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Step back in time to the last great decade of rock music: the 1990s, with Dig Me Out. We’ve been producing weekly episodes for over 12 years, bringing you in-depth album reviews, insider interviews, and cultural discussions that provide a comprehensive look at the music of the time. Our community of passionate listeners chooses the artists, albums, and topics we feature, making it a collaborative experience for all. Join us as we celebrate the unparalleled creativity and cultural significance of the music of the 90s - subscribe now!
Episodes
Tuesday May 29, 2018
Tuesday May 29, 2018
Hailing from Canberra, Australia, the 1992 sophomore album Psychohum by the Falling Joys is what alternative or college or indie rock, however you want to classify it, looked to be heading pre-Nirvana and Pearl Jam. Eclectic and unpredictable, with guitar tones and vocals that easily slip between shoegaze, jangle pop, new wave and mainstream rock riffing, the Falling Joys sound like a band hitting their stride as songwriters and musicians. Led by vocalist/guitarist Suzie Biggie, who manages to invoke 79/80 Blondie one moment and Spooky era Lush the next, pulls off a wide array of styles with melodic cohesion. Paired with bassist and vocalist Pat Hayes on tunes like Incinerator, and Stuart Robinson's effected riffage on a song like God In A Dustbin, there is a lot to like about Psychohum. At the same time, that uninhibited approach can take a band down some lesser advised paths, with odd tangents into Chili Pepper funk and Sinatra swing. Which approach wins out? Tune in to hear our take on Psychohum.
Intro - Dynamite
10:16 - Black Bandages
15:05 - Incinerator
19:50 - A Winter's Tale
22:17 - Lullaby
24:36 - Fortune Teller
Outro - God In A Dustbin
Tuesday May 22, 2018
Tuesday May 22, 2018
Our Patreon patron Brandon wanted to check out the 1999 (or 2000, if you bought the Sony rerelease) album This Will Be Laughing Week by Ultimate Fakebook. Through the magic of our Facebook page, we ended up connecting with lead singer and guitarist Bill McShane and drummer Eric Melin, and they ended up joining us as well. In addition, we gave away a pair of Sudio Regent headphones to one of our lucky Patreon patrons. It's a jam-packed episode! In addition to talking about the actual record, we also discuss what went on with the band signing to a major label at the end of the 1990s, touring, songwriting, band origins, vinyl reissues, Manhattan vs. Lawrence, new music and much more.
Special thanks to Sudio Sweden for providing our May giveaway. On episodes 381 and 382 we followed up on our previous Tre and Regent reports, if you like what you hear and want to grab a pair, use the code DIGMEOUT for 15% off your purchase during the month of May.
Intro - She Don't Even Know My Name
32:58 - Soaked In Cinnamon
59:46 - Real Drums
1:07:27 - Little Apple Girl
Outro - Tell Me What You Want
Tuesday May 15, 2018
Tuesday May 15, 2018
By 1998 Tori Amos was already established an artist who balanced both commercial success and critical praise. With her fourth album, From The Choirgirl Hotel, Amos dialed down the piano and dialed up the band, exploring a fuller sound that moved between electronic(a) beats, Beatle stomps and a slew of new sounds. In surrendering her confessional piano ballad comfort zone, a broader approach does reveal some cracks that left us scratching our heads both from a songwriting and production standpoint. Gone are the unmistakable hooks of "God" or "Crucify" while the vocals, now competing with a bigger sounds from the background players, get compressed and pushed up front to a dizzying degree. It's a frustrating episode for as much as we liked about the album, we found ourselves unable to connect with the material like expected.
Special thanks to Sudio Sweden for providing our May giveaway - a pair of Regent headphones. Join us at Patreon by May 15th to be eligible to win, winner announced on episode 384. We’re following up on our previous Tre and Regent reports, if you like what you hear and want to grab a pair, use the code DIGMEOUT for 15% off your purchase.
Intro - Spark
10:46 - Raspberry Swirl
14:33 - Cruel
19:11 - She's Your Cocaine
27:32 - Jackie's Strength
Outro - Iieee
Tuesday May 08, 2018
Tuesday May 08, 2018
Through the 1980s, U2 had gone from upstart punks to political firebrands to stadium superstars, reaching the critical crossroad of either delivering what people expected and remaining creatively stagnant or reinventing their sound and risk alienation. By all accounts, 1991's Achtung Baby managed to position the band as a force at the beginning of the decade creatively, commercially and critically. That comes with its own risk, as one reinvention begets another - as the earnest and sincerity of the past is replaced with irony and spectacle. With Zooropa and the Passengers project with Brian Eno, the band continued to evolve sonically, but the U2 of The Unforgettable Fire and War was essentially retired. Depending on who you talked to, the band reached their 90s apex or nadir on 1997's Pop, forcing the band to release their greatest hits collection shortly after, and then to dial back the disconnect and on 2000's All That You Can't Leave Behind. With our guests, we dig deep into the U2 of the 90s, and try to figure out what what right, went went wrong, and where it left the band at the start of the new millenia.
Special thanks to Sudio Sweden for providing our May giveaway - a pair of Regent headphones. Join us at Patreon by May 15th to be eligible to win, winner announced on episode 384. We’re following up on our previous Tre and Regent reports, if you like what you hear and want to grab a pair, use the code DIGMEOUT for 15% off your purchase.
Intro - Discothèque from Pop
25:17 - The Fly from Achtung Baby
30:37 - Mysterious Ways from Achtung Baby
40:28 - Numb from Zooropa
43:47 - Stay (Faraway, So Close!)
Outro - Staring At The Sun from Pop
Tuesday May 01, 2018
Tuesday May 01, 2018
Nada Surf scored a quirky one-hit wonder with "Popular," and as with most one-hit wonders, pressure from the record label to follow it up caused a divide. In this case, Nada Surf were dropped, record in hand, which they were able to release on their own label. While The Proximity Effect received some positive press upon release in 1998 (in the UK, 2000 in the US), it went mostly unnoticed. It wasn't until Let Go in 2002 that the band fully arrived, garnering rave reviews, following that up with Chris Walla-produced The Weight Is A Gift in 2005. Upon reflection, The Proximity Effect comes across as a transition album, with the band sound clearing, fuller and more confident, while not quite hitting the highs they would reach on their next two releases.
Special thanks to Sudio Sweden for providing our May giveaway - a pair of Regent headphones. Join us at Patreon by May 15th to be eligible to win, winner announced on episode 384. We’re following up on our previous Tre and Regent reports, if you like what you hear and want to grab a pair, use the code DIGMEOUT for 15% off your purchase.
Intro - Hyperspace
14:34 - Firecracker
21:23 - Dispossession
28:18 - Spooky
36:29 - Amateur
Outro - Robot