I went into this album not knowing much about Lloyd Cole, which is usually how I like it. On the surface, it’s a polished pop-rock record with a late-’80s sheen — clean guitars, measured production, low-key vocals, and a cool composure that runs through everything.

“Don’t Look Back” is beautifully crafted and produced — understated but quietly heavy. The vocal isn’t dramatically emotive, yet it still lands. There’s sadness underneath the ... read more

Suzanne Vega has always been one of those artists I knew in fragments — a few songs here and there — but Days of Open Hand was my first time really sitting with a full record. What struck me immediately is how intricate the arrangements are. This isn’t straightforward indie pop, but it never drifts into inaccessible art music either. Every element feels deliberate. Nothing is wasted. And yet, there are impeccably accessible melodies throughout.

What makes this album ... read more

I’d never taken the time to sit with a full En Vogue album before, but Born to Sing makes a strong first impression. It moves easily between pop, soul, blues, R&B, and gospel — sometimes blending those traditions in the same song — and it does so with confidence.

“Strange” jumped out immediately. There’s an early-’90s hip-hop pulse underneath, but vocally they lean into it like rock stars. The theme — confronting infidelity — ... read more

I’d heard of The Afghan Whigs before, but Up in It was my first real listen — and this thing is a scorcher. It floats between hard rock, early grunge, indie noise, and alt-rock without ever settling comfortably in one style. When it’s loud and screeching, it’s at its best for me — guitars buzzing, drums pushing forward, vocals straining in a way that feels imperfect and human.

“Hated” has a clear musical throughline beneath the distortion. The scratchy ... read more

Still Got the Blues feels like a polished, textbook blues-rock record — big guitar tones, dramatic bends, and clean production that puts the spotlight squarely on feel and control. Gary Moore had already built a long résumé before this album, moving through hard rock and blues projects, and you can hear that experience in the confidence of his playing. Nothing feels tentative. It’s muscular, deliberate, and deeply committed to the form.

There are some real bright ... read more

I had never heard of Poor Righteous Teachers before putting this on, but Holy Intellect felt like discovering a hidden gem. The production immediately grabbed me — thick late ’60s and ’70s funk and soul textures layered under crisp early-’90s hip-hop rhythms. The grooves feel warm and lived-in, and the delivery is tight without being rigid. It’s impossible for me to listen to this without bobbing along.

“Can I Start This” hooked me right away. The ... read more

This record gave me that visceral response where I could hear the sound of someone down the block working on the same muscle car they’ve been tinkering with for years. The hood up on an old Mustang, beer cans sweating in the driveway, the engine revving over and over through an endless summer. You don’t always see them, but you hear it. You smell it. That ritual of tweaking and revving feels less about restoration and more about holding onto something — turning the volume up ... read more

Sex Packets feels less like a straightforward hip-hop album and more like a full-blown concept comedy — a rap sci-fi sex satire built around alter egos, fake advertisements, and a whole lot of absurdity. There are bright spots all over it: solid beats, memorable hooks, and a cast of characters that give the record a loose, cinematic feel. It isn’t just built around one joke — it commits fully to the bit.

At its core is the invention of “sex packets,” a fictional ... read more

Violator was everywhere in 1990. It felt like everyone owned it. For a while, I almost resisted it because of that — sometimes ubiquity makes me push back instinctively. Revisiting it now, and really listening front to back for the first time in over twenty years, I was reminded why it left such a mark on the musical landscape of the time.

The production still feels sleek and deliberate — dark, sensual, and minimal without feeling empty. Depeche Mode found a perfect balance here ... read more

Poison, a breakout album from members of New Edition (Ricky Bell, Michael Bivins, and Ronnie DeVoe) stepping out on their own, feels like a fun visit into a very specific era and style — glossy new jack swing production, punchy drum machines, confident hooks, and that unmistakable blend of hip-hop swagger with R&B vocals.

A lot of the production and aesthetic is firmly rooted in its time, and not all of it translates seamlessly for me today. But the title track? Still undeniable. ... read more

Every Brilliant Eye was another completely new discovery for me. I wasn’t familiar with Died Pretty going in, and I came away thinking this is a solid, eclectic rock record — even if it didn’t fully stick with me.

The band shifts styles from track to track in a way that makes them feel almost chameleon-like. That variety is impressive.
There are definite highlights. “Sight Unseen” is a fun rock track that’s just slightly off-center enough to feel more ... read more

It’s almost a shame how massive “Nothing Compares 2 U” became, because it can overshadow what is, in my opinion, a remarkable album from top to bottom. I Do Not Want What I Haven’t Got isn’t just built around one towering single — it’s cohesive, emotionally fearless, and deeply intentional. Out of everything I’ve covered from 1990 so far, this may be the one that resonates with me the most.

What stands out immediately is her voice. It’s ... read more

The Sweet Keeper was another new discovery for me. I wasn’t familiar with Tanita Tikaram before this, but I found myself quietly appreciating the mood she creates here.

The album sits in a subdued space between indie-pop and folk-rock. It’s measured and restrained rather than flashy or overly dramatic. Her voice isn’t a traditional pop instrument — it doesn’t soar or dominate — but there’s something compelling about her tone and phrasing. She leans ... read more

Taking Drugs to Make Music to Take Drugs To was another completely new experience for me. I’d never listened to Spacemen 3 before, and this one left me both intrigued and occasionally frustrated.

The sound is steeped in late-’60s psychedelia but filtered through English indie noise rock — trippy, loud, fuzzy, and often deeply repetitive. The repetition is clearly intentional. These songs lock into grooves and stay there, prioritizing atmosphere and immersion over traditional ... read more

Weed Forestin’ is one of the strangest and most fragmented listens of my 1990 run so far. Depending on the version, it’s credited to Sebadoh or Sentridoh, but either way it lives firmly in that lo-fi, four-track universe — short songs, tape hiss, abrupt endings, and very little concern for polish.

At first, it can feel chaotic. All these two-minute sketches could easily frustrate someone expecting fully formed rock songs. But the more I listened, the more I realized the ... read more

This was another artist I’d always heard about but never really explored. A few songs had made their way onto alternative radio over the years, but I’d never sat down with one of his albums front to back.

This record feels stripped down and intimate — almost like a collection of demos — built mostly around acoustic guitar and voice. At times it sounds like a devoted Beatles admirer channeling something closer to Plastic Ono Band: raw, skeletal, melody-forward. But ... read more

The Caution Horses by Cowboy Junkies was one of the bigger surprises of my 1990 deep dive. Back then, I probably would have dismissed something this subdued, but today I found myself really connecting with it.

This is a downtrodden, beautifully restrained blend of country, folk, and indie sensibility. The power of the record lies in its restraint — nothing is overplayed or oversung. It moves slowly, deliberately, and with emotional patience. That subdued quality might not be for ... read more

House of Love was another new one for me — a band I’d never heard before starting this project of listening to as many albums from the 90s that I can. I went in with no expectations and came away thinking it was pretty solid.

There’s a clear Echo & the Bunnymen / The Church kind of vibe here — jangly guitars, moody atmosphere, and melodies that lean into that slightly dramatic, late-’80s alternative space. There’s also a noticeable nod to the ’60s ... read more

Shake Your Money Maker was an album that I know was huge in the early ’90s. The Black Crowes felt like they were everywhere back then and very much at the height of their powers, but I’d never actually sat with one of their albums front to back.

This record sounds like a stage in a local bar with sticky floors — an ashtray overflowing on the piano, empty beer bottles scattered near the drum kit, and a half-drunk bottle of whiskey leaning against the mic stand. It’s ... read more

Same Place the Fly Got Smashed by Guided by Voices was another first for me — a band I’d never explored before starting this project, even though plenty of people I know swear by them as a foundational band.

This record feels almost stubbornly intentional in its inaccessibility, but in a way that seems deliberate rather than careless. There’s a strong DIY atmosphere surrounding everything — the lo-fi production, the short bursts of songs, the rough edges left intact. It ... read more