Deep Dive #129 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Lonesome Tonight | Bow Wow Wow | 1983 | Willis | New Wave, Pop Rock | Although not a BWW fan, I felt a deep dive would be fun. Little did I know that Annabella Lwin was only 15 when they released “I Want Candy”, and discovered singing in a dry cleaners at 13. I had heard about Boy George’s start in this band, but didn’t know he went by “Lieutenant Lush”. Neither did I know their drummer David Barbarossa was stolen from Adam and the Ants and studied Burundi tribal drumming which was core to Bow Wow Wow’s sound. For the backstory alone, It’s too bad they only released 2 full albums, neither of which are well presented on streaming platforms. She got fired after this album and tour, the band broke up, regrouped, and then split in two different groups named BWW. This song has punk energy with the dynamic guitar work, rocking “whoa whoa”, even the silly plucked chords “boop boop boop boop” are something I can play, but concisely convey anxiety. | I’m so glad you picked them. Admittedly, I almost shunned this band & unfairly considered them a blatant rip off of Adam & The Ants, and further to the point in yr notes, even went so far to steal members and the ‘tribal’ look (thx to Malcolm McClaren). Several songs are great, don’t get me wrong, I just had an odd ‘thing’ about them. But listening now, I can see I clearly missed some deeper cut gems! I can say i LOVE this, and will now pull out the record for listening this weekend lol. |
| Kings of the Wild Frontier | Adam & The Ants | 1980 | Gregg | Tribal /Post Punk/New Wave | Like BWW, I could never find a proper approach to Adam or the Ants, and chose avoidance. Maybe his timbre was too punk-rebel for me, but that energy oddly integrates with the cowboys and indians vibe. The drumming energy stands out, and like BWW works well in a mix of other music. | It only makes sense to fully immerse ourselves in these 2 bands, back to back. This is considerably more ‘tribal’ than BWW, but the template for both bands is the same. I’m often amazed at how adventurous Adam Ant was at this point in time. Music didn’t sound like this! It was almost alien, if not for the old cowboys & indians movies that featured Native Americans singing in this style. But to make it melodic is stunning. And then the climax is insane; When Adam sings “Down below those dandy clothes you’re just a shade too white. SHADE TOO WHITE!”, it makes me want to jump onto the battlefield with him. It’s so passionate and sincere. It’s easy to see how Trent Reznor took inspiration from Adam Ant. |
| Dope on a Rope | The Growlers | 2016 | Willis | Indie Rock | Streaming algorithms are doing their job here. They call their style “Beach Goth” blending surf, pop, rock, and beat and even hosted a festival for about 8 years. Vocals in the realm of Tom Petty, which are not usually my cup of tea, but their guitar work generally stand out. This song in particular has a vocal layering and effects that hit like Paul Banks. Guitar melodies are reminiscent of Johnny Marr. A theremin and synth that sneak in during the chorus as a nice electronic surprise. | So cool to see the Growlers make the Deep Dive! I have a loose affiliation with them, due to my friend / label partner Buck – who managed them and got them signed. So I guess technically they were part of our label, in a small way lol. They had several good-to-great albums, but I kinda lost track around 2015. I remember this album, but I wasn’t familiar with this track. It’s got a great, driving groove – and the melody is very poppy (surprisingly). Reminds me of early-mid Strokes, but also a more mainstream Spoon. I’m totally feeling this at this precise moment, late Friday night. Their earlier stuff is much more like psych 60’s garage rock, which was cool but less polished. |
| Days Go By | Sean Nicholas Savage | 2011 | Gregg | Retro Pop /Indie /City Pop | Confident warm vocals turned slightly imperfect is so indie. Simple rhythmic acoustic guitar and tom tom accents on the drum beat. This production resembles either a stretched tape (like Nocera from last show) but this has to be intentional. Also feels like a bootleg recording of a live show on a bandshell stage. It is endearingly classic and nostalgic, if not maddening to a technophile like me. | A breezy, summer morning song. Feels like it was written and recorded in 1968. I wish I could remember when or where I found this, but for some reason it has remained in my orbit via playlists for 15 years. I can never put my finger on who he sounds like, but he also sounds like so many and like nobody (at the same time). My musical synesthesia takes me to old memories, but in a photo album form; Pages turning with non-descript, sepia toned pictures that might not even be my own family. But someone’s family, and it gives me a warm feeling and a hint of melancholy. |
| Goodnight Moon | Shivaree | 2000 | Willis | Alt-Pop/Rock, Americana | I found this song on an old Capitol records sampler called “Bear Essentials” which has a lot of forgotten music. This is the best track on it. Featured in Dawson’s Creek, Kill Bill Vol 2, and Silver Linings Playbook. Vocalist Ambrosia Parsley sings like Gwen Stefani’s older sister mixed with Nina Persson from The Cardigans. As a No Doubt fan, I found myself listening to all 3 of their albums on repeat without fatigue. The mood is mysterious, slightly psychedelic Americana from the instrumentation such as this theremin and tremolo guitar. | Interesting! New to me, for sure. I agree 100% about the psych-americana tag! It’s mildly poppy and straightforward, but with just the right touch of weird & mysterious. It feels like a theme song to a tv show. I wasn’t sure where it would go – but the casual flow actually suits the song. It keeps enough of the Nancy Sinatra vibe, and staves off the obvious Gwen Stefani similarity. |
| Bach Ze | The High Llamas | 1999 | Gregg | Baroque /60’s Sndtrk /Orchestral pop | Another band I thought I found on my own while previewing this show and immediately began exploring for the next show…. only to realize it is already here on your list. Intentionally weird, with minor keys and dissonant melodies – but often warm production and occasional electronic glitches, sometimes hazy auto-tune. | Arguably the most distinct + unique thing I’ve ever brought to the Deep Dive. I started a love affair with this band in 2001, and my love has only blossomed with time. Imagine the Beach Boys, Steely Dan and Burt Bacharach writing period-piece soundtracks with Stereolab producing. It’s truly incredible how brilliantly written these songs are, with boundless changes and melody shifts and hooks weaving in and out. All with a soft orchestration that sounds like every European 60’s film. The lyrics are written about moments in time in small villages, many decades ago – and are never about love. I also find it fascinating that Sean O’Hagan never uses the word “I”, which automatically brings you somewhere different, and makes you feel a part of these fictional places. This isn’t near their most adventurous pieces, but it’s most appropriate for our show. |
| Birds of a Feather, We Rock Together | Vulfpeck [ feat. Antwaun Stanley] | 2017 | Willis | Contemporary Funk / R&B Soul, Minimalist | A collective rooted with several U. of Michigan alums, based in LA making a fun,modern/sophisticated blend of funk-soul. They once raised $20k in Spotify royalties by releasing an album called Sleepify of silent tracks for fans to stream on repeat all night. This funded a 6-city tour with free admission. Alicia heard the funky “Back Pocket” and we were both intrigued by the cold German-sounding name with overt soul and positive energy. This song is way more downtempo than most of their work, but shows their dynamic expertise and sweet vocals that are top notch IMHO for a baritone. A strong consideration to watch live: Oct 16,17 @ The Greek Theatre | Jeez dude – how has this not been in my sights for so long? The production is genius, esp in good headphones. The drums cloak like a horse’s hooves, which sounds almost hypnotic. The vocals kinda compete with the snare (hooves), but the mix separates them beautifully. There is a slight “Taxi” feel to the hammond (or whatever keyboard they’re using) and the wah wah’d guitars. Infectious. Gets better as it goes. Minimalist, but not lacking for energy, and the instruments fill a lot of space. |
| Why Can’t We Live Together | Timmy Thomas | 1972 | Gregg | Minimalist /Soul /Dub | Very good match vocally to previous song.I had never heard of Timmy Thomas before. This latin drum loop predates the Roland 808… Casio-tone is exactly what I thought of also, except neither of those produced realistic sounding percussion like this. So live makes sense. The organ notes are masterfully played – with attack and abrupt cutoff that feel like either tense anxiety, or unbridled groove… choose your own adventure. | Has there ever been a song like this, before or after? It seems ludicrous that a simple drum loop (which sounds like a preset on a casio keyboard, but is actually played acoustically/live) with a loosely played pipe organ and some random groovy bass would provide more than enough for a soulful voice to sing over. Knowing the fatigue I get listening to modern pop music, it boggles my mind that a song like this could become a nationwide smash hit in 1972. Could you imagine this next to Drake, Sabrina Carpenter or Katy Perry nowadays? Lol. It’s a work of minimalist art. And so f’n badass. |
| Shadows, Pt. 2 | Blue Man Group | 2003 | Willis | Alt / Electronic Rock | Inspired by Vegas show. It is so visual, physical and clown-like. It’s a lot to absorb live and the music must share the stage, yet their percussion and musicality is on another level. So I think just listening is an experience in itself. Features vocals by Tracy Bonham and turntablism by Rob Swift of X-Ecutioners. I wish it were developed as a song even further, but it’s a cool vibe regardless. | This all came back around so nicely! Piggybacking with the prior song, it feels like the Wizard of Oz when it went from B&W to Color! I’m very familiar with BMG, but I don’t think I’ve heard this one. In fact, I’ve probably only heard 10% of their catalog. But seeing them live was one of the cooler things I’ve experienced on (off)Broadway. The musicianship is so high level, it’s almost sinful that their “schtick” overshadows their skill. |
| Zeus | Midnight Magic | 2026 | Gregg | Electronic /Kraut /Neo Disco | I immediately love this. I absolutely hear LCD and Juan Maclean, with roots from The Human League but really it’s that female vocals in the Disco style. The bassline is trancey, yet the spacey disco groove is so uplifting. It would be cool to dance to them live. | When this song first played on the air, I had to check & see if it was The Juan Maclean. It could also sound like LCD Soundsystem and Kraftwerk (and Moroder). But it’s luscious just the same. It’s repetitive in a way that lulls you into a zone. Almost like when you’re on a moving surface, and not thinking how when you step off, you might need to keep running or else you’ll fall over. But you’re too ‘in the zone’ to think about anything else. This borders on relentless, but in the best way possible (for me). The oscillating synth sounds are so soothing to my ears. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #128 Archive
Deep Dive #128 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| That’s Entertainment (Remastered) | The Jam | 1980 | Willis | Post-Punk | I heard the Morrissey cover first, and like his take on it (compliments his voice), but this original feels more raw and I especially like how the guitar and bass carry the rhythm and the drum takes a back seat. The production is seemingly minimalist, almost cheap – yet still with and subtle refinements of stereo separation and just kinda missing the low end that we hear so much of these days. The cooing “ahh-ahh’s” really temper the melancholic grey lyrics and add a touch of heart and soul. | In the words of Tears for Fears in their classic song Sowing the Seeds of Love, “Kick out the Style, bring back the Jam!”. I always liked Style Council, but I don’t think Paul Weller ever came close to the heights he reached with The Jam. This band was pure Post Punk bliss, and basically helped draw the road map for all alternative music of the 80’s & 90’s. They were bratty, they were smart, and they had something to say. However, unlike most “punks”, they had a penchant for melody and structure, which separated them from the Pistols and others. |
| Sodajerk | Buffalo Tom | 1993 | Gregg | Post Grunge Power PopIndie | Totally recognized this song from one of Katrina’s old mix cd’s (with the Pogues, The Smiths, XTC, REM, Radiohead, Violent Femmes, Dido). Catchy, powerful (hitting those drums and guitars hard!), I like their vocals though never read them – so this will be interesting and informative to read along. | Decided to stay in that same era for a band that I’ve tried to include for so many months now. Another “regional” band that was pretty big in the Northeast for 6 or so years, but had minimal radio support. This song was their only “hit”, thanks to inclusion in My So Called Life tv show & soundtrack. This song is poppy and catchy, while still authentically “alternative” (All while wearing the love for The Replacements’ proudly on their sleeves). Every song on this album was good, but this song captures innocent love between shy indie kids so perfectly: “Watch an eyeball, take a freefall, with the mention of a name. In its socket, like a rocket, it rises just the same.” |
| Stars All Seem to Weep | Beth Orton | 1999 | Willis | Folktronica, Trip-Hop | Realizing we have not featured any of her solo work on DD, I chose this song , and I think I might have heard it on HFD the very next day. – so it was fate. Her new album just released, and reveals a lower, raspier voice that she will be touring North America with this fall. I had to double take, and then longed for her higher notes now gone. Side note: Although not exactly the same vocally, we saw Kelly Clarkson’s show in Vegas this past weekend. Although ten years younger than Beth Orton, at her vocal range and power at 44 is better than ever. | I nearly got choked up when I saw this choice. Not only do i adore Beth and her early records – but this might very well be my favorite song of hers. Stellar choice brother. As i’ve stated in the past, she bounces between subtle, heartsick folk ballads and experimental electronic/trip hop soundscapes with relative ease. Hearing this simple, thick beat is euphoric to me. It’s almost clearing a path with brut strength for the delicate vocals that follow it. Then the simple tremolo’d strings and dubby samples provide a base along with the very distant acoustic picking, to keep this song very bare-bones, while also being trippy as hell. Her voice tears me apartt in this one. “I think about you in the moonlit night, and the stars all seem to weep”. Oh my goodness. I wish I wrote that line. |
| Essex_Honey.mp3 | Blood Orange | 2026 | Gregg | Drum & BassPsych Soul /Atmospheric | Although I didn’t recognize the sample, I remember a different line from that same verse. I can totally get how a certain line triggers a solid connection. I like how the use of DnB beats in an almost ambient way to contrast the ballad/downtempo soul feel of this song. Hard to classify! Performing 3 nights in a row at the Warfield Sept. 9,10,11 | When I first heard this, I almost lost my mind. It starts so spacey and hypnotic, and then comes this juggernaut of a Jungle beat, followed by a 4 on the floor thump that could shake concrete foundations. But nothing prepared me for the sample of IceT’s “Colors”, which was my first favorite hip hop song! “I am a nightmare walking” then becomes the refrain that follows the song everywhere it goes, and it goes A LOT of places. The vocals are so earnest and delicate, and mostly left for the song’s quieter moments, but overall this is one of the most adventurous songs I’ve heard in years. It’s damn near impossible to classify Blood Orange, but I’d certainly say he’s amongst the most interesting artists in the world today. This song proves it. |
| Collide | Joe Goddard & Findia | 2026 | Willis | Electronic, Indietronica | Joe Goddard consistently pulls a groovy vibe that resonates with me. This new release, although not credited, is a collaboration with TEED, which always intrigues. Findia’s vocal style sounds like London Grammar or Kaleida. He’s worked with or remixed them both. What a player! It’s a real harp! | I listened to this briefly when it came out, but never added it. I must’ve failed to give it enough time, because it’s very suitable for HFD. I’ll always love Goddard (and anything the Hot Chip guys do separately). I can see he’s opening up his horizons a bit, straying into some new sonic territories. The vox are urgent and restrained at the same time. Kept waiting for the beat to kick into another gear, but it didn’t happen until ¾ into the track, but only for a measure or 2. Very spacey choice! This will be fun to follow. |
| The Glamorous Life | Sheila E. | 1984 | Gregg | Electro /Funk /Latin Soul | This song has been one of my all time favorite guilty pleasures (because I couldn’t classify it into anything in my collection except top 40) for the cowbell rhythm combined with that catchy syncopated melody with sax. And the music video playing one-handed, kicking the cymbal, she was all that! I never knew it was written by Prince, but it makes sense, and as I’m listening to his recording now – it’s a great recording, However, hers took it to another level. She is selling all of her outfits and drum kits on reverb.com | Not sure when it happened, but I became obsessed w/ this song over the years. It was always good, but listening with new ears you’ll find one of the best rhythm tracks you’ll ever hear. Prince didn’t always save his best songs for himself, he knew when to find the appropriate vehicles for his songs that could only make them better. He does so here, giving Sheila a song that only she could deliver with her percussive, rhythmic sensibilities. The vocals are precise & sung with conviction, but she never flips into “lead singer” mode, resisting the urge for “soul”, and treating the melody as if an ensemble might sing it. The song needed just that, as the instrumentation is very busy and drum-centric. An essential 80’s banger. |
| Running (feat. Sísý Ey) | Hercules And Love Affair | 2017 | Willis | Dance / Electronic, House | Names are either 1 of 3 types: Someone’s name (boring), The (somethings), and then all the rest that force you to think. Sisy Ey are three sisters from Iceland who sing House music. Hercules And Love Affair are a Belgium-based DJ/producer group led by American Andy Butler. An algorithm suggestion that caught my attention immediately with a tribal energy right out of the gate and energetic touch of soul R&B. DABEST boxes checked, with such a simple song. | So interesting you chose H&LA this wk, as they dropped a new song that I featured on New Mx Disc this past Thurs. That song, much like this one gives more than just danceability. I appreciate how they write lyrics that tell a story, esp for LGBTQ community. I’ll say, I’m not too familiar with this song, so I’m stoked you introduced it to us here. Love the wet electronic sounds all over it. This is gonna sound amazing in rotation! The chorus is phenomenal. “I’m running, im running.. My feet wont touch the ground”. |
| Hot Music | Soho (feat. Pal Joey) | 1990 | Gregg | Breakbeat /Jazz House /Footwork | Haha “Footwork” is so right for this song. Never heard it before, but I can see this track bringing the house down. Without knowing that, it feels very avant garde and jazz-inspired. It could also be a very good intro to any other song since it’s vocally minimal. Seemingly not the same group that made “Hippichick”. | Released in ‘90, this song went on to become a central force in my HS/College years. Any time this song came on at a party or club, the place would explode! A circle broke out, where people would enter and go OFF for about :20 seconds before ceding way to another eager dancer. People would lose their minds, and it only made me love the song more. Unsure if it was regional to NYC/NJ, but I know it was also big in Chicago. An anthem for sure. These days, I know it’s considered an early house classic and has gained extra exposure thx to the internet, but at that time it was like the greatest DJ weapon in the crates (including for myself)! I still blast it every single time it comes along on HFD. |
| Summertime, Summertime | Nocera | 1986 | Willis | Freestyle | Thinking back to my teens working the ice cream sundae booth at Great America in the summer of 87. It was a job melting pot for kids’ from all over the area, including the tougher parts of San Jose and Milpitas. Working 8 hour shifts in groups of 4-8 of us in a 15×15 space, you get to know people. This opened up my narrow west-side demographic bubble, hearing about house parties and gang fights, driving to freestyle music.. It was a transformative summer, with the perfect soundtrack. Bass is fairly mid-range vs. low in this track,I prefer that as it is exactly how my car used to sound from the 6×9” Kenwood speakers in a 69 VW Beetle. It was all about the vocals and hi-hats! Notice the “tape stretch” in the second measure as the song starts up. Whether intentional in production or a mistake during digitizing, it is a true indicator (or reminder) of the analog tape era. | This song reminds me so much of my older sister Vicki. She was my gateway into Freestyle music, and I’m grateful that she would introduce me to so many cool club songs that I might’ve otherwise missed or avoided. At first, this wasn’t a fave of mine, cus I couldn’t understand her voice lol. It sounded like a child or something. But eventually I fell for the beat, and then the song itself. Even listening now in good headphones it sounds bombastic. It also sounds like the summer of 1987 for me, just before Middle School started. There was a certain sonic quality to pop music that I still love to this day. |
| Right On Track | Breakfast Club | 1987 | Gregg | New Wave /Pop /Dance | I had no idea (or forgot) about Madonna’s roots in this band! Great choice because I always liked this song when I heard it on the radio or saw the music video, and never really thought about why. It makes perfect sense though listening now that it was the electronics, the groove, and also his mildly soulful vocal style fits the dance beat perfectly – this song probably paved the way for later boy bands to sing danceable pop. | We spoke about Madonna recently, and I brought up how she played percussion in this band before being signed to a label, which still shocks me. She’s not on this, their only hit record, but this is another example of that ‘sonic quality’ i referenced with Nocera. It’s clearly electronic based, but extremely musical and played by musicians. All the synth sounds, the funk bass-groove, and percussive elements – it just sounded so damn large on the radio. Which was another reason I was drawn to radio; the processing that made the music sound like it was being played off a mountain top, broadcasted out to the whole world. I also couldn’t determine, as a kid, if this was New Wave, Pop, Dance, or R&B. It was basically all of those things, and I love it. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #127 Archive
Deep Dive #127 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Spiritual High (State of Independence), Pt. 2 (feat. Chrissie Hynde) | Moodswings | 1992 | Willis | Downtempo, Electronic, Ambient House | I prefer this cover over the original or Donna Summer’s. I was so struck by this song in the end credits of a movie, but couldn’t remember anything about the actual movie. The credits meandering past while “The state of independence shall be…” alliterates to the rhythm. I could just listen to that over and over again. It takes the song to another level, if only for that moment. | Oh my sweet Chrissie Hynde. That woman’s voice cuts right through my vital organs. She sounds insanely perfect here. This is my first ever listen – I’m almost sick over the fact that it has taken me 30+ years to hear this song. Needed to start it over to appreciate the beginning. It came in hot, and I was unprepared for what was about to happen. Very cinematic, so it makes sense over movie credits. The mid tempo electro groove of that era is unmistakeable and ALWAYS sounds good/never sounds dated. |
| swim | Night tapes | 2026 | Gregg | Dreampop /Trip Hop / Breakbeat | This song really makes your head turn. Started like the Sundays goes trip-hop, and then morphed into Cigarettes After Sex, and finished with Shirley Manson from Garbage. All three vibes, it was like a mini-show within a show! | This band continues to charm me with its unique collages of sound. Firstly – they feature the perfect breakbeat/trip hop style drums that almost feel sampled from 90’s hip hop tracks. There is something so rustic and muted about their beats, and i’m infatuated with that aspect of every song. Add in a very distinct, demanding, mystical voice that can shapeshift several times within a single song. This song is like 3 in 1. At 4.5 mins it slows down and morphs into another “body” for a gritty, PJ Harvey meets Hooverphonic ending. This is brilliant work. |
| Travellin’ | The Jeremy Spencer Band | 1979 | Willis | Rock | My 22 yr old niece, Violet, had this on her party playlist. When her dad Eric and I heard this, we weren’t familiar with it, yet were drawn to the sound that felt classic, yet possibly contemporary retro. Eric compared it to Fleetwood Mac, and it made sense after we Shazam’d it. The slide guitar works so well here, and I really like the backing female vocals (Jeanne Hendricks). We were impressed with her knowledge of this band. | This is so crazy. I’d NEVER heard this song or artist, but I knew he was in Peter Green’s Fleetwood Mac (which was a straight blues band until PG left in 71). Then the first verse hits and I’m digging the soft rock, so cal vibes.. And then the chorus hits and I’m like “WHAT??”. The chorus and pretty much all the female parts are sampled/covered in Tourist’s song “Valentine”, which we play on HFD all the time. I had NO CLUE they stole that part from the chorus of this song. WILD lol. It’s a perfect hook, and this is a beautiful, breezy song. |
| Where I Find My Heaven | Gigolo Aunts | 1994 | Gregg | Power Pop /Jangle PopPostGrunge | This is great – Another name I recall from college radio in the 90’s, but couldn’t name any song. I hear the Posies and yes Teenage Fanclub, maybe even more popular band sounds like REM or Gin Blossoms. And now understand the Big Star lineage. Though the way they softly harmonize is unique and pleasing. I had an odd and funny moment when I first listened to this song on the playlist this week. | This is truly one of the most unheralded, best kept secrets of the 90’s. At that time, it was easy to be obscure – but there were also more bands having “regional” success. Bands who were massively popular in a certain area (in this case, Boston scene), with a cult-like following. Gigolo Aunts had the fortune of having this song featured on the Dumb & Dumber Sdtrk, so it elevated them slightly for a minute. MTV played the video. But they were indie & ‘authentic’, and I was obsessed. It mirrors Teenage Fanclub’s harmony vocal style, and was sprouted on the tree as Dwight Twilley, Replacements, Big Star, The Posies, etc. This is pure power pop. |
| Next Life | Mint Julep | 2026 | Willis | Dream Pop, Indie Electronic | I check in on this husband/wife duo from Portland every now and then, and found this recent release. Keith is a graduate from Berklee College of Music has released over 20 albums since 2004 under the monikers Helios, Goldmund, and Mint Julep. Nothing too groundbreaking, but a clean, cohesive production combining elements of DABE and few indie guitar licks. His degree in percussion seems to exude in their music. | Once again, I was hooked by the :05 sec mark. So happy you found this, cus I wanna add it immediately. I should check in on them more often, clearly. This is HFD to the bone. Frankly, this is what Cigarettes After Sex should be doing, to evolve their sound beyond the predictable. It’s super subtle and shimmery, but the guitars give it a bold brush of paint. |
| Paint The Silence | South | 2001 | Gregg | Indie /Post Britpop | I wouldn’t have guessed there were only 3 people in this band with the subtle addition of synths. But it all comes together very cohesively with very polished production. Kinda like a lower-key version of the Verve’s Bittersweet Symphony. I like their groovy bass and drum rhythms. They must have had good energy live. | This band’s first album came out when I was just finding my legs in radio, so I was absorbing an obscene amount of live music in NYC on the record labels’ lists. I got to see South 3x in a short period, so i was ultra familiar with their record. I felt like they were going to be as big as Coldplay or The Killers, but an overall better band. There was just something so palatable about them, while they also explored a more experimental approach to these catchy ass songs. They sampled strings, they programmed beats and played live drums over them, they layered vocals, looped guitars.. All as a 3 piece. It was inspiring for the musician in me. You’ll hear the organized chaos in this, their most “known” song. Epic and well written. Also featured on the tv show The O.C., which exposed them to more people, but the project never took off the way I expected. |
| Fire Eternal (feat. Kazu Makino) | Lord Huron | 2025 | Willis | Indie Folk, Indie Rock | Alicia liked a song by this band – and I remembered the name from a song on my future shows list. This song is neither of those choices – because I kept digging to find an even better collab with Kazu from Blonde Redhead. This song has the fewest plays on this album, perhaps because it’s not their usual sound their fans expect, but it’s great for this show! Their folk flavor is cleverly hidden behind a snappy syncopated rhythm and multiple atmospheric effects on the vocals and instruments. Kazu adds so much vibe here. | I’m not a Lord Huron guy, but there are a few songs I really enjoy. I would classify this as one of those. It’s very hypnotic in its spaghetti western-meets-bedroom pop way. Kazu absolutely makes this even better. She’s so distinct in her style and tone, which offsets his more husky tenor. He sounds very similar in this song to Jim James (of My Morning Jacket). It’s almost confusing to my ears! But I really like this a lot. Its a bizarro version of Lee Hazlewood & Nancy Sinatra, and I’m all for it. |
| Better Things | The Kinks | 1981 | Gregg | Power Pop /Pre Britpop | In my teens, I bought The Kinks are the Village Green Preservation Society because it was featured on the “Desert Island Disc” list of the Tower Records monthly magazine, and I wanted to be cool. After genuinely listening in earnest, I just couldn’t get into it and I couldn’t understand why. I was a teen into alternative instrumentation and angsty vocals. I just wasn’t ready for the subtle introspective pop of that album. This reminds me of that a little, but with more jangle and energy. It makes me want to go through more of their catalog as it’s so different from their edgier hits (You really got me, Lola, All Day and All of the Night) to see their progression. Maybe then I will finally be cool. | I wanted to share this ray of sunshine so badly, and this spot presented itself beautifully. I can’t get over how fiercely positive this song feels. When people say “don’t you like any happy music?”, this is what I think of. Bittersweet joy, but relentlessly optimistic. Ray Davies wrote this to his ex wife after their separation. There’s something so reassuring and empathetic about it, which makes it great to listen while driving, windows down, shout-singing along to the chorus with a cry in your voice and a smile on your face. “I know tomorrow you’ll find better things!” |
| Sober Tones (feat. Indigenous People, Naba Napalm & MC Mell’o’) | Marc Cary | 2020 | Willis | Funk Jazz + Alt Hip-Hop | Jazz is so vast, it can be intimidating to approach without some guardrails or small threads to pull on. I appreciate crossover work like this to foster accessibility, without just leaning on pop as only the crossover genre. A lot of hands in this song, which makes the uninitiated listener wonder which person is contributing what. I like the combo of jazz and hip hop (with drum kit) that might sound good live – however I couldn’t find any videos of them performing this. | This is heavenly magic. Holy crap. First listen, I’m literally standing up and throwing my body around like a laid back exorcism lol. The band is worth my time on its own, riding a groove that I’d be fine with going on for 30 more minutes. The lyrics are intelligent and clever. It’s like the best parts of De La Soul and Gang Starr having a baby with BadBadNotGood and Herbie Hancock. Incredible. |
| Akousmatikous | Salami Rose Joe Louis (Ft. Soccer96) | 2023 | Gregg | Exprmntl /Electro Jazz Psych /Art Pop | A banana slug alum – This song really made me sit up and take notice. Surprise changes in rhythm and energy, multiple times, but it stays rooted in jazz-inspired riffs and her melodic overtones. It would feel very hipster cool to see her perform live (Nov at the Independent) | This might be the most interesting artist in the world right now, and she’s virtually unknown somehow. Salami Rose Joe Louis is from the Bay area, but remains a total mystery beyond knowing her real name (lindsay olsen). She features a manic, almost bi polar approach to Jazz & Electronic music. When they say “art pop”, this would be an example. Some might think it’s weird for weird’s sake – but this is incredibly musical and smart and always melodious. This starts off soft and straight, but never feels secure. Eventually it barely resembles the beginning parts of the song. However, even when you think it might spin out of control, she will ground you with her voice and sweet melodies. All the while the tilt a whirl bends and twists below your feet. I don’t even know how one would describe this. I guess.. “Art”. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #126 Archive
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: