Avsnitt

  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • 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

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  • "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

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  • 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

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