Dig Me Out - The 90's rock podcast

One Simple Word, the fourth studio album by The Connells, showcases the band's melodic southern jangle pop sound with a more polished and introspective tone. While not a commercial blockbuster, the album scored with critics and college radio listeners thanks to catchy but not overly sugary melodies that sound like attempts at a mainstream radio hit. Lush guitar interplay and heartfelt lyrics highlight their knack for emotionally resonant songwriting without leaning into melancholy.   Songs In This Episode Intro - Stone Cold Yesterday 20:27 - Speak To Me 25:04 - Get A Gun 31:32 - Too Gone 36.21 - What Do You Want? Outro - Take A Bow   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Blending progressive house, techno, and ambient, the 1996 album Second Toughest in the Infants is Underworld's ambitious follow-up to their breakout album Dubnobasswithmyheadman. Crafted with expansive, hypnotic soundscapes, tracks like “Pearl's Girl” and the multipart suite “Juanita/Kiteless/To Dream of Love” highlight their exploration of rhythm and texture, while Karl Hyde's cryptic, stream-of-consciousness lyrics add a surreal and poetic layer to the music.   Songs In This Episode Intro - Confusion the Waitress 16:28 - Stagger 19:26 - Juanita : Kiteless : To Dream of Love 23:34 -Banstyle/Sappy's Curry 27:06 - Rowla Outro - Pearls Girl   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In our third installment of Surviving the 90s, we're revisiting one of the arena rock powerhouses of the late '70s and early '80s — Foreigner. Known for a string of massive hits like "Cold as Ice," "Hot Blooded," "Urgent," "Juke Box Hero," and the chart-topping ballad "I Want to Know What Love Is," Foreigner dominated radio and MTV in their prime. Albums like Double Vision, Head Games, and 4 went multi-Platinum, cementing their legacy. But as the musical landscape shifted in the 90s, the band faced lineup changes and a changing industry. Though new material was scarce, they continued touring and remained a fixture on classic rock airwaves. We revisit their biggest hits, their activity in the 90s, and try to determine: did Foreigner thrive, adapt, or fade during the decade?   Songs In This Episode Intro - Feels Like The First Time 30:29 - Headknocker 34:03 - Blue Morning, Blue Day 47:29 - Double Vision 50:52 - Moment of Truth 56:34 - Lowdown and Dirty 1:10:54 - Big Dog 1:19:35 - White Lie Outro - Juke Box Hero   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

An Eye For A Brow, A Tooth For A Pick, the 2006 debut album by Australian band Ground Components, blends elements of garage, punk, and soul that fits in nicely with the garage rock revival of the early '00s. Featuring a mix of aggressive punk-ish guitar riffs, driving and boogie rhythms, and horn arrangements give the album a unique sound compared to contemporaries. All that is a playground lead for lead singer Joe McGuigan, who yelps and screams with soulful veracity throughout the record.   Songs In This Episode Intro - Hands In The Air 15:27 - Stale Thoughts 20:43 - On Your Living Room Floor 28:01 - Head In The Sand 38:23 - Fistful of Dallas Outro - Coming In from All Angles   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While their debut album tagged them as Dinosaur Jr Jr thanks to loud guitars and J. Mascis behind the board, Buffalo Tom's second album, Birdbrain, builds on the raw, guitar-driven sound of their debut but with more mature songwriting and production. Produced again by J Mascis of Dinosaur Jr. with Sean Slade, the album emphasizes emotional intensity over polish, with songs like "Birdbrain" and "Enemy" showcase the band's knack for combining distorted guitars with introspective lyrics. Though not a commercial hit, the album helped solidify Buffalo Tom's place in the early '90s indie rock scene and shows a significant step in the band's evolution toward the more refined sound of their later work.   Songs In This Episode Intro - Fortune Teller 17:23 - Birdbrain 23:07 - Crawl 26:26 - Heaven 29:40 - Skeleton Key Outro - Guy Who Is Me   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Uisce (pronounced "ish-ka," the Irish word for "water") is the sole full-length album by Australian band Non-Intentional Lifeform (N.I.L.), released in 1997 by Roadrunner Records. Formed in Perth in 1995, N.I.L. was known for their eclectic fusion of hard rock, thrash metal, post-punk, rap, and funk. Energetic and unpredictable, the album is an inventive blend of genres anchored by stellar musical performances that sound like a bridge between rap-rock pioneers Rage Against The Machine and Faith No More, and late 90s alternative and nu-metal of System of a Down and Incubus.   Songs In This Episode Intro - Living or Existing 21:36 - Farm Animals 23:37 - Sister Julienne 33.22 - Spilling All Over The Floor Outro - Living or Existing   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

A fusion of punk, garage, and noise rock, the 1996 album Blastronaut by The Lee Harvey Oswald Band is a bombastic, high energy record drawing upon 70s David Bowie, classic rock, and the Stooges. Confrontational and darkly humorous, the band leans into a satirical, sometimes absurdist tone, reflecting a punk ethos while incorporating elements of Southern culture and psychedelic weirdness. The alias-driven mystique and off-kilter presentation of the band begets an aggressive, theatrical style that may have been out of touch with the mid-1990s, but is worth revisiting.   Songs In This Episode Intro - Rocket 69 12:27 -The Greatest Man Who Ever Walked the Face of the Earth 16:50 -Green Like the Color of Blood 18:59 - Panic in Hanoi 32:37 - Brontosaurus 35:14 - The Scorpio Letter Outro - Morphodite   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The 1990 self-titled album by Social Distortion marked a significant turning point for the band, showcasing a more refined and mature sound compared to their hardcore roots. Frontman Mike Ness emerged from a turbulent period in the 1980s, including a stint in rehab that deeply influenced the album's themes of struggle, redemption, and personal reflection. The album saw the band evolve from hardcore beginnings into a more melodic blend of punk rock infused with rockabilly, country, and roots rock. Tracks like “Ball and Chain” and their cover of Johnny Cash's “Ring of Fire” highlighted this shift, combining punk's edge with a distinctly American roots sensibility. The album's lyrical content often reflected Ness's battles with addiction and the search for meaning, giving it a gritty authenticity that helped the band reach a larger audience and keep them on the charts throughout the 90s.   Songs In This Episode Intro - Sick Boys 19:35 - Ring of Fire 29:10 - Ball and Chain 35:00 - Story Of My Life 40:49 - Drug Train Outro - She's a Knockout   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Canadian electro-industrial band Front Line Assembly, led by Bill Leeb with longtime collaborator Rhys Fulber, released their eighth album Hard Wired in 1995. The album blends harsh electronic beats, cinematic synth textures, distorted vocals, and heavy guitar riffs, all characteristics of the industrial and cyberpunk aesthetics of the mid-'90s (think Hackers, Strange Days, Johnny Mnemonic). Lyrically and thematically, Hard Wired explores dystopian, technological, and transhumanist topics, reflecting fears and fascinations with the digital age, surveillance, and the loss of humanity in a mechanized world. Polished yet gritty production, mixing cold mechanical rhythms with a dark, atmospheric intensity, the album bridges the gap between their earlier EBM (Electronic Body Music) roots and a heavier, more industrial rock-influenced style.   Songs In This Episode Intro - Neologic Spasm 33:47 - Condemned 40:12 - Modus Operandi 50:29 - Infra Rec Combat 1:01:52 - Circuitry Outro - Barcode   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Kill Holiday, formed by members of San Diego hardcore band Unbroken, made a surprising shift from aggressive post-hardcore to dreamy shoegaze with their 1999 album Somewhere Between the Wrong and the Right. Released on Revelation Records, the album channels British influences like Ride and The Stone Roses, with shimmering guitars and laid-back, melancholic melodies. Despite its shoegaze and Britpop sound, the album resonates with the emotional core of the emo genre, more in feeling rather than form, standing out as a reflective, genre-crossing record from a label known for hardcore.   Songs In This Episode Intro - Somewhere Between the Wrong Is Right 11:49 - Someday You Will Lose and I Will Win 18:21 - Know You Your Friends Are Outro - In Closing (Memorial Day)   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

A groundbreaking fusion of drum and bass, jazz, and experimental electronic music, the 1997 album Hard Normal Daddy by Squarepusher showcases Tom Jenkinson's virtuosic bass playing and intricate programming. Blending frenetic breakbeats with lush, jazz-inspired melodies, tracks like “Coopers World” and “Beep Street” highlight his unique ability to balance chaos and groove, creating an experience that's both cerebral and rhythmically infectious. Dense and detailed production reward repeated listens revealing new textures and layers bold, resulting in a genre-defying record that pushed the boundaries of IDM at the time.   Songs In This Episode Intro - Conduit for Sale! 15:35 - Perfume-V 18:35 - Here (alternate mix) 24:05 - Two States 30:51 - No Life Singed Her 34:57 - Loretta's Scars Outro - Trigger Cut/Wounded-Kite at:17   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

A groundbreaking fusion of drum and bass, jazz, and experimental electronic music, the 1997 album Hard Normal Daddy by Squarepusher showcases Tom Jenkinson's virtuosic bass playing and intricate programming. Blending frenetic breakbeats with lush, jazz-inspired melodies, tracks like “Coopers World” and “Beep Street” highlight his unique ability to balance chaos and groove, creating an experience that's both cerebral and rhythmically infectious. Dense and detailed production reward repeated listens revealing new textures and layers bold, resulting in a genre-defying record that pushed the boundaries of IDM at the time.   Songs In This Episode Intro - E8 Boogie 22:00 - Beep Street 26:03 - Papalon 32:05 - Coopers World 39:22 - Fat Controller 46:06 - Chin Hippy Outro - Rebus   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

​"Point #1," Chevelle's 1999 debut album, showcases the Chicago-based Loeffler brothers' fusion of alternative metal and indie rock. Produced by Steve Albini, known for his work with Nirvana and PJ Harvey, the album delivers a raw, unrefined sound that captures the band's early energy. Coming in at the end of the decades, it's not surprising to hear similarities to bands like Tool and Helmet, particularly in tracks such as "Skeptic" and "Anticipation," which feature syncopated riffs and dynamic shifts between aggressive and mellow passages. While the album's repetitive structures and lack of big hooks pin this is a debut, , "Point #1" definitely laid the groundwork for Chevelle's evolving sound and hinted at their future success in the alternative metal scene.   Songs In This Episode Intro - Black Earth 19:08 - Mia 29:32 - Open 37:49 - Anticipation 42:23 - Long Outro - Peer   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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