Your 90s Vote + Nuno’s Story: This Week’s Essential Rock Releases
Four albums fighting for the spotlight, Schizophonic unpacked, and seven brand-new releases breaking genre boundaries
Latest Podcasts
Schizophonic: Why Nuno Bettencourt’s Best Work Went Unnoticed
You remember 1997, right? That weird stretch when nothing quite made sense anymore—grunge was flatling, Britpop had peaked, and something heavier was lurking just offstage. Nirvana was gone. The Smashing Pumpkins were getting weird. MTV was losing interest in alt rock.
Cast Your Vote: Four 90s Albums, One Podcast Feature
Here’s how this works: our listeners bring the albums, we dig through them on the show. This one’s no different—four albums submitted by listeners who saw something special worth fighting for. Vote for your favorite, and the winner gets the full treatment on an upcoming episode of Dig Me Out.
New Releases
The Mountain Goats - Through This Fire Across from Peter Balkan
John Darnielle’s been crafting these vivid, gut-punch stories for decades. That’s just what The Mountain Goats do. But “Through This Fire Across from Peter Balkan”? This is something different.
Darnielle’s trading verses with Peter Balkan here, a rising songwriter who brings his own poetic weight. What makes this thing work is how their voices weave together—two storytellers building tales of resilience and longing over sparse, haunting arrangements. Fans are digging the emotional depth and that interplay between the two distinct vocal styles. The catch? That minimalist production occasionally leaves songs feeling like they needed one more pass in the studio. Like the frame’s there, but the walls aren’t fully up yet.
Finger Eleven - Last Night On Earth
It’s been nearly a decade since Finger Eleven gave us new music. You remember them—“One Thing,” “Paralyzer,” those early 2000s alt-rock staples that lived on repeat. So what’s “Last Night On Earth” sound like?
Darker. Moodier. The band’s leaning into atmospheric textures, blending their signature riff-driven rock with electronic layers and introspective lyrics shaped by uncertainty. Fans and critics are praising the evolution and the emotional depth of the songwriting. But here’s the trade-off: some listeners miss those punchy hooks that defined their earlier work. It’s grown-up Finger Eleven—and that might not be what everyone signed up for.
The Dears - Life is Beautiful! Life is Beautiful! Life is Beautiful!
Montreal’s The Dears have always dealt in sweeping, cinematic sound—Murray Lightburn’s vocals dripping with emotion, orchestral arrangements that pull you in. But “Life is Beautiful! Life is Beautiful! Life is Beautiful!” is their most ambitious move yet: a double album born from personal and global chaos.
What’s novel here? The band’s exploring new sonic territories, mixing orchestral arrangements with electronic textures while the lyrics wrestle with resilience and hope. Critics are loving the lush production, the emotional depth, the willingness to experiment. The downside? It’s a long journey—and some listeners feel the album’s length leads to repetition and a few tracks that don’t quite stick the landing.
Midlake - A Bridge to Far
Midlake carved out their lane in the mid-2000s with lush, folk-infused soundscapes—think “The Trials of Van Occupanther.” Then they went silent for over a decade. “A Bridge to Far” is their return.
The most striking thing? They’re blending vintage analog warmth with modern electronic textures, marking a bold evolution in their sound. Fans and critics are praising the adventurous arrangements and the band’s ability to evoke nostalgia while pushing forward. But some feel the experimental production occasionally overshadows what made Midlake special in the first place: their melodic storytelling. It’s a balancing act, and not every moment lands.
Agnostic Front - Echoes in Eternity
New York hardcore legends Agnostic Front shaped the sound of the ’80s underground. Fast forward to now: “Echoes in Eternity” is their first album in over six years, and the first with new guitarist Craig Silver.
What’s it about? Raw, urgent energy. Lyrics reflecting on the band’s legacy and the state of the world. Fans and critics are praising the relentless pace, classic hardcore riffs, and the band’s undimmed passion. The complaint? Some feel the production’s too polished—it’s lost a bit of that gritty edge that made their early records so vital. You know, the sound of four guys in a basement, not a studio sheen.
Alcatrazz - Prior Convictions
Remember when it looked like Alcatrazz might own the ‘80s with Graham Bonnet’s powerhouse vocals and Yngwie Malmsteen’s fretboard gymnastics? Well, they’re back with “Prior Convictions”—and this time, Doogie White’s stepping up to the mic. Does it work?
Here’s the thing: the guitar theatrics are still there, wrapped in a modern metal edge that shows these guys haven’t been sitting still. White brings fresh energy that fans are eating up—his vocals hit hard, and the band sounds tight. But some longtime diehards feel like they’re chasing something a little too far from that original melodic swagger. You know, the sound that made them Alcatrazz in the first place. Still, if you’re hungry for classic metal with some 2020s muscle, this one delivers.
Hüsker Dü - 1985: The Miracle Year
Hüsker Dü pioneered melodic hardcore in the ‘80s. “1985: The Miracle Year” isn’t a new album—it’s a collection of rare live recordings and unreleased demos from their most prolific period.
Why’s it special? Never-before-heard tracks capturing the raw energy right before “Flip Your Wig.” Fans and critics are praising the visceral performances and the insight into the band’s evolution—that emotional intensity and tight musicianship are undeniable. The trade-off? Uneven audio quality and liner notes that could’ve offered more context. It’s a treasure for diehards, but casual fans might struggle with the lo-fi presentation.
Roddy Bottum - The Royal We
Roddy Bottum—Faith No More’s keyboardist, Imperial Teen’s creative force—steps out solo with “The Royal We.” And it’s a departure.
What’s novel? Lush string arrangements and vulnerable lyricism, marking a shift from his more angular past work. Fans and critics are praising the emotional honesty and inventive production. But some listeners miss the energy of his earlier projects—the slower tempos and introspective tone feel a little too subdued. It’s Bottum unplugged, emotionally speaking, and that might not be what everyone wants.
I’m going to give the new Midlake album a listen. Not my usual stuff, but I remember Antiphon and it was pretty darn good. And the Alcatrazz LP is a must. Thanks for the heads-up!