Part 2
Deep Dive #126 Archive
Part 2
Part 2
Deep Dive #126 Show Notes
Do you like reading our notes in this table? Or would you prefer a cleaner list and leave the descriptions up to your own imagination? Let us know in the comments!
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Colomb | Nicolas Jaar | 2011 | Willis | Ambient Electronic, Microhouse, Downtempo | I came across a hypnotic, monotone song called “Space is Only Noise if You Can See” from his first album “Space is Only Noise” and was intrigued by the ambient exploration of negative space. This song has vocoded French phrases reminiscent of Daft Punk and a catchy rhythm that is almost danceable. The vibe could be a soundtrack to a moment. The meditative groove is made from claps ,clicks, echoes. A minimalist approach to rhythm demonstrating Less is more. | What a way to set us off on our way! Nick Jaar is an electronic genius, and IMO is often overlooked in the IDM universe. This album is a start to finish classic. |
| Listening Wind | Talking Heads | 1980 | Gregg | Ambient /Psych /Dub | Wow, this would have tripped me out if I heard it on a Walkman headset in 1980. Just thinking about all the layering of sounds to make this song on studio equipment of that era is impressive – yet it seamlessly blends together to make a thick instrumental sound. David Byrne’s vocals never really impressed me, but his weird artistry is something un-matched and worth experiencing. “Mojique thinks of days before Americans came” Most of the artists on your list this week are creating mental bookmarks for me to spend more time listening to. | From their genre warping classic “Remain in Light”, this song almost predates what Nicholas Jaar was doing in ‘colomb’. Considering this was recorded in 79, when nothing else sounded like it, you can’t help but admire what this band achieved (while still producing hits). Brian Eno’s hands are all over this, which is why the ambient atmospherics are as prominent as any of the instruments typically used. The genre term “Alternative” didn’t arrive until the 90’s, but to my ears, this was truly alternative to everything else at the time. |
| Her | The American Dawn | 2024 | Willis | Dream Pop / Indie Rock | Mysterious, minimal information to find about this artist who has created an interesting ripple in the waves. Only 2 songs released, credited to Isaak Wesley Isbell. Social media pages show some photos of a blonde surfer, random Bruce Lee movie still frames, Camel cigarette ads, and various Americana imagery. Also minimalist in sound, the tiny little keyboard rainfall in this song caught my attention and brought me to somewhere else, like in a music video. Apparently 59M other people on YT feel something also. And there is a fanbase making music videos for this song that range from Lost in Translation to Anime or someone casually walking through a brush field. | Never knew of this til now. It has bedroom pop elements, some soft classic rock, but also has a Cigarettes after Sex quality to it. Very easy listening (in the good way), but there’s also some subtle pscyhedelia in there too, giving it a gothy spaghetti western feel. I really really dig this. I will add it into rotation for sure. |
| Streets of Your Town | The Go Betweens | 1988 | Gregg | Jangle Pop /Indie rock | This song is refreshing and upbeat. The guy/girl vocals make this song unique, especially the “Shine” backing vocal. The acoustic guitar solo is a solid example of doing more with less. I recall the name of this band during this era, but that’s it. I bet many of their songs would fit well in a mix tape. I am curious how well the jangle holds up to my ears within a whole album – and intend to find out. | Another of the major “underground” 80’s indie bands, after featuring Straitjacket Fits and realizing there’s a whole subculture’s worth of artists we haven’t spent enough time highlighting on the DD. Again, formed in the late 70’s, you can draw a direct lineage of this sound to bands like The Smiths, The Clientele, Lemonheads, The Church, etc. Though mostly unknown, it’s really incredible to hear how these songs stand up compared to so many 80’s bands of the era. It could’ve come out in any decade, 60’s through the 2010’s. The guy/girl harmony vox is a very modern sound, and this band does it expertly here. |
| Motionless | BUDAYA | 2014 | Willis | Dream Pop | A duo from Mexico that I learned about from a small record shop in Boston. It’s an interesting power of connection to music through the simple physical experience of going to the store and talking about a record with someone, compared to just clicking on links. Most of their work is in Spanish, however they have a 4 song EP with English tracks. This song has an innocent charm and upbeat groove that appeals on a basic level. Like a lite version of The XX | Upon the first 3 seconds, I knew I’d love this. The keyboards come at us in 3 different ways, setting up a trippy, 80’s sounding R&B song. So much of that slick 808 style production from that era has come back around to music recently, but considering this was 2014, it feels like they were ahead of the pack. It’s like The XX meets the 80’s. |
| Care For You | Wolfsheim | 2003 | Gregg | Darkwave /Electronic /Goth Wave | I still remember when you chose “Once in a Lifetime” way back at show #9, I was struck by the familiar 80’s style vocals, yet still a highly distinctive sound. It’s like he sings with a very controlled, nasal-yet-pleasantly resonant waver. Lots of swagger. Love this song. Dynamic sound of the 2000’s bassline and synth hits, but vocal delivery from the 80’s and a downtempo groove. Headphone experience is a 10/10. Car at night will be next. The production flows well into the next song. | A band that feels as if they existed next to Depeche and the Cure in the 80’s, showing very little signs of modern styles. The production is nuanced and appropriated for headphone listening, but it’s also quite danceable and sounds great on car speakers. I first heard them at Aldo’s Goth/New Wave/Industrial night, and ran up to the DJ to ask who was playing. This song has come up recently, and I immediately earmarked it for the DD. I think you’ll like this. RIYL: Depeche, Cause & Effect, OMD, and Pet Shop Boys. |
| Paradise (Not For Me) | Madonna and Mirwais | 2000 | Willis | Electronic, Ambient Pop, Downtempo | I heard the Mirwais release of this song on HFD and was confused at first, assuming it was from Madonna’s album Music, and it took a little bit of research to understand that they both released their own versions of this collab. My favorite Madonna album that I never got tired of repeating in the CD player on long drives. This song oozes, undulates, and grooves in a way that was bold and unique. Still to this day, listening now – I can’t believe it’s 26 years old. | One of my all time fave Madonna songs! My friend Kat heard this on her first day of listening, and went out of her way to mention how excited she was to hear it. This is a lowkey masterpiece. Originally a Mirwais song, that featured a digitized robot vocal, and later released on Madonna’s “Music” album, with her vox overdubbed. This is the best version. The beat always excited me – as it’s very trip hop. That bass drum thump is so thiccccc. |
| Like Smoke (Ft. Nas) | Amy Winehouse | 2011 | Gregg | Psych Soul /Retro Soul /Hip Hop | I love the combo of bluesy jazz and hip hop here. Her voice is perfectly framed by the backing band and book-ended by Nas interesting rhymes like “Yo, this recession is a test, it’s affectin’ my complexion, misdirection’ my affection, my concerns of bill collections” Just about all of her career snuck under my radar (which was basically off) and all I know about her is the tragic ending and her fans at a loss. This compels me to go watch the biopic and dive into her entire catalog & various performances. | So much love and respect for Amy. My heart breaks when I think of how troubled she was, and it makes it even sadder that we can plainly hear the heartache all over her catalog. This song was unfinished when she passed away, but they produced it and added Nas’ verses to make it complete. The combo of his voice weaving in and out with hers is just disarming and beautiful. I hate that we lost her so young, because she was a treasure. |
| Birthday | The Sugarcubes | 1987 | Willis | Post-Punk, Alternative Rock, Avant Pop | Hip Hop fans have If “In Da Club” by 50 cent as a birthday song, and alternative music fans have this one I didn’t know the B-side of this single had the Icelandic version of this song. I wonder if people have memories of the first time they ever heard Bjork sing the way she does, because it felt like a revelation to me hearing a shrieking wail sound so pleasantly rebellious, confident, and abstract, yet contained. | The first time I ever heard Bjork’s voice was with this song. I have to admit, this was their best song – and I almost wish we got to hear another album with Bjork as the frontperson of a band. She’s a genius as a solo artist, but hearing her fall in line with other artists is truly a joy. This song is nearly perfect. The drums are tribal, the guitars are warped sounding, and Bjork sings with a soulfulness that sounds like she’s JUST discovering her voice’s power. A1 level alternative classic. |
| Silent Pictures | Mouth Ulcers | 2026 | Gregg | Goth Rock /Alternative /Post Punk | I couldn’t agree more that the guitars are at the forefront here, striking a fine balance of gritty noise, a spacious environment, tense/manic rhythm, surf-rock guitars, and dark (grey) emotion in the vocals. I wouldn’t have guessed this to be a new release at all based on theme, content or production. Even though the structure is pretty straightforward, it’s taken me several listens to work through all the different aspects – whether it’s the drum work, guitar work, or deciphering the lyrics, or the transitions between effects and segments. | I got super excited last week when I discovered this song. It has felt for a while like things are going to start veering back towards a more guitar-based sound in modern popular music. Rock has been dead for so many years, it’s only a matter of time before the flavor returns, and hopefully in the form of something fresh & new. This song calls to mind 80’s goth-centric rock (ala The Cure, Sisters of Mercy, Joy Division, Ministry, Echo & The Bunnymen, etc). The guitars are up and the vibes are high with this one. It lacks a true “hook”, but the song stands on its own regardless. I’ve been desperately seeking more music that sounds like this, and I’m now hoping the flood gates will open. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #125 Archive
Deep Dive #125 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| pretty | Inner Wave | 2026 | Willis | Indie Rock, Psychedelic Pop | This single released after their latest album SEE YOU WHEN I GET BACK and will be on the forthcoming deluxe edition Although they’re not a surf band per se, I think of the beach and summer vibes when I hear a lot of their music. Maybe only because it was the surf shop in Hawaii where I first heard them. New wave keyboards. | I really liked this from the first 15 seconds. The vocals are very lax, which can sometimes doom a song, but in this case the voice thrives. Even the harmony vocal uses minimal effort, but again, it works beautifully. The music is like slow motion sunshine, glowing and sparkling over a summer day. The wash of psychedelia is just the right touch. |
| Drugs (Jamuel Saxon Remix) | Black Heart Procession | 2010 | Gregg | Indie /LoFi | Totally unfamiliar with this band when you mentioned them last week. So I listened to some of their music – definitely not as HFD as this song. The remix is atmospheric and spacious, trippy beat. | Playing in SF next month. A true cult status indie band. Part of a great lineage that starts with Three Mile Pilot, the ultimate cult band that also spawned Pinback. Pall Jenkins has a very “heart on his sleeve” vocal approach with shaky notes and all, which was signature to the band’s appeal. Sad and despondent at times, but remaining a hopeless romantic at the core. This remix is quite a departure from the original (which is a haunting piano ballad), but it fits the HFD aesthetic nicely (and better). I recommend going deeper into their catalog for their more signature woozy piano & guitar sound. |
| Fabulous Things | Straitjacket Fits | 1990 | Willis | Indie Rock, Dunedin Sound | I remember the name from college radio but didn’t explore at the time. Interesting to learn about this scene from NZ with jangly guitars, melodic pop and a little bit of angst. Listening to this song is like tasting a delicate Pinot Noir. There’s a steady level of reverb or sustain in the instrumentation that maintains a consistent tension (let’s call that the acidity) that balances with his delicate, vulnerable voice (the earthy tannins and subtle aromas) | I’ve never heard anything from this band, but I know the name. I might’ve misjudged the book by it’s cover, in this case lol. I didn’t expect such a delicate, jangly echo chamber! Funny, I can almost name a few handfuls of bands that had a similar sound in that same era – and all were essential (The Smiths, Throwing Muses, Go Betweens, Felt, Everything But The Girl, etc). Surprised they have remained so obscure, even in the age of YouTube and Spotify. This is wonderful. |
| A Younger Version of Myself | Telefon Tel Aviv | 2019 | Gregg | Electronic /Experimental | This starts as such a trance that builds in layers. Better appreciated in headphones for the subtle development and the subtle vocals that are set far below the music level, yet spatially off to the sides. I like the singing / delicate wailing are haunting. more than just simple vocals in a bedroom studio. You mentioned that the lyrics alone stand out. Joshua Eustis | The piano melody of this song reminds me so much of Sade “Pearls”, but the song itself is so psychedelic and trippy, it almost distracts from how beautiful the melody truly is. When I think of experimental music, the best stuff are always those that remain tuneful and at least vaguely pop adjacent, which this is. The piano is a touchstone here, keeping us all grounded in this chaotic dreamscape – until it’s gone. Which is when we start drifting off into far away space. I love how this song sounds in rotation, and after hearing it recently, I wanted to share it with more intention. |
| Visions of You | Jah Wobble’s Invaders Of The Heart | 1991 | Willis | Dub, Post-Punk, World | Seeing his biography at the Recycle Bookstore, Jah Wobble, it’s a name I heard somewhere before, but didn’t know he was the bassist from Public Image, Ltd. When I saw who the guest vocalist on this song was, it was a required listen to assess for a Deep Dive, and I was pleasantly surprised. World music influences, the bass stands out. I love finding these nuggets. | It’s crazy how I haven’t heard this song since the 90’s at least! I remember how difficult it was to track this song down, at that time. I heard it on a late night specialty radio show, and subsequently searched everywhere to find the cd (to no avail). Eventually I gave up (or forgot about it), and it slipped into obscurity. So glad you presented this, because it’s even BETTER today. This is right in my wheelhouse, especially lately. I have so many ideas of where to go after this one, but many of them might be too similar. Sinead’s “cry/sing” style. |
| Way On Down | Fun Boy Three | 1982 | Gregg | New Wave /Dub /African | I have never heard any of this! Very original, fun, and weird. The horns, backing vocals, and… marimba(?) seem like a combo that probably doesn’t exist anywhere. I love the level of integration both musically and culturally. | I was never a Specials fanatic, but I AM a Terry Hall fanatic, and appreciate everything he did. “Ghost Town” was such a great Specials’ song, and I feel like when he left, he built a whole band around that song’s vibe. I was late to the FB3 party, but over the past 5-10 years, they are amongst my most listened to 80’s bands. So sophisticated and restrained, with an insane sense of rhythm and melody. The tribal aspects merge brilliantly with the Dub/Reggae sounds, creating a whole new subcategory of post punk music. |
| Wild Side | Cross My Heart Hope To Die | 2013 | Willis | Trip-Hop | After learning that DJ Muggs from Cypress Hill had a trip-hop side project, I had to investigate. This song is dramatic, cinematic, and bold – from the beat to the horns and the convincing soul of vocalist Brevi. She changes styles several times and it really keeps the energy going. | Woah this is not what I expected after reading your description of who this is. I didn’t even know it existed before today. The beat is reminiscent of Portishead obv, and the vocals swing between Amy Winehouse and Nina Simone. It’s def not breaking any new ground, but it’s quite appealing and quenches a thirst for this sound. Her voice is both my favorite and least favorite parts of this song lol. The beat is chunky and mixed perfectly for a kicker-box in a lowrider. |
| Keep Ya Head Up | 2Pac | 1993 | Gregg | Hip Hop /RnB | This is excellent, uplifting and highly accessible with the familiar samples expertly mixed in. I wish I had followed the 2Pac and hiphop movement during this era. I was deep into raving and indie/punk rock during this time and still trying to “find myself” starting a career and being an independent adult. The hard-edge messages of hip hop during this time didn’t resonate with my own sense of reality. | I feel it’s important to highlight some of the classics from 90’s hip hop, especially those with a message like this one. Similar to “They Reminisce Over You”, this song hits an emotional chord in the most sentimental way, without sacrificing credibility. 2Pac was one of a kind, being as ‘hard’ and authentic as anyone, but also being a gifted lyricist and writer and thought leader. Hearing this song chokes me up, him showing such adoration for his mother. “Cant complain u were dealt this helluva hand w/o a man, feelin helpless. Because there’s too many things for you to deal with – dyin’ inside, but outside yr looking fearless”. |
| Tocando | Helado Tropical | 2024 | Willis | Latin, Indie, Tropical | Collab between Helado Negro and Reyna Tropical captures another summer vibe for me in some faraway place with palm trees, fruity cocktail, nylon string guitar and a… synthesizer. The pitch bends add a softness and signature. Yes all in Spanish, but we could all stand to learn more Spanish. Being spoken in 20+ countries. We watched the WC finals on Telemundo because it was free. | I’m a massive fan of Helado Negro, which means I should know about these projects! But i did not. I would’ve guessed the female was Kali Uchis, which is the ultimate compliment, but she blends perfectly with his understated crooner voice. He emotes so effortlessly, which makes it so easy to buy into whatever he’s saying (even when I don’t understand it). This is a dreamy masterpiece. Thanks for the discovery! |
| Boy Strange | Pet Shop Boys | 1999 | Gregg | Psychedelic /Pop /Avant Garde | Unexpectedly psychedelic from PSB. THe acoustic portions remind me of the vibe of Bowie’s Spaceoddity along with other bands you mentioned. I can imagine the music video for this. Only focused on the one astronaut. | Because there are so many albums in PSB’s catalog, sometimes lesser known album cuts can get buried and lost. “Nightlife” was always a lowkey favorite album of mine, and this song specifically was always on my “Nightdriving” mixtapes/cd’s back in the day. But until it came up last week on a playlist, I hadn’t listened in WAY TOO long. It starts off feeling as if its gonna be a cinematic track, and then shifts to a soft acoustic vibe with underlying tension.. But that only tricks you into a relaxed state before it eventually explodes into a cacophony of swirling sounds and noise, leading to the most grandiose crescendo, that eventually dissipates back to the soft acoustic + piano warmth to close it down. This is the closest the band ever got to The Flaming Lips or Mercury Rev. I also hear a little 70’s Elton John. Epic and beautiful. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #124 Archive
Deep Dive #124 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Venom | Glass Spells | 2024 | Willis | Synthpop, Darkwave | Came across on Instagram, intrigued by their big retro synth sound. Anthony Ramirez and Tania Costello had a short time together from 2019-2026, but took a break at the beginning of this year. maybe they just couldn’t get a big enough fan base to continue (26k monthly on Spotify Driving synth captures The Human League, or Visage,”Fade To Grey”. | I’ve flirted with this artist a few times, but never really took the dive. HFD played a song called “night hour” a while back, but then somehow lost track. Upon first listen, I’m immediately reminded of Ladytron & Goldfrapp, but there’s also a touch of Kylie Minogue’s pop sensibility. It’s right in the HFD pocket, and checks most DABEST boxes. |
| Planet Earth | Duran Duran | 1981 | Gregg | New Wave /Post Punk | I never really noticed the subtle intro that becomes an underlying synth line throughout the entire song. I thought I was familiar with this song and vibe – but now I notice there is so much punch and rock loudness in the bass, drums and guitar. Like rock, but actually not rock. My intro to Duran was that my sister became a “Duranie” seemingly overnight, and it felt like “baby brother copying” for me to enjoy her music that basically became her identity. So as a teen I only observed their success peripherally, as a novelty (a juggernaut that consumed girls worldwide). | As i look back at my youth, for some reason this song (the video) was the first time I realized I might be drawn towards the “left of center”. MTV opened so many gateways in 1981. Duran hadn’t blown up yet, but they were on our radar. The band was almost glammy looking but also very confusing to my young eyes; presenting as masculine men but also being attractive in a feminine way. But this song was like crack for me. I wanted to hear it, and i also wanted to watch them. It was bizarre. But from that point on, I always had an affinity for Duran that still exists today. |
| notice | YellowStraps | 2023 | Willis | Neo-Soul, Indie R&B | Two brothers from Belgium. Yvan and Alban embrace the autotune and sometimes sing in French. A bit of the hazy vocals and tight synth production kinda like Mindchatter. Funny that this song had the opposite affect on me than you – where I really liked the combination of familiarity (vocal style) and subtlety (the hammond organ) and predictable structure at first, but thru subsequent listens, it felt more like everyday pop and repetition without really trying too hard. | This took a couple listens before i could get comfortable with it. It does sound like Mindchatter in the vocal delivery, but also resembles a lot of the mainstream sound. I can even notice a touch of Daft Punk’s more funky moments (ie: “Doin it Right”). The vocal effect in this has grown tiresome and formulaic to my ears, but once I got past that, I was able to enjoy it. |
| Say that | Toro y Moi | 2013 | Gregg | Neo Soul /Garage /Funk | This must be a classic, because I feel like I’ve heard that subtle refrain before “I’m allright… we’re allright…” Love the deep bass dance breaks – thick groove accomplished with minimal layers, strategically placed. Curious what his sound would be like today. July 29 @ Bottom of The Hill | A masterpiece of a soulful dance song. It has lots of jazzy & psychedelic elements, but it’s also a laid back house kinda vibe. I wish Toro would’ve spent more time in this phase of his sound evolution. I’m not sure he was ever more experimental or expansive than this song. His knack for melody is obvious here, but it’s his breathy approach that keeps him from oversinging and thus making it feel more loungey and dreamy. This song made me a fan of his, and I still drop everything to listen closely each time I hear it. |
| Nothingness | Living Colour | 1993 | Willis | Symphonic rock, Funk Metal, Alternative Metal | Still touring small venues across the country. When these guys hit the scene, I was listening to metal, and loved that there was a blend of funk/soul and hard rock/metal instrumental power. Corey Glover’s articulate soulful vocals and wild showmanship plus Vernon Reid shredding guitar was a paradigm shift. However today, aside from the idea of the fusion, it’s just too harsh for me to actually enjoy. This song from their 3rd album though, is one of the few that stands up today, and I wish they had more of this in their catalog. What do we think about the crickets? | Firstly, I never listened to anything from them after the debut album (which I loved and owned on CD when it came out). I was also into Metal & Hard Rock when they arrived, so it was a no brainer with their funk/punk/hip hop influences splattered into their brand of hard rock. Still, when I saw their name, I was almost shocked and maybe a bit confused. But after 1 min, I completely understood the inclusion. This could be a Seal song, with a mid-uptempo groove and a grainy soulful vocal. But it’s the groove for me. I’m pleasantly surprised at how much I like this song, and feel silly for missing their releases after “Cult of Personality”. |
| No Hopper | Al Chem | 2017 | Gregg | Psych /Dub /Electronic | The rhythm is uniquely created from a handful of samples that really would never seem to go together. The most subtle one being the millisecond clip of the start of a recording or switch turning on. This has an interesting vibe of anticipation – I keep waiting for something to happen, and only once I realized that nothing was going to happen, I could enjoy it for the dub-state it was meant to stay in and either enjoy the individual components that make it up, or the smooth amalgamation of it all together. | This song is so damn cool. I have a great driving story about it. I’ll share when we record, but it was at that moment I added it to my master deep dive list. In my ongoing/endless quest to discover gems that time left behind without any notice – I found this block of gold. When you listen in good headphones, your brain is going to explode. It’s almost as if a marble is bouncing around the canals of your brain, ears and nasal passages, but in a certain rhythm that almost bounces around the song’s groove to create another sound of its own. |
| Hip Hop Creature | Mellow Man Ace | 1989 | Willis | Hip Hop, Latin Rap | Brother of Sen Dog of Cypress Hill, Cuban-American Rapper Ulpiano Sergio Reyes went solo with this album Escape from Havana, and is known for bilingual delivery and novelty rhymes, like the hit “Mentirosa”. Produced by The Dust Brothers and DJ Muggs of Cypress Hill Funny you mentioned LL, on this same album is a song called “B-Boy in Love” that sounds a lot like LL’s “I Need Love”. | Couldn’t believe this song samples Tom Sawyer by Rush, and I never knew about it until today. Having only heard Mentirosa and Welcome To My Groove, I definitely didn’t expect this more aggressive approach. Reminds me a bit of LL Cool J, even Chuck D and Ice Cube at times. Knowing that Muggs/Sen Dog are producing it makes sense, as it’s edgy in the same way Cypress Hill was. I dig this. |
| Down With The King | Run DMC, Pete Rock & CL Smooth | 1993 | Gregg | Hip Hop | I didn’t know about this collab – first time hearing it! On the surface I actually have to read along with these lyrics to follow. | In my top tier of Hip Hop songs. I could make a documentary about this single song, simply because of when it came out and what was happening in my life. The lyrics are as intelligent and prophetic as Hip Hop gets. If you weren’t alive in the 80’s you could never understand the magnitude of RDMC and their cultural impact. They were style, they were street, they were respected, they were smart, they were thought leaders, and they made music in a way nobody had ever heard before. They were “the kings”. I still reference this song regularly, whether it’s a lyric or a story. 90’s RDMC were even MORE badass.. But now they had something deeper to say. CL Smooth’s verse is the stuff of legends. “Look ma, no shoe laces”. |
| Looking Glass Girl | The Glove | 1983 | Willis | Post-Punk, Neo-Psychedelia | I didn’t know about this side project of Robert Smith and Steven Sverin of Siouxsie and the Banshees. (If you were in that band, would you call yourself a Banshee?) Guest vocalist Jeanette Landray adds just the right euro-angst. I might even think it was Siouxsie. | Great choice! Another band I didn’t know until I met (mynus)Kris. When he asked if I knew about The Glove, I was almost embarrassed to say “No”. I was avoidant and danced around the subject until he finally just explained who they were. Then realizing the moment, he made a big scene – “I CANT BELIEVE you don’t know about this! Here are 2 cd’s.. We need to go listen NOW”. It might’ve felt slightly humiliating in the moment, but time made me realize he was just so excited to share something that cool with me. Just as we do with each other on the Deep Dive. Needless to say, I became very familiar with this whole album in short order lol. You chose my favorite track by them. I’ll admit, I’ve not listened much at all over the past 20 years or more. |
| Profane Break | Chanel Beads | 2026 | Gregg | Psych Pop /Indie | The first thing I noticed is the instruments, seem like they are right in my head, literally this band is standing tall, guitars in hand, between my ears and behind my eyeballs. There’s a shoegaze quality to the way they’re playing, yet without the reverb and chorus effects on. The big church bells are a nice surprise. I would hit repeat on this also because the song stops so abruptly, but I agree there’s something about it that makes you want it to continue. | I wasn’t sure what to think about this band. Their first album just slipped by me, and what I’d heard wasn’t stirring anything in me. I noticed a lot of hype bubbling under, so I wanted to see if I was missing something. This song came out last week – and I was in the perfect frame of mind to listen intently. It finally caught me. It was like two fragments put together, without any real chorus or ‘payoff’, but that’s also what makes it so psychedelic and dreamy and good. The guitar + groove that starts the song and then returns at 1:30 serves as the songs hook – but the androgynous vocals are super raw and catchy. Somehow in such a short simple song, there’s such a pretty melody here and it’s addictive. Each time I play, I hit “repeat”. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #123 Archive
Deep Dive #123 Show Notes
This is our summer vinyl show, spinning some fun selections both old and new.
| Song | Artist | Year | Pick | Genre(s) |
| Alfie | Deary | 2026 | Willis | Shoegaze, Dream Pop |
| Sure Not Over You | Dinosaur Jr | 1997 | Gregg | Indie Rock /Post Punk |
| Fly LIke An Eagle w/Space intro | Steve Miller Band | 1976 | Willis | Psych Rock, Space Cowboy |
| Pozole | Thundercat | 2026 | Gregg | Soul /Jazz Pop /Yacht Rock |
Eleusinian | Faded Paper Figures | 2020 | Willis | Synth Pop |
| Time (Clock of Heart) | Culture Club | 1982 | Gregg | New Wave /Pop |
| All The Time | Slope114 | 2026 | Willis | House / Electronic Dance |
| Out Of Control | Chemical Brothers (ft. Bernard Sumner) | 1999 | Gregg | Electronic /Moroder |
| Sweetest Truth (Show No Fear) | Stereo MC’s feat. Cath Coffey | 1995 | Willis | Electronic Dance, Hip-Hop, Soul |
| Ways of the Wind | P.M. Dawn | 1995 | Gregg | Neo Soul /Psychedelia |
Deep Dive #122 Archive
Deep Dive #122 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Winning | The Sound | 1981 | Willis | Post-Punk, New Wave | A band I FORGOT that I had heard before (totally not checking the list). It’s been fun catching up on post-punk. It seems these guys didn’t get enough commercial success to make it to the US, but had a following in the Netherlands and released 5 albums before breaking up in 1988. This song captures the sound of an era with chimey guitars, heavy-fingered bassline, and angst-inducing synth. Vocals and lyrics hit somewhere between 80’s Bono and a precursor to 90’s grunge. | One of the most unheralded bands of the early Post Punk movement. Played “sense of purpose” on show 64, but this has always been my personal favorite. The beat hits so hard, it’s hard to resist blasting it. The keys remind me of Gary Numan. Another example of a song (and band) that was years ahead of its time. Also another song they’d play at Aldo’s nightclub during Goth/Industrial night, and the reaction showed me there was a world of misfits out there just like me lol. |
| Lucinda | A Certain Ratio | 1982 | Gregg | Post Punk,Funk | Amazing basswork. Sounds like two bass players, one on “funk slap mode” and the other on “new wave mode” Even in the intro, one of the basses sounds like a Cure song, briefly. (One more straw in the bale that makes me want to get a bass). Love the funk and beautiful harmonics. Vocals are so melancholy and different for a funk song. I wouldn’t have known what to do with this in 1982. | I often confuse them with The Sound, cus they both exist in the same category in my head. The funky bassline and danceable beat make this irresistible. Add in the lazy, near-androgynous vocals, and you have a perfect storm of Dance, Indie, and Funk – which seemingly inspired early-mid 00’s bands like LCD Soundsystem and The Rapture. |
| Perfume | Paris Angels | 1990 | Willis | Madchester, Indie Dance, Alternative | An interesting dichotomy of sound. It starts off big, like U2 or the Alarm, but instead of stadium rock anthem, the tempo shifts into 4rd gear into a baggy, somewhat drunk vocals + electronic dance beat. The tempo changes again as the spaceship lifts off. | Don’t think I ever heard this! I know the band, but I’ve never fully investigated their albums. I will now, though. WOW. I couldn’t sit still while listening. The drums almost sound doubled up, or (possibly) purposely out of phase ever so slightly. “Drunk beat” is a precise description! Vocally, I can’t help but think of The Wedding Present. This is definitely the core of the Madchester sound in every way. Amazing find. |
| Dream About Me | The Depreciation Guild | 2010 | Gregg | Shoegaze,Dream pop | I really like this blend of synth and shoegaze sound. That lead in was a brief hit of RunDMC that gets run over by early Cocteau Twins – even into the first verse as he sings in falsetto, which quickly reveals a lower range and discernable lyrics. The chord progression is upbeat and grounding, offset by occasional pitch bends and keyboard flourishes and simple, yet effective guitar solo. The synthetic-sounding drums keep this song moving along a flight path, while still giving room for everything else to happen. | Drummer/Vocalist Kurt Feldman, former member of Ice Choir and Pains of Being Pure at Heart started this project in 2006, sounding a lot like later era-shoegaze while incorporating a groovy, almost programmed drum sound, helping the beat stand out a bit more than most of their peers. Listening now, it sounds like a precursor to the more recent “NuGaze” sound. The melody is soft & dreamy, and remains nestled under the washy guitars and persistent drums. I forgot how much I enjoy this song, and I think you’ll like it too. |
| The Beginning | Landroid | 2026 | Willis | Indie Pop, Electronic | Sophomore album released June 12 with a new collaborator, Nigel Roman on vocals and guitar. This is the intro song to the album and is epic in a Dark Side of the Moon fashion. Setting the stage for an album that was meant to be enjoyed start to finish. It starts in like a void of space, but then gradually forms into a song, building and stretching the vibe and turning more into rock. Three of them touring and at Hotel Utah June 26. | The slow burn of the intro creeps up like smoke in a dark nightclub. I would LOVE to see this performed live. What a journey this song turned out to be. I appreciate that they let it breathe, waiting nearly 3 mins before finding it’s groove. Then the skittish beat shuffles in and elevates the mood perfectly. Can’t put my finger on who this sounds like, but it also sounds quite singular. This sent me into a trance. |
| Porcelain | Moby | 2000 | Gregg | Trip Hop,Ambient Pop | Moby’s muttered lyrics really work in this song, being so neutral between 3 distinct feelings. 1) The trip-hop beat and short-sampled strings feel anticipatory, like something big is about to happen, but never does. 2) The playful piano notes and chords dancing along happily like a butterfly fluttering along a white picket fence lined with flowers on a summer day 3) what I hear is “stay…stay… woman” feels like missing a loved one. All this makes it feel like a music video. This album is a must have “Electronica” that is not just electronic. Has a little bit of everything: downtempo, dance, rock, ambient, instrumental, poetry. | Figured I’d maintain the trance-like state Landroids sent me into. I’d place this song near the top of my favorite songs from 00-10. It’s hazy and dreamy and sad and beautiful all at once. Moby’s voice has never been particularly great, but in this song he uses it effectively. I can never get enough of the “Hey… Hey… Hey.. Woman you are tired” sample that is sampled throughout (not sure what the lyrics are for that part, but that’s what I hear lol). Then the swelling keys fill the song like puffy clouds, while the simple piano accents feel like cool rain during a sunshower on a humid day. |
| Go! | Public Service Broadcasting | 2015 | Willis | Electronic, Post-Rock, Indie | With all the hype around SpaceX IPO and renewed public attention to space travel, I think this clever track with retro samples harkens back to an earlier era of mission control and makes a very melodic, catchy danceable, yet ambient song. It captures the excitement and anticipation of launch in a graceful and pleasing way. | This band is so compelling to me. I’d have never thought I could be so into hearing spoken word like this, but the music’s urgency and beauty almost make it feel as if it’s soundtracking the most important moment in the world’s history. This is so smart and quite multi dimensional. I can only imagine how powerful they would sound live. The next space shuttle launch, they should feature this song. |
| Surprise Me Again | Haircut 100 | 1982 | Gregg | New Wave,Smart Pop | I wonder if the Cranberries stole this guitar intro. That’s funny you use the word “Smart” to describe this pop, which is exactly the word that came to my mind from the first verse. I really like how they sing “you… sudden -ly smile” so genuinely and sincerely. Love how they snuck in the subtle, yet skilled saxophone riffs which don’t feel cheesy. I do not have this album, but now I think is something to keep an eye out for. | Shocked I never chose them before today. I am a massive fan of this band’s only album. It’s a masterpiece that showcases the unique voice of Nick Heyward, while also featuring a unique horn-centric brand of New Wave. This could be classified as “Intelli-wave”. Most known for “Love Plus One”, they are mostly considered a One Hit Wonder (erroneously). And while this album is a start to finish classic, this song always stands out as a missed hit. It’s a sincere love song that never fails to make me smile. Maybe due to the line “You suddenly smiled, you took me by surprise” |
| Rob Roy | BEATPELLA HOUSE | 2024 | Willis | Beatbox, Hip Hop, Pop | I am always fascinated by human beatbox. Starting from Doug E. Fresh and Bobby McFerrin, to modern names like Dharni, D-Low, Improver, KRNFX. The internet (specifically short form videos) has helped this skill to propagate across the globe and develop exponentially, as artists push each other to innovate and battle. From South Korea (Wing, Hiss, Hellcat, Huckle and vocalist Yella E.), the beatboxing is clean and tight here. Even the horns sound somewhat convincing. Beatboxing is hard to take seriously sometimes, but the soulful lyrics give it some legitimacy that I think is charming. | |
| There’s A Woman | Gino Soccio | 1979 | Gregg | Electronic,Experimental,Disco | How the hell is this from 1979?? This could be the Beta Band stepped out of a time machine and walked up to a keyboard demo set up with the Arpeggiator at Guitar Center. Someone goes over to the conga drums… a house diva fills in with female vocals. | I often try to go back into the 70’s to see which disco songs best provided the blueprint for House & Techno. Clearly Giorgio Moroder and Kraftwerk are at the forefront, but occasionally I’ll find something that is JUST as innovative and ahead of its time. This song is every bit as influential as any other pre-house song. For sure it has the Moroder “I Feel Love” synth oscillations, but it also feels fresh & new. Similar to I Feel Love, it could be confused as a song from the new millennium. Groundbreaking form for a relatively unknown song. Excited to listen in headphones with you. |
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