Our album reviews explore the deepest niches of 90’s rock music with the people who lived it, heard it and loved it
We revisit Beck's major label debut Mellow Gold, was it a warm-up for the multi-platinum Odelay, or is Loser the only worthwhile nugget?
Can Craig Finn deliver a lyrical gut punch without The Hold Steady big rock bombast? We find out on Half Dead and Dynamite by Lifter Puller.
Local H managed a rare twofer on their 1998 concept album Pack Up The Cats - songs that shine within and outside the context of the concept
In another dimension, 1993's Frosting On The Beater elevated The Posies the biggest band in the world, instead of a masterful footnote
With the Dave Grohl produced Into The Pink, was writing off Verbena as a Nirvana clone accurate or lazy?
On their third album Tin Cans With Strings To You, Far become victims of the loudness wars while taking post hardcore in a new direction
The self-titled 1995 album by Prick manages to capture the urgency of industrial at its harshest without abandoning melody and song craft
Mansun expanded the sound on their expansive sophomore album Six, but was it to detriment of the songwriting?
English post-punk cult band The Fall embraced electronic music in the early 90s, creating an uneasy combo with Mark E. Smith's unique vocal
With Foma did The Nixons make the album that, for better or worse, perfectly encapsulates what people think the 90s sounded like?
Fini Scad released their lone album Wider Screen in 1998 and disappeared, is it time to discover a diamond in the rough or leave it buried?
On the Jesus And Mary Chain's 1998 album Munki, is there a great album buried in an overlong and inconsistent seventy minutes of music?
The Falling Joys 1992 sophomore album Psychohum is the eclectic mixture early 90s alternative promised but could not consistently deliver
Eric Melin and Bill McShane of Ultimate Fakebook join us to discuss the 1999 release (and 2000 Sony rerelease) This Will Be Laughing Week
On her fourth album, Tori Amos assembled an all-star band to bulk up her minimalist piano sound but at the expense of melody
On their sophomore album The Proximity Effect, Nada Surf attempted to shed their one-hit wonder tag with mixed results
Ringo Sheena combines melodic pop vocals with a wide array of styles covered in layers of fuzz and distortion on her 2000 album Shōso Strip
Is there more to James 1993 album Laid than a quirky and catchy radio single?
Can immaculate production and well-crafted songs help Stabbing Westward elevate Darkest Days above the late 90s industrial rock pack?
On their eight album The Proess, Skinny Puppy imploded personally and expanded sonically, splitting fans and critics
With his debut solo release 12 Bar Blues, Scott Weiland moved away from the sound of Stone Temple Pilots with abandon and aggrevation
What happened to Marcy Playground after they scored a hit with Sex and Candy? We find out on their uneven sophomore album Shapeshifter
On her 1998 album Little Plastic Castle, Ani DiFranco expanded her sound from punk folk to incorporate mariachi horns and jazz saxophone
Out latest visit to the world of underappreciated and overlooked power pop is the 1997 album Wonderful Life by The Tories
On their fifth album This Is My Truth Tell Me Yours, the Manic Street Preachers process death and depression with radio friendly sheen
Turbonegro were at the forefront of the late 90s Scandanvian underground rock movement, we check out their 1998 album Apocalypse Dudes
How do you measure a band that is equal parts Massive Attack, the Cocteau Twins, Pink Floyd, Radiohead, Dream Theater and Slowdive?
With Henry Rollins producing, The Mark Of Cain channel the post-hardcore riffage of Helmet and Quicksand on 1995's Ill At Ease
The band expands upon Vaughan’s blues template and mildly dips its toes in more pop and radio friendly territory.
In 1993 Living Colour released an album filled songs of alienation, social commentary and heavy themes that still resonate today.
Though known for their bouncy pop single Lovefool, words like moody and introspective better represent their overall sound.
Known for the hit “Stay”, her 1997 release under her own name has some made for radio pop singles as well as more intimate material.
A mixture of early rock ‘n roll riffs mixed with Ramones energy, Monkees goofiness, and wrapped in a Misfits-style horror punk sound
The album shifts between rhythm driven “Hindi Pop” and jarring, dissonant indie guitar rock.
Whether you call them punk, post-punk, post-hardcore or emo, HWM forges a unique path on 1997′s Forever and Counting.