Deep Dive #120 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Bad Dreams | Pete Yorn and Scarlett Johansson | 2018 | Willis | Indie Folk Pop | A Pete Yorn song came up in my suggested listening, likely due to my recent “Sad but melodic” artist choices. And I hadn’t remembered (and forgot to check) that you’d chosen a song from him before. Looking at my notes, and maybe if I went back to listen to the show, my response was kind of half-hearted for whatever reason. I could have dove deeper into his catalogue but didn’t. It shows how the musical journey really is personal. So this is like a second chance for me to respond more intelligently. In earlier works his voice reminds me of the raspy higher range of J.Mascis of Dino Jr. but this song his baritone is more pronounced like Johnny Cash Didn’t know Scarlett was a singer, but this is their second album together. Inspired by the duet singing of Serge Gainsbourg and Brigitte Bardot | I chose Pete back on Show 90, and I think I spoke about the “legend” of PY before he was known. It was being treated as if he was the next Springsteen, and the industry was hyping his intimate performances as “must see” before he explodes. I loved him then, and still do. I was always flummoxed by how we were around the same age w/ him living 2 towns over, and yet I knew nothing of him until 2000. His Scarlett duets were better than I’d expected, but mainly cus she ceded lead vox to Pete most of the time. Coincidentally, about 3 weeks ago I added 3 or 4 of their songs to HFD, but not this one. He straddles the line between Melodic singer/songwriters ala Elliott Smith & classic ‘rock’ artists like Springsteen – which really worked at the time. |
| What’s Going Ahn | Big Star | 1974 | Gregg | Pre Indie /Power Pop | This is an interesting crack in the dam opening for me after 35 years of hearing about a band that I could never actually listen to. I remember the other DJ’s at KUCI in 1990 referencing bands that covered Big Star and Alex Chilton, but it was all over my head because nobody ever played them on the radio, so to me it was lore that passed word of mouth and I never came across anything written about them. Kinda silly. It’s kind of a treat to hear this new from the perspective of “an influencer” vs. how people would have heard it the first time and either thinking “this is different, weird, scary” vs. “I like this and am inspired” I hear jangle pop, bluesy key and influence and laid back rhythm that takes turns and changes mood. | On the very short list of artists that inspired genres of music to an extent that far superseded their album sales (2nd only to maybe Velvet Underground). W/o them there’s no REM, no Smithereens, Replacements, Pete Yorn, etc. Listening thru their albums, you’ll go on a true journey of indie rock’s timeline. Every song has its own “sound”. Alex Chilton has a folklore that measures up to Lou Reed, but always shied away from spotlights. He was an authentic “weirdo” artist that lived like a studio hermit. Still, he’s a legend, and a HUGE part of my journey. This song is still my fave of theirs, and happened to be the 2nd song I heard from them. |
| Dirty Little Secret | Neal Francis & Carlile | 2026 | Willis | Psychedelic Funk / Rock | Also from NJ, now based in Chicago. His low-key vocal style has an understated swagger. Accentuated with a drunken slowed down dance rhythm like “Sympathy for the Devil “ by the Stones Carlile is a relatively unknown synth pop artist adding vocal depth here. On US tour, @ Guild Theatre in Menlo Park June 20. And of all places a cruise ship | I get so confused sometimes, cus there are a few Neil Francis’ out there, and each spells their name slightly different, so I’m never sure which I’m about to hear lol. Ive never heard this one – and it’s new, so I’m surprised I haven’t stumbled on it. I really like the simple melody – it reminds me of a Sly Stone song. The groove is strong, and the harmonized voices adds a trippyness. Almost feels like a jam that turned into a song. Could be from 1976, sonically. |
| These Days | Neil Frances | 2018 | Gregg | Indie Dance /Retro Funk /Soul | I really like the finale. Perfect ending to this groove that kinda builds. I can totally get in to this. Fairly recently I heard a song we played on show 91, “Dissolve” by Absofacto (released same year too), on HFD (or so I thought) and felt the exact same way as listening to this song. If I had to vote on who the real Neal Frances is, I’d say this one. Jordan Feller and Marc Gilfry. On world tour | Why not confuse everyone at the same time lol. Here’s one of the “other” Neil Frances’, but this one had to be listening to Marvin Gaye and Prince growing up. Purely in a warm falsetto and head voice, but it never wears thin. The chorus is so catchy, I usually wind up singing it for 3 days after every listen. I love how this song could be a summer sing-along beach song just as easily as it could be a ‘drive to clear your head’ song with an extra helping of melancholy on top of the sunshine. Dope little distorted guitar solo at the end is very unexpected. |
| A BOY LIKE YOU | TOMORA | 2026 | Willis | Electronic / Experimental | This song stands out from the collab album of Tom Rowlands of Chemical Bros and Aurora. And whose voice is that? Vocal F/X is not the familiar Aurora quirk but something out of a Dracula movie. Intense intro gives way to oozing, swirling, tripped out tension. Headphone song. | Whoa! This is new to me. All I had to see was Tom Rowland, and my interest was piqued. The beat made me audibly say “YES!” after it hit. This could sound like the closing credits of a Horror film. It’s eerie af, but also a little sexy. I’m here for that combo every day of the week. Feel like this could’ve been from 2002 or something. The beat is heavy, and the overdriven bass drives it like a war tank. It all feels so unstable. This is so cinematic, it should def be in a movie. |
| Christian Says | Tones on Tail | 1984 | Gregg | Dark Wave /Goth /Electro | We played the brighter, more sedate, vocally hushed, “Lions” on show 36, but this is a different sound that is much darker At first all I hear is the guitar hook from Ministry “Stigmata” which now I’m thinking they borrowed from these guys. The eBow I thought was like a theramin but more complex. I’d always felt underinformed about goth in general. I might have said before, this inability to project my thoughts or feelings into dark (or angry) music, so for me any appreciation is all about the sounds/effects, instrumentation, rhythm, etc but a lot of the mood or lyrics don’t cut deep into me. However, the execution of expression of mood I can totally appreciate. | My favorite song by ToT that happened to also be my introduction to the band. Kris (mynus) shared this cd w/ me, and I had no clue this “bridge” band even EXISTED. I liked Bauhaus and loved Love & Rockets, but this one was different. I almost wish there was more music, cus they might’ve been my fave of the 3. One of the best uses of an “eBow”, which became one of my secret weapons as a guitarist. In fact, this song inspired my playing a lot: simple and atmospheric soundscapes instead of ‘strumming’ or picking. “Christian says, you can’t be happy being this way. Christian says he’ll never let you go. Christian says he can’t let you run free, cus Christian says… he needs you so”. That lyric nearly had me in tears on my first listen. |
| Mushaboom (K-Os Mix) | Feist | 2006 | Willis | Indie Folk Pop + Alt Hip Hop = ? | Feist previously featured on show 23, this Canadian vocalist makes endearing stripped down melodies that beg to be remixed. K-Os also Canadian alt-hip hop previously featured on show 80. This comes from a whole album of various-genre re-takes of her music called Open Season. Like Tom’s Diner /DNA in that way and I love the resulting sum of the parts. Not quite trip-hop, but to be enjoyed in a loungy setting. | I like some of Feists music, but tend to get bored after a few songs. If I knew an album existed w/ remixes that sound like THIS, I would’ve been all over it! K-oS is one of maybe 5 rappers from the 21st century that I consider worthy of being in the company of the legends. His voice is distinct and his lyrics are thoughtful and smart. Feist sounds reborn here. I wish she considered an album of songs in this style, cus it’d be mind blowing. The beat is so chunky! |
| Fallen Again | Herbert, Momoko Gill | 2025 | Gregg | Minimal /House /Jazz | Perfect follow up to Feist : vocally pure with outstanding production to elevate it and create a vibe. In this case, a song for a tropical summer day… in a beach house in Brazil. Seamless production that I don’t even feel that it’s electronic. cyclical, rhythmic, airy, melodic, spacious yet intimate. It’s more of a mood than a message, has more presence than just being “ambient”. Even shifts at least twice with subtle drop or refrain. I’m glad there are artists that we like so much that it is hard to single out a song to share. It makes it a future promise to explore further. | We both know my adoration for Matthew Herbert, but it’s so hard to single out songs. I was driving one Saturday evening as the sun was setting – and this song came on. I got so lost in the music’s haze that I wound up miles off my course. I was lulled into a trance by the simple, minimal beat… until about 2:40 when it levels up slightly with some more kick. From there I was hooked in every sense. This is the type of record I always wished I could make, but then I realize Herbert has mastered it & it’s not even worth trying to emulate. This is earnest, heady Electronic music.. Meant more for a dark living room than a club. |
| no more regrets | almost monday | 2026 | Willis | Indie pop, Funk | Surfers from San Diego (vocalist Dawson Daugherty was on the Voice in 2015) My sister in law Chris in Napa did her research for bands to watch at Bottle Rock and thought this band would suit my taste. I think though, she means their sound has some HFD vibe, which I agree with. Tho I don’t know yet if I would listen more as the sound at first impression feels too derivative. For example, the song “can’t slow down” reminds me of Empire Of The Sun. The chorus of this song is reminiscent of earlier Tame Impala. The jury is still out for me. | Chris got it right, it seems. I uploaded this into HFD 2 weeks ago and played it 1 time on the New Mx Disc, but for some reason I didn’t upgrade it to a category. After hearing it now, IDK why. This works perfectly and will def go into rotation. This does sound like a poppier Tame Impala, as well as Foster the People (which is a good thing, considering I enjoy both bands). Super catchy and also giving beach vibes. I’ll need to dig deeper and see my true feelings, but so far so good. |
| Stuck | Ned’s Atomic Dustbin | 1995 | Gregg | Alternative /Post Punk | You chose this on show 54 – and I totally remember it was another one of those “they was on my list too!”. I liked it then, and I like it even more now after more than a year of other music that we have shared. The context of our choices has evolved, but the taste remains the same. Such that I might have chosen it again as well! This is another compelling data point which proves this show represents a crossroads for both of us, despite being born on opposite sides of the country, raised among different cultures, and musical journeys of substantially different magnitude. It is the most fitting end to the show! | These guys had some airplay in the 90’s, esp in NJ. They were signed to a tiny label in Pt Pleasant, & the owner was buddies with Matt Pinfield, so this band got onto MTV (120 min, specifically) and some radio stations in NY/NJ/PA, which eventually led to some national attention. I still remember when my best friend TG called me to ask if I’d heard “Stuck” on 120 Mins the night before (i hadn’t yet). Then when i DID hear it I wasn’t sure who it was, and I swore it was Tears for Fears lol. All i needed was the opening lyric and i was hooked: “Have a good time without me. I’m the center of your very being.” |
Song playlists are also available on these platforms:
Deep Dive #119 Archive
Deep Dive #119 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Earthshaped | Pickle Darling | 2025 | Willis | Bedroom Pop, Glitchy Folk | Lukas May from New Zealand, made this album by assembling individually recorded notes and sounds on the computer vs recording the performance of playing. It’s a weird way to go about making music, but turns into a unique glitchy tune that is part nursery song, part emo, but with moments of Eliot Smith angst. I tried to close my eyes and decipher the lyrics, but couldn’t. I think the song stands on its own just melodically, but is better while reading along. | A beautiful sound collage, that sounds intended for headphones and a candle-lit room. A great example of how artists today are able to use their ‘home studio’ as an instrument, unlike artists from the late 20th century. This is a double edged sword, ofc, but when done intelligently and creatively, it can be magical. There are def Elliott smith influences, which is so endearing. I can picture many outcasted, sad teenagers that would identify with Pickle Darling. |
| Airport Surroundings | Loney, Dear | 2009 | Gregg | Indie pop /Prog pop | This song has a suspenseful ending that worked itself up very cinematically. There’s only one other modern song I can think of like this, yet I can’t recall the band. The hushed intimate vocals serving the melody + subtle bassline groove / simple handclap beat require attentive listening. My first few listens in distracted environments did not yield a suitable impression. This particular song requires headphones and solitude. This is a new favorite for me, definitely listening to more from him. | Lately, while revisiting mid2000’s favorites that I’d left behind, I found some truly lost greats. So much music surrounds me these days, it takes hard work remembering ALL the little gems along the way. This song/artist was played a bit during our S*ALT projects, but never took off. To me, it was Postal Service meets Helio Sequence, with a tad bit of glitchy electro. The grandiose sound builds out of a minimal intro, eventually growing into a full blown runaway train – even bringing horns in, to great effect. Simultaneously tender and urgent. |
| Anything at All | Bachelor, Jay Som and Palehound | 2021 | Willis | Indie Rock, Dream Pop | Bachelor is a collab between Melina Duterte (Jay Som) of the Bay Area and Ellen Kempner (Palehound) from the east coast. They each have their own distinct indie singer/songwriter sound and in similar register, but their blend creates a unique chorus that chimes – this song builds instrumentally into a memorable swirling, lunging, wash of tension at the end | This is fun and interesting. I’m familiar with Palehound and Jay Som, and have even featured them on HFD, but I had no inkling that this would sound like straight ahead pop. It’s like they asked Black Keys to be their backing band, and decided to remove any pretentious hipster-isms of their solo projects. The 2:20 mark is outstanding – satisfyingly noisy and completely unexpected. That part makes the whole song! |
| Green Eyed Love | Mayer Hawthorne | 2010 | Gregg | Neo Soul /Retro fusion | I wasn’t sure what I was hearing at first. That Rhodes keyboard sound is so distinctive, used perfectly here for warmth and soul. Guitar solo pulls it into bluesy zone like Eric Clapton. My first impression was that he’s got soul musically, but wasn’t blessed with the voice to pull it off, using all falsetto in the tenor range – which can either be endearing, or tiring. But picking through his other songs, he showcases other vocal skills and the soul always shines through. This guy is cool. I see that he does a weekly livestream on YT called Wine and Vinyl, and his setup is sweet. He’s got a lot of charisma as a DJ, much respect. | A modern day Darryl Hall type: a white, blue eyed soul throwback that channels Curtis Mayfield, Smokey Robinson, and Steely Dan. The music is unashamedly retro soul, but never sounds like it’s trying too hard. Hearing the previous song, I was reminded of this forgotten little nugget I discovered during Covid. The organ is strewn across the music like foam on the ocean – allowing the groove to carry the weight. I love the tender falsetto too. |
| Shadrach (Joey Chavez Remix) | Beastie Boys | 2019 | Willis | Hip Hop, Jazzy Hip-Hop | The “Rolling Loud” hip hop festival aired on on Amazon, but previewing the acts, I just couldn’t relate to the foul language and similar beat/rap styles so popular today. There’s no subtlety or respect coming through that it feels like a creative dead end. Tho I remember similar comments about these guys when Licensed to Ill came out. I thought Paul’s Boutique was a satisfyingly diverse followup of funk/soul production with a touch of tongue-in-cheek The album version of this song was pretty good, but this remix really gives the song a new life. It pulls their rhymes forward and replaces the funk R&B vibe and dance beat with a little bit of mystique with the vribraphone and more downtempo beat. | Jeez, I NEVER HEARD this remix! I always had a love for the original, but this one is drastically better somehow. The beat reminds me of Gang Starr or Pete Rock, bringing jazz vibes to smooth over the rugged, shoutalong vocals of the Beasties. That dichotomy is stunning, becuz it works so damn well. I didn’t jump onto the Beastie’s wagon until “Check Your Head” came out, but even then, I was a ‘fan’, but at an arms length. I think I began to appreciate them more as I got older, for some reason. But this was one of the OG songs that I’d revisit (along with “So Watcha Want”). |
| A Few More Kisses To Go | Isaac Hayes | 1978 | Gregg | Soul /Pre Hip Hop | Before reading your notes, this felt like a let’s “take it down a thousand” moment following Shadrach. But I get it now that this song has core elements that have been sampled, which seemed familiar in different ways. That wandering melody (had to look it up, hammered dulcimer) is so distinctive and familiar (like Charlie’s Angels TV show cut scene) It’s definitely a bedroom mood song – swagger that is so out there, it’s almost intimidating. | One of many songs that clearly ‘inspired’ 90’s hip hop. Famously sampled in Redman’s “Tonight’s Da Night” (and countless other rap songs), most people of a certain age had no clue the original source even existed. So when we eventually heard this, it was almost mindblowing. I’d put Isaac up against ANY single artist when it comes to the invention of the 90’s Hip Hop sound that changed the narrative of rap music completely. This man oozed sexuality. Even with his overt sexual advances, he maintains a certain level of vulnerability and humility – making him seem just like me (even though he’s got 1000% more confidence than everyone else). |
| You (II) | Subat & Ark Patrol | 2025 | Willis | Electronic, Indie/Alt-Pop | We have played Ark Patrol before (Brandon Gomez from Seattle) w/Fifi Zang. This collab with Subat (on vocals here) who is an LA based musician combining modern production with classical Afghan and Indian influences. His voice flies straight and carries along a light ocean breeze above steady waves of subtle electronic pulsations naturally timed with an intimate groove that we all possess. I could put this on infinite repeat and handle anything life throws at me. | I love this. I’m familiar with Ark Patrol, but felt blindsided by the vocals, which sounded like Damon Albarn! At first it feels like a Gorillaz song, but then it morphs into a whole other thing. I had to start it over after 2 mins, just cus I needed to process what I was hearing. I hear several other artist influences here (Porches, Jose Gonzalez, Hot Chip). I love the little acoustic doodling that would seemingly have no business happening in this song. |
| Halo | Depeche Mode | 1990 | Gregg | New Wave /Electro | This is a great song that I never knew the title of until now, nor listened to the subtleties of the backing vocals hidden in there. The dark chord progression and synths are foreboding and so fits the vibe of the album. I’ve only actually preferred listening to the whole Violator album through (except I only barely tolerate Personal Jesus) for the clean production. It’s like neat rows of silicon chips and resistors on a circuit board – song after song each with it’s own mood. | I’ve always leaned towards DM deep cuts for personal listening, mostly cus I’ve heard the hits “enough”. The ‘hits’ that I tend to love are the ones that missed the mainstream, but are still considered massive by core fans. “Halo” is every bit as good as Enjoy The Silence and “Strangelove”, but simply didn’t find chart success. Halo is basically a victim of being on an album with too many classics (Personal Jesus, Policy of truth, World in my eyes, Enjoy the silence, etc), but i’d argue this is their best song of the 90’s. The lyrics are on point too: “You wear guilt, like shackles on your feet. Like a halo in reverse” |
| The Hero | The Knocks & Dragonette | 2025 | Willis | Synthpop, Slow Jam | Dragonette’s Martina Sorbara from Canada. has her own pop music that seem less distinctive than her collaborations with electronic producers. This is from a whole album collab with the Knocks Ben “B-Roc” Ruttner and James “JPatt” Patterson that has mostly upbeat danceable songs, plus this slow jam. This is a crazy amalgam of 80’s/90’s slow jams from Prince or Pebbles plus strained female vocals like Pat Benatar or Bonnie Tyler. Even the bassline and reverb, melodic pauses, are like DNA of that era, but still the production has a touch of modern haze that keeps it from being totally retro. | Funny, I don’t recall enjoying this song quite as much when it came out last year. I think I wrestled with the idea of adding it, but then passed. I’ll admit I got this one wrong. The chorus reminds me of Robyn in all the best ways. I love the production work, which headphones truly accentuate. |
| Letter of Intent | Ducktails | 2013 | Gregg | Indie Pop /Dreampop | The guy/girl vocals totally work together even though they might as well be in different cities. The female vocals are flat and emotionless which remind me of Faded Paper Figures. The guitar work stands out, A unique keyboard “guitar” solo that has all the wah of a rock guitar but understated in loudness and punch The falling off echo-beat is distinctive. The bright synths, lightly plucked guitar, and flute solos give a 90’s new wave / sophisti-pop feel, while the female vocals pull into modern era with a 30k ft altitude HFD dreamspace. | The former guitarist of Real Estate that went solo after being accused of some pretty heinous assault related things by a fan, causing his “forced” removal from the band. The charges were dropped, but he continued solo, putting out records at a prolific rate. Many of his releases are hit or miss, but when he hits, it’s flat out amazing. This song is trippy and groovy, and the female vocals really decorate the song like a string of shimmery lights. You’ll hear the beat and know why I was inclined to like this in the first place. These last 2 songs are like peas in a pod. |
Song playlists are also available on these platforms:
Deep Dive #118 Archive
Deep Dive #118 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Whisper to a Scream (Birds Fly) | The Icicle Works | 1984 | Willis | Alt. Rock | I often forget about this band, but loved this song I know from then whenever it came on the radio. I always loved how the jangle gives way to the hyper kinetic drums. | I’m with you on this one, and its been on my running list for over a year. Another song I tried to track down as a kid, but only found it on a Richard Blade New Wave comp in my later teens. The tribal drums and epic chorus were like crack for me. “We Are We Are We Are!”. Always wondered why they never had another sniff of a hit record – this is a top tier New Wave song. Drums sound great in headphones. |
| Still In Love Song | The Stills | 2003 | Gregg | Indie /Post Modern | I really think I’ve heard the chorus before. The vision I get when it starts is a ride on a motorcycle on the open road. Anything is possible. I like the bassline building back up after the chorus comes down. Also totally agree the 2 min mark guitar picking arpeggios is an outstanding, mood-inspiring interlude. Funny that before reading your notes, I thought the vocals were kinda similar to yours. So it was fitting you played the same night. | A 2000’s era song that feels like a distant cousin to Icicle Works. I was infatuated w/ this song – so when we got to play w/ them at The Stone Pony, it was quite cool (we both opened for Johnny Marr, one of the coolest nights of my life). Turns out they were fans of ours too, which made it surreal. This song should’ve been a worldwide hit, but it only found the indie underground audience sadly. “IYKYK” type song. Great pop structure, and that heavy 4 on the floor groove is thick. The 2 min mark is epic! |
| Violent Horizon | Jahrund | 2026 | Willis | Electronic | Yet another Insta-find. From Germany. In their own words: “warm, pulsating energy generated by love for the mysteries of our planet and the infinite space beyond. The lyrics combine astronomical plots on the one hand and deep psychological as well as global problems of society on the other.” Her merch looks super aesthetic. Translucent vinyl, transparent cassette tape, that I’d totally buy but need to pace my purchases! I like how this song develops into a gritty, back-alley synthetic feel with the electronic beat. | New to me. W/o seeing your words, I thought “cosmic”. Felt like lift-off into outerspace, while being under the influence of morphine. Gorgeous vox. This is insanely good. The swirling, inconsistent keyboard flourishes are messing with my senses. I’m a fan, and definitely want to dive deeper. |
| America’s Boy | Broadcast | 2005 | Gregg | Experimental/Psych pop | Nice follow up taking the electronic beat to wider exploratory sounds. I can hear that combo of overdriven synth up-down cycling with the angelic chimes being mimicked in other artists today. This creates a sustained level of noise that contrasts with her soft delicate voice. My first time hearing of her and sad to hear a loss to pneumonia, which I am acutely afraid of myself. | Took way too long to find a place for Broadcast on our show. Likely in the top 5 best experimental indie bands of the past 40 years, only rivaled by maybe Stereolab. Combining glitchy pop with jazz, brazilian, electro, and psychedelic – nobody sounded like them. More importantly, nobody sounded better either. Sadly Trish Keenan passed away from pneumonia at 42 yo in 2011. She was given her flowers posthumously, w/ so many artists citing her as an influence, tho I doubt she ever knew how worshipped she truly was while she was alive. Too many choices of music, but this one seemed perfectly paired with Jahrund. |
| Squares | The Beta Band | 2001 | Willis | Trip Hop | Chilling things out a bit. I heard “Daydream in Blue” by I Monster which samples “Daydream” by Gunter Kallmann Choir, just like this song. Both Trip-Hop. Interesting that this was to be released about the same time, but they chose not to clash and released a different song from this album first. This is more subtle and mellow than I Monster. | So proud that you chose Beta Band. They, along with the Notwist, were lowkey core influences on every bit of music I made back in those days. They were so experimental and weird, but always wrote beautiful melodies and songs, keeping the songs grounded. Squares is a classic, and along with “Dry the Rain”, are cult anthems in the indie rock world. They got a huge popularity lift from the movie “High Fidelity”, in one of the best scenes depicting music snobbery in cinema history. |
| Year of the Cat | Al Stewart | 1975 | Gregg | Progressive Rock / Pop | From the studio onto a piano bar stage, but actually back into a studio! Headphones were a bit frustrating in the beginning (being only left side I thought something was wrong). I never would have guessed this came from 1975 by the style. Impressive production too with the string ensemble, piano, sax, electric guitar taking turns with solos. Spacey synth really feels modern. I felt like I just had a week of the cat, trying to get them wrangled to take to the vet. | Before there was “alternative” or “indie” as we know it, there was Al Stewart. IMO, he invented the style and sound we now know as “Alt” rock. Bands like Beta Band and Destroyer would not exist w/o him. This song is a work of art, and might be one of the best “long form” pop songs in history. It’s like watching someone else’s dream on a drive-in movie screen. It’s so romantic, so nostalgic, so moving, and at times so sad. The sax solo is mindblowing, better than any guitarist could achieve… but then the acoustic takes over, eventually giving way to the electric guitar. Only to be swallowed by the sax again. All of this in a pop song that actually was played on FM unedited! Very uncommon at that time esp. |
| Television Love | Of Monsters and Men | 2025 | Willis | Indie Folk / Rock | More cool music from Iceland – I won’t try to pronounce their names. I’ve heard their 2011 hit pop song “LIttle Talks” before, but this has a fuller, more impactful, slightly more intense sound. This has a brooding feeling and staggered pace like The National, and I love how the female vocals come in like, kinda like the XX, and then it builds to a crescendo that again reminds me of The National. On world tour, though only as close as Oregon. | I’ve long blamed them for River City’s failure to succeed. There were so many of these indie folk bands dropping at the same time, and it was just so hard for RCE to get out of their shadow. Frankly, I didn’t like their music either, which made it worse lol. But if you didn’t tell me this was them – I’d never guess. This is actually GREAT, and not folky at all. It’s more indie pop. There’s something very earnest about the melody too. Subtly epic. |
| In A Rut | Loraine James | 2026 | Gregg | Electronic /Neo Soul | Her voice is so present, LIke right in your head. clear and crisp with minimal effects. Trippy overall production yet somehow accessible. I think because they space it out. It comes in and out, gives you breaks. Male vocals from Sydney Spann – both in a trippy haze. The headphones give good separation, but interestingly, the bass sounded different on every single speaker or headphone I own. | I’ve been so intrigued by this artist. Production is bonkers, esp in headphones. She’s got such a soulful voice, but sings effortlessly – so there’s no diva. Then as a male voice enters, it’s almost equally despondent, both allowing the restrained chaos of the electronics shine. But the softness and warmth of the beats and percussion are mixed brilliantly. So echoey and swirly. |
| When the World Turns Grey | Princess Chelsea | 2015 | Willis | Baroque Pop | Played “Cigarette Duet” from this NZ artist not long ago, which included Jonathan Bree, which had a tongue and cheek, yet mysterious vibe. She recently released a live studio album which has this song on it, which caught my attention with simple piano chords and just her singing in a chamber, no beat. A little bit of atmospheric synth, which builds to a guitar solo at the end. A breakup song. However, it’s got an extra 3 mins of guitar solo at the end that I think “you had to be there” to appreciate it more. | I remember them now. That voice is a stunner. Innocent and child-like, like she’s standing on a stage in the dark with a single spotlight. The piano and ‘strings’ create such drama. Things feel unstable, but in the most beautiful way. |
| Blood Bank | Bon Iver | 2009 | Gregg | Indie | I feel exactly what you’re saying. It is like a scene from an indie movie, but not just watching but actually as the guy singing. The light thump of the kick drum creates a tense anticipation, for something… but if you think about it, actually is the fast beating of your heart. Reminder to edit the OPI | Another song that is attached to my relationship with C. Its weird, I’m just now able to revisit some of these and not feel uneasy. Somehow they hit just as hard now. The lyrics to this song are genius. Tells the story of falling in love while giving blood. So descriptive and colorful that it puts you RIGHT there. You can picture the gloomy, snowy day.. And feel the same hopefulness he felt. God i love this song. “Then the snow started falling, we were stuck out in your car. You were rubbing both my hands, chewing on a candy bar.” |
Song playlists are also available on these platforms:
Deep Dive #117 Archive
Deep Dive #117 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| The Hymn of Acxiom | Vienna Teng | 2013 | Willis | Chamber Folk / Choral | Since seeing her perform in a coffee shop over 24 years ago, supporting and following the musical journey of this singer/songwriter has been a treat. I dragged the family to her show last weekend at Montalvo Arts. While working an internship at a data-mining company, she wrote this from the point of view of the computers that store our personal information. She performed this song live using a harmonizer and it was powerful and informative as she explained her various equipment and usage in music. Kids’ 1-word reviews: Interpersonal, serene, lively | Serenity. I agree with the kids’ evaluation. Another word comes to mind: Precise. The harmonies are so technical and perfect, it almost comes across like Bon Iver (a compliment). I kept waiting for something to drop – but instead the layers appeared in additional voices. The male voice sounds like a keyboard tone at times. I’m a sucker for layers of melody and voices, if done right. This is done right. |
| Private Universe (Album Version) | Crowded House | 1993 | Gregg | Alternative /Tribal | First time with this song, and totally agree it garners attentive listening. I did so without any context (including the title) It is a sweet emotional chorus… (which I heard so wrong on two different lines. “Endless summer in Ithaca” and “In our Private juniper”), silly because I hear the S’s now at the ends. The tablas-sounding drums are masked in the studio reference headphones, yet stand out prominently on speakers, which add a huge dimension. The long chords fill a space that creates a room-filling tension – at times balanced by his firmly rooted vocals, except when he tightens up “It’s a tight squeeze by I won’t let go” Hard to believe this has so few plays compared to the other songs on this album or in their catalog. | One must listen deeply to this, not passively. Anyone who only thinks of CH as “Dont Dream Its Over” would be surprised to find out about their depth. Atmospheric pop music at its best, feat. one of the finest, most sincere voices in history. This was mine & Christiane’s song during our early relationship. It describes love in such a unique way – feeling as if the world can only truly exist in the presence of one another. Meanwhile the harmonies and percussion, omg. The guitars swirling like incense smoke. Passion is enveloping all the space within the music. And Neil’s voice. Good lord. |
| Song For Hal | U2 | 2026 | Willis | Alternative Rock | I got hooked on this song, and we have got to talk about this! If you haven’t read anything about this song yet, don’t! Listen first. But if you know, you know… and it’ll still be a great talking point on air. | My first time listening to this, w/ no backstory. Didn’t think I even cared to hear this record, which is quite sad. At first I thought Bono sounded a bit huskier in tone, and then realized it might be The Edge trying to sound like Bono. Holy crap I was right lol. Can’t believe how good he sounds, as this still sounds like classic U2. Most of their post 2010 stuff is too normal for my ears – but THIS could be a lost song from Zooropa or Pop. I really dig this, and should never be ashamed to admit how much I’ve always loved and appreciated U2. Great topic for us. |
| The Same Mistakes | The Cooper Temple Clause | 2003 | Gregg | Indie Rock /Psychedelic | An epic song from a band I never heard of. Hints of Radiohead-anxiety come to mind, Especially the swirl L-R in the headphones. but with more traditional rock instrumentation, more drum centric than experimental synths. The bottom end and beat in the beginning reminds me of Bauhaus Bela Legosi’s dead, Haunting harmonies, building to a head, yet he never goes above a conversational level. All instrumentation and drumming. | I will share a funny story about this song on air. I remember hearing this & thinking “new school U2” and then hearing things build & build for 4 mins until my whole head nearly exploded, and by the end dismissing U2 entirely. To this day, I’ve never heard a song build tension in such a poetic, beautiful way. It’s got a Bonnie & Clyde feel in theme. The guitars that wash into the song about midway seem to ride the beat like a horse race to the finish line. Things don’t seem to be going well for the characters in the song, but they’re trying to get away. It’s like a movie presented in music. Gives me chills. |
| Answers to Nothing | Midge Ure | 1988 | Willis | Synth Pop, Alt Rock | This song was on the same mix tape as “Glad I’m Not a Kennedy”, both recorded straight from the radio and impossible to find in a record store, despite the DJ calling the name out. (couldn’t work out the spelling and I had no idea he was from Ultravox despite having one of their albums). I always liked the flow of this song and how his voice evolves from a clean, intimate level to busting into high-helium-filled level. The synth pan-pipes and afro-tribal beat give an optimistic world-beat vibe to this cynical commentary. Still performing “Fade To Grey” live in the UK at 72 | Bless you for choosing Midge Ure! I love featuring an artist of this importance, even if just to praise their importance in “alternative” music’s lineage. Can’t say enough for Midge. This isn’t a song I’m overly familiar with, as I was selective with his catalog (only knew what I owned really). This almost reminds me of Peter Gabriel in a tribal, polyrhythmic way (musically), but also Robbie Williams (vocally). Never noticed before. Way more impassioned and flamboyant than I remember from him. So rad, I love it. |
| It Sends My Heart Into A Spin | Vanishing Twin | 2016 | Gregg | Pscyhedelic /Neo 60s /Italian Sdtk. | You are on a tablas kick this show and I love it. Trance-inducing and uplifting layers coming in and out are subtle shifts. The electric bassline is consistently there. Wet echoes and swirling flutes, keyboards melting and re-forming like a lava lamp or oil/sand frames they used to sell at gift shops. The background “Ah ah AHHH ahhh” so reminds me of a TV airline commercial, which is like a high altitude vision. | I can’t help but think of watching a beautifully filmed Euro movie from 1967 in that sepia, soft tone that you’d see at the time. There’s something so surreal about the music. It takes you somewhere familiar, but unexplainable. The vocal chanting turns from fantasy to surrealism in a hurry, but then back to fantasy. A perfect ‘interlude’ type song to soundtrack a Sunday morning in Spring. |
| Places, Everyone | Halou | 2026 | Willis | Dream Pop, Trip Hop | Started by a couple from SF and apparently have been around since 1997, gone through various lineups and band names (Anomie, anymore) and now a 5 piece group. If these guys are in rotation, how have we not talked about them yet?? I just stumbled across this. only 56k listeners, they definitely deserve more exposure. Dark and moody like goth but light and crisp like a gin and tonic with flourishes of indie rock. Playing Thee Stork Club 5/22 | Don’t know about this group, but Idk how? This is right in my pocket lol. They do sound familiar, so I wonder if I knew them by another of their names? Regardless – I love it x10. It’s classic trip hop (in the vein of Tricky and Massive Attack), but they modernize it to perfection. There are a few NIN style FX to it as well, which also adds some sizzle. |
| Eyes Without A Face | Billy Idol | 1983 | Gregg | New Wave /Rock /Pop Punk | Classic that deserves a Deep Dive listen. The bass and atmosphere are amazing for something that you wonder if it was meant to be so timeless or just a ballad on this album, cuz the interlude pulls it back into how you think Billy Idol should sound. Played a lot in my mind on the radio and movies. | Been thinking alot about this song. I’d have to consider it one of the most defining pop songs of my lifetime. Nothing sounds like this. It’s epic and subtle, slow and fast, New Wave and Hard Rock (and also mainstream pop). The atmosphere is palpable. The beat is nearly danceable. The lyrics are relatable and timeless. Is it one of the best songs of the 80’s? It might be close to the top for me. “Now all i can do is love what was once so alive in you. But its gone from your eyes, I better realize.” |
| Memories | Olive | 2026 | Willis | Electronic Dance / Soulful House | I was so excited thinking this was the same Olive 90’s Trip House project – because Amazon music can’t distinguish similar names. Even though I could tell the vocalists sound different I really wanted to believe the arc had come full circle. Nevertheless, this track is infectious and makes me grin from ear to ear. Whoever she is, her vocals and timing hit all the right spots. | Okay, OKAY! This beat immediately had me smiling. This has that certain thing, that tone I love so much. There’s a lot of bottom end tone filling up the lower part of my head, which is the only way to distinguish it’s not a mid 90’s Underground House jam. I love the voice, too. It’s seamlessly falls into place here. I’m all in on this one. |
| Alright (Club Mix) | Urban Soul (Ft. Roland Clark) | 1991 | Gregg | Ambient / Deep House | This is an eye opener to know this came out in 1991, as I wouldn’t have heard it until 5 years later in the club scene here in SJ. Initially, all night rave dance music for me was techno in large spaces, but the south bay vibe was this style in small clubs. | I used to record the Sat Night Dance Party on Hot 97 in NY when I was 14. They’d simulcast live from clubs in the city from 10-2a, and I’d be up all night listening. The DJ’s were all the legends (Junior Vasquez, Frankie Knuckles, Little Louie, etc). I was so lucky. This one streamed thru my stereo one night, & it set off the longest search for the 12” lol. Nobody carried it! So badly, I wanted to feature this in my HS Dance sets, or my latest mix tape series. I didn’t know if it was new or old – I just knew it was my language. A perfect compliment to Olive to take us out. When I think of classic deep house, this is what I think of. |
Song playlists are also available on these platforms:
Deep Dive #116 Archive
Deep Dive #116 Show Notes
| Song | Artist | Year | Pick | Genre(s) |
| (Glad I’m Not) A Kennedy | Shona Laing | 1987 | Willis | New Wave / Synth Pop |
| Sacred Heart | M.I.A. (ft KALA) | 2026 | Gregg | Indie /Trip Hop / Electro |
| You’re My Automatic Lover | Hyperreal | 2026 | Willis | Synth Pop / Electro-Pop |
| A Strange Education | The Cinematics | 2007 | Gregg | Indie /New Wave |
| Pictures | Gnarls Barkley | 2026 | Willis | Alternative Soul |
| Love’s Taken Over | Chante Moore | 1992 | Gregg | Neo Soul /Trip Hop |
| Opening Night | Arctic Monkeys & War Child Records | 2026 | Willis | Lounge-Pop, Psychedelic Rock |
| Where Are They Now? | Gene | 1997 | Gregg | Brit Pop |
| lemonlime | Purity Ring | 2026 | Willis | Synth Pop / Electronic Dance |
| Point Of View | DB Boulevard | 2002 | Gregg | Electronic /House |
Song playlists are also available on these platforms: