Our album reviews explore the deepest niches of 90’s rock music with the people who lived it, heard it and loved it
The Toadies scored a hit single on their 1994 debut Rubberneck, we revisit to find out if out they are more than a one-hit-wonder
The 1999 album Bareback by Hank Dogs is a traditional English folk album, simultaneously behind and ahead of the times
Known for her contributions to albums by Bob Seger, Kid Rock and Big Chief, Thornetta Davis steps out and stands out on Sunday Morning Music
On their 1992 debut album Doppelgänger, Curve manage to sound simultaneously ahead of their time and firmly planted in the 1990s
On their 1996 album Forever = 1 Day, Fighting Gravity toe the line between laid back ska reggae grooves and new age adult pop blandness
On their third album Bloodletting from 1990, Concrete Blonde delivers a dark masterpiece that transcends less than timeless production
On the 1994 Backbeat soundtrack, can an alternative all-star band find the balance between faithful interpretations and an updated sound?
On their 1999 album The Ideal Crash, dEUS explore the studio and expand their sound to unique but mixed results
Material Issue released their power pop gem months before Nevermind altered the musical landscape, we revisit International Pop Overthrow
On their major label debut, The Verve Pipe manage to wrap radio friendly melodies around buzzing guitars that stand the test of time
We revisit the landmark 1991 Slint album Spiderland and ask - can an influential album be outshined by its influences?
A little punk, a little power pop, lots of energy, full of melody and hooks galore - we revisit the '94 album Low-Fi At Society by The Figgs
You Am I find the alternative rock sweet spot on their tightly constructed but organic 1995 sophomore album Hi Fi Way
The Promise Ring twist and turn pop structures to unique results on their 1997 album Nothing Feels Good
On their fourth album Odyssey Number Five, Powderfinger expertly craft an alternative rock album for rock radio and headphone audiophiles
American Music Club fully explore the studio and the darkness, finding latenight allure in both on their timeless 1991 album Everclear
We navigate uncharted avant-garde and art-rock territory, and revisit the 1992 album Our Finest Flowers by The Residents
With their final album Formula, James Plotkin and Alan Dubin as O.L.D. create a genre-hopping electronic dreamscape with few nightmares
Our guest brings unique personal insight to the band that carried the progressive rock baton into the 90s to help define alternative metal
Guitarist Christopher Thorn joins us for an indepth revist of their 1995 sophomore album Soup
On their self-titled debut album from 1990, Human Radio scour the dial for a mix of new wave, pop rock, 70s funk and 80s alternative
On the 1998 album Oceanborn, Nightwish create a bombastic, classical influenced sound as we dive into the world of symphonic metal
On their second and final album Is from 1993, The Big F craft a hard rock album in need of a firm direction
What started as a side project for members of the Pixies and Throwing Muses resulted in an influential album that defies rock conventions
The Galactic Cowboys bring plenty of riffs to their third album Machine Fish, but did they need an outside producer to help reign them in?
Heralded as the genre defining noise rock album of the 90s, we tackle the 1991 sophomore album Goat by The Jesus Lizard
On their 1992 album Mossy God, Aussies Mantissa channel a variety of American hard rock and metal influences into an unconvincing stew
On their third and final record Wrecreation, Stanford Prison Experiment bring the post-punk riffs, but is it an album of album tracks?
On 1993's Sunrise On The Sufferbus, Masters Of Reality gave us desert rock riffage while exploring quieter moments, for better or worse
On their third album In On The Kill Taker, Fugazi expanded and redefined not only their own sound but the post hardcore they helped create
On his second album as Sparklehorse, Mark Linkous expertly combined painful intimacy and pop exuberance on Good Morning Spider
On his 1997 sophomore solo album The Lateness Of The Hour, Eric Matthews orchestral pop mastery is in full bloom
On the 1997 album Free Mars by Lusk, a potent mixture of psychedelia, shoegaze, and experimentation makes for a heady trip worth taking
The 1999 self-titled debut by Owsley has been touted as a power pop masterpiece, but our ears were not tuned to the same wavelength
On their 1995 debut Empty, can God Lives Underwater add their own take on industrial rock or are they weighted down by their influences?