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.

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.