Following the dissolution of Galaxie 500, Damon and Naomi further explore the melancholy sounds of dream pop and slowcore on More Sad Hits

The 1998 debut Stratosphere by Duster eschews traditional song structures for ambient noise experimentation and droning indie guitar rock

The debut Everything I Long For by Hayden showcases his deep voice, observational lyrics, and unique musicianship, but left us befuddled

On their third and final album, Bedhead refine their spacious slowcore sound with thoughtful guitar arrangements and haunting melodies

On their 1993 sophomore and final album Hideout, Antenna crafted a drowsy but melodic guitar rock album made for 1990s college radio

Evolving out of their teenage hardcore roots, Dinosaur Jr. forged a noisy path that reinvigorated guitar leads with indie-rock flair

The intimate minimalism of Pinback's 1999 self-titled debut paralleled the downbeat post-hardcore of the era but left us wanting more

Layered vocal harmonies, sparse arrangements, and subtle genre-mixing entrance the listener on Ida's 2000 album Will You Find Me

The Walkabouts 1993 album Satisfied Mind collects a wide variety of artists for folk, country, and Americana covers for a timeless album

The 1999 album Bareback by Hank Dogs is a traditional English folk album, simultaneously behind and ahead of the times

American Music Club fully explore the studio and the darkness, finding latenight allure in both on their timeless 1991 album Everclear

Low leaves plenty of space and the tempos crawl, a unique sound from an era of stadium ready rock.

Acetone's 1997 album recalls the slow and deliberate sound of Low, causing extreme disagreement in every aspect of our review

Heatmiser's Mic City Sons shows off a different side to Elliott Smith, who carved out a well-respected but too short solo career

J. Mascis once described the album as his favorite of the major label years.