90s alternative rock songs

After years of trying to cope with debilitating depression and addiction, Mark Linkous took his own life in March 2010, another in the seemingly endless string of casualties to depression and addiction that has been such a blight on society, in the '90s and beyond. It’s fitting that “Unicorn” is on an album called Shimmering, Warm and Bright, because that perfectly describes the song’s sound. Emily Saliers wrote the song and sings with graceful poignancy, while partner Amy Ray provides exquisite harmonies (also joined by rock legend David Crosby). It was written and recorded after his near-fatal overdose caused by mixing alcohol with the medication he took to battle his crippling depression, and the album unquestionably bares those scars. Instead of retreating, Sadier urges us to engage in "acts of rebellious solidarity" that "can bring sense in this world." They just don’t make bands like this anymore. The lyrics are inscrutable and open to interpretation, but despite its upbeat nature it closes with a fatalistic stanza: "Just wait 'til tomorrow / I guess that's what they all say / just before they fall apart." There are nods in "Nearly Lost You" to '70s-era psychedelic-tinged classic rock in the blistering jolts of guitar by Gary Lee Conner and relentlessly dynamic drum work by Barrett Martin. Gavin Rossdale's stiff sandpaper voice cuts through the massive waves of guitar, croaking out anxiety-choked lyrics of a world run amok. It's hard to hear him sing, "I'm so sick of goodbyes, goodbyes," and not think, "so are we". So we set off to create our own left-of-the-dial playlist of sorts, choosing songs that captured our hearts but never quite hit mainstream success for one reason or another.

The narrator seems to be caught in the throes of love with someone who seems locked in the grip of addiction: "I lent you some collateral to buy new clothes / it went out the window and up your nose / and that's the end of the honeymoon". Everclear frontman Art Alexakis has his own nightmares to tell, as the raging bitterness in "Heroin Girl" makes clear. Riveting and unflinchingly honest, "Heroin Girl" was perhaps a bit intense for many alternative radio programmers as it only reached #34 on the Billboard Modern Rock Chart -- but as we know, the highest charting songs are not always the greatest.

The die-hard fans already know.

Unlike many of their contemporaries who emerged in the '80s, New Order was able to maintain their relevance and success after that decade collapsed under the weight of its own glittery scrapheap of excess. Though it can be argued as to whether they were a real band or not, as founder/vocalist/primary songwriter Ann Magnuson also made a living as both a performance artist and actor for the bulk of her music career. With its repeated calls of "I want to die just like Jesus Christ", "Reverence" incorporates a gritty industrial vibe, heavy electronic beats and dense snarls of reverbed guitar. In an instant -- like a flicker of lightning -- a new child is born, just as an elderly woman takes her last shuddering breath.

Should’ve been about 50x bigger a hit than it was, but you could say the same about how many dozens of other songs Mould released in his first decade-and-a-half? "Somebody to Shove" rocks and grooves with manic abandon, a runaway train of pressure that finally bursts into a fit of frustration. We hold major institutions accountable and expose wrongdoing. Regardless, it's an intense and mystical song that feels like it should be played with some nice incense burning and a few candles.

The song mixes a fictional character (Esther), who ends up dying alone in a field, with elements of Alexakis' real life. For Women's History Month, below is a list of 12 of the best '90s alternative songs written for and by women. Although best known for their 1989 classic Starfish, the Church's 1992 release Priest=Aura is arguably the Australian band's artistic pinnacle. The song is a torrent of the type of guilt upon which religions flourish. "Alison" fades out like a half-forgotten dream, solemn and airy. During the verses, Sadier's monotone vocal oscillates over the rhythm like licks of blue flame wafting above a raging pyre, with a vocal countermelody weaving sinuously throughout. It's a powerful glimpse into a disturbed mind, and vocalist Fearghal McKee convincingly and fearlessly inhabits the manic rage and obsessive need for control that his character exhibits. Tim Armstrong's husky vocals are so slurred sometimes that you can barely make them out without a lyric sheet, but it only adds to the song's bedraggled realness. There were so many alternative rock bands back then you got lost in the woods, but that didn’t bother most of us.

Stay up to date on news, reviews, interviews and more. The fact that this list is spread out among 10 pages, and not even to flood me with stupid ads like many spam sites do, is absolutely baffling. The wry couplet makes clear that the prospect of quitting drugs is painful enough to justify continuing on his destructive path, but he understands it is what it is. Gibby Haynes deadpans the spoken-word lyrics during the verses, gusting wind audible in the background, and then jolts us back to attention during the hard-rock chorus. Pirner's lyrics jive with the song's fidgety tone, as he sits in despondent boredom yearning for someone to stir him into some kind of action that will tear through his sullen malaise. Produced by former Talking Heads' guitarist and keyboardist Jerry Harrison, "Lightning Crashes" gains much of its power from Ed Kowalczyk's impassioned vocal. It has all become nostalgia. "Seether" was their first single, a frazzled rocker sung by Nina Gordon about a sorta Jeckyl & Hyde scenario. Harriet Wheeler’s vocals feel hopeful but cautious, as she intrigues us with tales about the Lone Ranger and good work ethics. Utter nonsense.

The lyrics are littered with pop culture references. Where You Heard It Most: On almost every radio station during the spring of 1998. What’s wrong with music that people actually like to listen to? Many of them have grown to be cult classics, but more than a few were lost in history. John Darnielle explores new sounds on his 19th studio album as the Mountain Goats—and creates his best record in years with Getting Into Knives. A few of us probably even discovered a new genre or sub-genre, tucked away in the ever-expanding library of Trends That Didn’t Quite Stick. "Down" is built on hot-wired guitar, skittery drumwork, turntable scratches that zip around like ninja knives, and a brash dancehall-inspired vocal by Nick Hexum.

Second album Life ‘n Perspectives of a Genuine Crossover supplied no proper follow-up—a true shame, because this closing track totally could have served that purpose. Take a trip down memory lane that’ll make you feel nostalgia AF. ", which Alexakis sings in a barely controlled fury, was actually something a policeman said following the heroin overdose of Alexakis' brother George.

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