 31:07 - Twisty Mirror Outro - U.F.O. Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The back half of the 1990s was deluged with more post-grunge bands that we can count, and cutting through the noise wasn't always easy. For bands like Black Lab, who aimed for both radio and something more interesting, that meant not reaching the chart-topping highs of bands like Our Lady Peace, Semisonic, or Live. Their 1997 debut You Body Above Me for Geffen is a prime example of making the most of the back-half album tracks, as vocalist Paul Durham takes some inventive detours with his vocals, bouncing between the emotive lead single "Wash It Away" and the more expressive attack of "All the Money in the World" or Bring It On." A cursory pass may leave the listener wondering what the fuss is about, but slap on the headphones and you'll hear some impressive choices from each instrument, playing off of and pushing each other for something more with a clear and full sound that impresses even today. Songs In This Episode Intro - Wash It Away 18:23 - Can't Keep the Rain 23:30 - All the Money in the World 29:15 - She Loves Me 39:52 - Sleeps With Angels Outro - Time Ago Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Catherine Wheel's 1992 debut Ferment is a bonafide shoegaze classic, full of swirling guitars and ethereal vocals. For their 1993 follow-up Chrome, the band brought in Gil Norton, who had a resume boasting bands like the Pixies, Throwing Muses, Pale Saints, Echo & the Bunnymen, and more. With Norton on board, the band dialed down the waves of distortion and used it more sparingly, and a more crafted sound emerged. Harder guitar riffs, paired with Rob Dickinson's chameleon-like voice that could deliver throaty shouts and crooning coos, edged the band towards a more refined sound without leaving their shoegaze roots completely behind. The end result is a exceptional transitional album before the band would fully embrace a harder edge on their third album Happy Days. Songs In This Episode Intro - Crank 26:22 - Chrome 34:22 - Ursa Major Space Station 47:57 - Fripp Outro - Show Me Mary Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Dave Smalley’s been a punk rock fixture since the early ‘80s when he fronted DYS. Stints as the lead singer in Dag Nasty and ALL followed before the touring life caused him to reconsider what it meant to be in a band. In 1991, Smalley formed Down By Law, signed with Epitaph Records, and released six full length albums before the decade was done and another four in the 2000’s with the most recent being 2021’s Lonely Town. In addition to Down By Law, Smalley currently lists Dave Smalley & The Bandoleros and Don’t Sleep on his punk rock resume, the latter of which is releasing their fourth album, See Change, on June 2. Songs in this Episode: Intro - Promise Made by Don't Sleep 9:41 - Still Waiting by Dag Nasty Outro - Denim and Leather by Down By Law Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Many, many years ago, we checked out the 1997 debut album Elsewhere For Eight Minutes by the Melbourne, Australian trio Something For Kate. Thanks to a Patreon patron we checked out their 1999 sophomore follow-up Beautiful Sharks to hear the evolution of the band. Whereas the debut offered some catchy alt-rock, Beautiful Sharks is a more subdued yet intricate album, putting new bassist Stephanie Ashworth on display as the guitars back-off to allow more space for lead singer/guitarist Paul Dempsey to weave intricate vocal and musical melodies. The result uniquely combines alt-rock that forgoes volume for dynamics and speed for tension. Songs In This Episode Intro - Beautiful Sharks 10:51 - Before Butterfly's Wings 16:41 - Big Screen Television 23:55 - Electricity Outro - Easy Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.