Five Underrated Indie Rock Albums From the ’90s You Should Know

By: Allen Hale

The 1990s were an explosive decade for rock music. From the major label feeding freezing following the success of “Nevermind” to the proliferation of a variety of subgenres and scenes, guitar-based music reached cumulative peaks that, in their totality, have scarcely been matched since. Indie rock in particular experienced its heyday, propelled by better-known acts like Built to Spill, Pavement, Modest Mouse, Yo La Tengo and more. Despite all the retrospectives, reissues and revaluations,some should-be-classics have remained under discussed and underappreciated. Here are five of the best underrated indie rock releases from that time period, listed in no particular order:

1. “These Songs Are Cursed” by North of America

Across its 17 songs, “These Songs Are Cursed” remains consistently intriguing, featuring winding song structures and skeletal guitar parts played with an impressively loose affect. Mark Mullane’s singing bursts forth with anxious energy, occasionally off-key but never emotionally flat. The end result is a math rock project made from the perspective of slackers who valued communicating their feelings above playing with mechanical precision. Their sound, however, avoids intense detachment, yelling lines like “Common sense is a line now, faults and flaws are just fine now” on “Southwesterlies To Southwesterly” or delivering cryptic proclamations such as “Drift with the pen, save the wake, arrive late / The last forensic has the alms to take” on “Central Port of Equal Times.” A personal highlight of mine is “The Path,” a highly syncopated piece guided by some excellent all-around playing.

2. “Worse Further South” by The Scenic Vermont

While obscure emo releases from the ’90s are deserving of their own, separate list, “Worse Further South” and its effective genre crossover sound earn it spot among other indie rock gems. Active for only a year between 1996 and 1997, this six song EP contains many of their discography’s best works. Its guitar riffs and whined vocals draw from each of the aforementioned styles, culminating in an approach familiar to fans of early Modest Mouse. Throughout the project, the band employs minimal, slower portions as a source of contrast. For instance, the closer “Elementary” utilizes two-part semi-whispered vocals that eventually gives way to an instrumental chorus, a format which repeats itself at the end with belted vocals. While the recording quality might be a barrier to entry, the songwriting contained within is unflappable. 

3. “Depth Five Rate Six” by aMiniature

aMiniature came out of the ’90s San Diego underground rock scene, playing alongside a variety of post-hardcore groups such as Drive Like Jehu and Trumans Water. Their style blended this jaggedness alongside the melodic, strained vocals of John Lee, who resembles Dinosaur Jr’s J Mascis. Songs like “Physical Climber” are punchy and powerful, driven by walls of guitar amidst instrumental digressions. “Weepo” continues along these lines, remaining heavy without being as crushing as some of their then-contemporary local counterparts. For fans of indie rock with some bite, “Depth Five Rate Six” is an ideal match. 

4. “Ride the Fader” by Chavez

Although Chavez is the most famous group on this list by a solid margin, their music is still undervalued by current indie rock acolytes. “New Room,” for instance, is delightfully bittersweet in its subdued singing, slowly building towards an instrumental release of pent-up frustration; interplay from the weighty bass and shrill lead guitar create an impressive effect. Intensely active drumming guides manic energy throughout the tracklist, quickly established by the opening number “Top Pocket Man.” If you need an overall stylistic entry-point into this list, “Ride the Fader” has you covered.

5. “Piles of Dirty Winters” by The Raymond Brake

Chapel Hill — among other cities —- was often heralded as “the next Seattle” during the ’90s, impressing critics and national media outlets with its vibrant indie rock undercurrent. While groups such as Archers of Loaf and Polvo were among the more prominent acts, The Raymond Brake resembles a mix of each: catchy like the former, rhythmically imaginative like the latter, but wholly their own in combination. A low-fidelity approach never hampers the resonant, layered delivery of songs like “New Wave Dream.” Encapsulating the album’s appeal, the track traverses through dream-like instrumental interludes and downplayed lyrical delivery before crescendoing into a simple-but-effective chorus distinguished by its earnestly passionate vocals. Even though the loud-soft dynamic contrast emblematic of indie rock is especially pronounced on this record, it ultimately sounds unlike anything else that I know.