Deep Dive #124 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Venom | Glass Spells | 2024 | Willis | Synthpop, Darkwave | Came across on Instagram, intrigued by their big retro synth sound. Anthony Ramirez and Tania Costello had a short time together from 2019-2026, but took a break at the beginning of this year. maybe they just couldn’t get a big enough fan base to continue (26k monthly on Spotify Driving synth captures The Human League, or Visage,”Fade To Grey”. | I’ve flirted with this artist a few times, but never really took the dive. HFD played a song called “night hour” a while back, but then somehow lost track. Upon first listen, I’m immediately reminded of Ladytron & Goldfrapp, but there’s also a touch of Kylie Minogue’s pop sensibility. It’s right in the HFD pocket, and checks most DABEST boxes. |
| Planet Earth | Duran Duran | 1981 | Gregg | New Wave /Post Punk | I never really noticed the subtle intro that becomes an underlying synth line throughout the entire song. I thought I was familiar with this song and vibe – but now I notice there is so much punch and rock loudness in the bass, drums and guitar. Like rock, but actually not rock. My intro to Duran was that my sister became a “Duranie” seemingly overnight, and it felt like “baby brother copying” for me to enjoy her music that basically became her identity. So as a teen I only observed their success peripherally, as a novelty (a juggernaut that consumed girls worldwide). | As i look back at my youth, for some reason this song (the video) was the first time I realized I might be drawn towards the “left of center”. MTV opened so many gateways in 1981. Duran hadn’t blown up yet, but they were on our radar. The band was almost glammy looking but also very confusing to my young eyes; presenting as masculine men but also being attractive in a feminine way. But this song was like crack for me. I wanted to hear it, and i also wanted to watch them. It was bizarre. But from that point on, I always had an affinity for Duran that still exists today. |
| notice | YellowStraps | 2023 | Willis | Neo-Soul, Indie R&B | Two brothers from Belgium. Yvan and Alban embrace the autotune and sometimes sing in French. A bit of the hazy vocals and tight synth production kinda like Mindchatter. Funny that this song had the opposite affect on me than you – where I really liked the combination of familiarity (vocal style) and subtlety (the hammond organ) and predictable structure at first, but thru subsequent listens, it felt more like everyday pop and repetition without really trying too hard. | This took a couple listens before i could get comfortable with it. It does sound like Mindchatter in the vocal delivery, but also resembles a lot of the mainstream sound. I can even notice a touch of Daft Punk’s more funky moments (ie: “Doin it Right”). The vocal effect in this has grown tiresome and formulaic to my ears, but once I got past that, I was able to enjoy it. |
| Say that | Toro y Moi | 2013 | Gregg | Neo Soul /Garage /Funk | This must be a classic, because I feel like I’ve heard that subtle refrain before “I’m allright… we’re allright…” Love the deep bass dance breaks – thick groove accomplished with minimal layers, strategically placed. Curious what his sound would be like today. July 29 @ Bottom of The Hill | A masterpiece of a soulful dance song. It has lots of jazzy & psychedelic elements, but it’s also a laid back house kinda vibe. I wish Toro would’ve spent more time in this phase of his sound evolution. I’m not sure he was ever more experimental or expansive than this song. His knack for melody is obvious here, but it’s his breathy approach that keeps him from oversinging and thus making it feel more loungey and dreamy. This song made me a fan of his, and I still drop everything to listen closely each time I hear it. |
| Nothingness | Living Colour | 1993 | Willis | Symphonic rock, Funk Metal, Alternative Metal | Still touring small venues across the country. When these guys hit the scene, I was listening to metal, and loved that there was a blend of funk/soul and hard rock/metal instrumental power. Corey Glover’s articulate soulful vocals and wild showmanship plus Vernon Reid shredding guitar was a paradigm shift. However today, aside from the idea of the fusion, it’s just too harsh for me to actually enjoy. This song from their 3rd album though, is one of the few that stands up today, and I wish they had more of this in their catalog. What do we think about the crickets? | Firstly, I never listened to anything from them after the debut album (which I loved and owned on CD when it came out). I was also into Metal & Hard Rock when they arrived, so it was a no brainer with their funk/punk/hip hop influences splattered into their brand of hard rock. Still, when I saw their name, I was almost shocked and maybe a bit confused. But after 1 min, I completely understood the inclusion. This could be a Seal song, with a mid-uptempo groove and a grainy soulful vocal. But it’s the groove for me. I’m pleasantly surprised at how much I like this song, and feel silly for missing their releases after “Cult of Personality”. |
| No Hopper | Al Chem | 2017 | Gregg | Psych /Dub /Electronic | The rhythm is uniquely created from a handful of samples that really would never seem to go together. The most subtle one being the millisecond clip of the start of a recording or switch turning on. This has an interesting vibe of anticipation – I keep waiting for something to happen, and only once I realized that nothing was going to happen, I could enjoy it for the dub-state it was meant to stay in and either enjoy the individual components that make it up, or the smooth amalgamation of it all together. | This song is so damn cool. I have a great driving story about it. I’ll share when we record, but it was at that moment I added it to my master deep dive list. In my ongoing/endless quest to discover gems that time left behind without any notice – I found this block of gold. When you listen in good headphones, your brain is going to explode. It’s almost as if a marble is bouncing around the canals of your brain, ears and nasal passages, but in a certain rhythm that almost bounces around the song’s groove to create another sound of its own. |
| Hip Hop Creature | Mellow Man Ace | 1989 | Willis | Hip Hop, Latin Rap | Brother of Sen Dog of Cypress Hill, Cuban-American Rapper Ulpiano Sergio Reyes went solo with this album Escape from Havana, and is known for bilingual delivery and novelty rhymes, like the hit “Mentirosa”. Produced by The Dust Brothers and DJ Muggs of Cypress Hill Funny you mentioned LL, on this same album is a song called “B-Boy in Love” that sounds a lot like LL’s “I Need Love”. | Couldn’t believe this song samples Tom Sawyer by Rush, and I never knew about it until today. Having only heard Mentirosa and Welcome To My Groove, I definitely didn’t expect this more aggressive approach. Reminds me a bit of LL Cool J, even Chuck D and Ice Cube at times. Knowing that Muggs/Sen Dog are producing it makes sense, as it’s edgy in the same way Cypress Hill was. I dig this. |
| Down With The King | Run DMC, Pete Rock & CL Smooth | 1993 | Gregg | Hip Hop | I didn’t know about this collab – first time hearing it! On the surface I actually have to read along with these lyrics to follow. | In my top tier of Hip Hop songs. I could make a documentary about this single song, simply because of when it came out and what was happening in my life. The lyrics are as intelligent and prophetic as Hip Hop gets. If you weren’t alive in the 80’s you could never understand the magnitude of RDMC and their cultural impact. They were style, they were street, they were respected, they were smart, they were thought leaders, and they made music in a way nobody had ever heard before. They were “the kings”. I still reference this song regularly, whether it’s a lyric or a story. 90’s RDMC were even MORE badass.. But now they had something deeper to say. CL Smooth’s verse is the stuff of legends. “Look ma, no shoe laces”. |
| Looking Glass Girl | The Glove | 1983 | Willis | Post-Punk, Neo-Psychedelia | I didn’t know about this side project of Robert Smith and Steven Sverin of Siouxsie and the Banshees. (If you were in that band, would you call yourself a Banshee?) Guest vocalist Jeanette Landray adds just the right euro-angst. I might even think it was Siouxsie. | Great choice! Another band I didn’t know until I met (mynus)Kris. When he asked if I knew about The Glove, I was almost embarrassed to say “No”. I was avoidant and danced around the subject until he finally just explained who they were. Then realizing the moment, he made a big scene – “I CANT BELIEVE you don’t know about this! Here are 2 cd’s.. We need to go listen NOW”. It might’ve felt slightly humiliating in the moment, but time made me realize he was just so excited to share something that cool with me. Just as we do with each other on the Deep Dive. Needless to say, I became very familiar with this whole album in short order lol. You chose my favorite track by them. I’ll admit, I’ve not listened much at all over the past 20 years or more. |
| Profane Break | Chanel Beads | 2026 | Gregg | Psych Pop /Indie | The first thing I noticed is the instruments, seem like they are right in my head, literally this band is standing tall, guitars in hand, between my ears and behind my eyeballs. There’s a shoegaze quality to the way they’re playing, yet without the reverb and chorus effects on. The big church bells are a nice surprise. I would hit repeat on this also because the song stops so abruptly, but I agree there’s something about it that makes you want it to continue. | I wasn’t sure what to think about this band. Their first album just slipped by me, and what I’d heard wasn’t stirring anything in me. I noticed a lot of hype bubbling under, so I wanted to see if I was missing something. This song came out last week – and I was in the perfect frame of mind to listen intently. It finally caught me. It was like two fragments put together, without any real chorus or ‘payoff’, but that’s also what makes it so psychedelic and dreamy and good. The guitar + groove that starts the song and then returns at 1:30 serves as the songs hook – but the androgynous vocals are super raw and catchy. Somehow in such a short simple song, there’s such a pretty melody here and it’s addictive. Each time I play, I hit “repeat”. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #123 Archive
Deep Dive #123 Show Notes
This is our summer vinyl show, spinning some fun selections both old and new.
| Song | Artist | Year | Pick | Genre(s) |
| Alfie | Deary | 2026 | Willis | Shoegaze, Dream Pop |
| Sure Not Over You | Dinosaur Jr | 1997 | Gregg | Indie Rock /Post Punk |
| Fly LIke An Eagle w/Space intro | Steve Miller Band | 1976 | Willis | Psych Rock, Space Cowboy |
| Pozole | Thundercat | 2026 | Gregg | Soul /Jazz Pop /Yacht Rock |
Eleusinian | Faded Paper Figures | 2020 | Willis | Synth Pop |
| Time (Clock of Heart) | Culture Club | 1982 | Gregg | New Wave /Pop |
| All The Time | Slope114 | 2026 | Willis | House / Electronic Dance |
| Out Of Control | Chemical Brothers (ft. Bernard Sumner) | 1999 | Gregg | Electronic /Moroder |
| Sweetest Truth (Show No Fear) | Stereo MC’s feat. Cath Coffey | 1995 | Willis | Electronic Dance, Hip-Hop, Soul |
| Ways of the Wind | P.M. Dawn | 1995 | Gregg | Neo Soul /Psychedelia |
Deep Dive #122 Archive
Deep Dive #122 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Winning | The Sound | 1981 | Willis | Post-Punk, New Wave | A band I FORGOT that I had heard before (totally not checking the list). It’s been fun catching up on post-punk. It seems these guys didn’t get enough commercial success to make it to the US, but had a following in the Netherlands and released 5 albums before breaking up in 1988. This song captures the sound of an era with chimey guitars, heavy-fingered bassline, and angst-inducing synth. Vocals and lyrics hit somewhere between 80’s Bono and a precursor to 90’s grunge. | One of the most unheralded bands of the early Post Punk movement. Played “sense of purpose” on show 64, but this has always been my personal favorite. The beat hits so hard, it’s hard to resist blasting it. The keys remind me of Gary Numan. Another example of a song (and band) that was years ahead of its time. Also another song they’d play at Aldo’s nightclub during Goth/Industrial night, and the reaction showed me there was a world of misfits out there just like me lol. |
| Lucinda | A Certain Ratio | 1982 | Gregg | Post Punk,Funk | Amazing basswork. Sounds like two bass players, one on “funk slap mode” and the other on “new wave mode” Even in the intro, one of the basses sounds like a Cure song, briefly. (One more straw in the bale that makes me want to get a bass). Love the funk and beautiful harmonics. Vocals are so melancholy and different for a funk song. I wouldn’t have known what to do with this in 1982. | I often confuse them with The Sound, cus they both exist in the same category in my head. The funky bassline and danceable beat make this irresistible. Add in the lazy, near-androgynous vocals, and you have a perfect storm of Dance, Indie, and Funk – which seemingly inspired early-mid 00’s bands like LCD Soundsystem and The Rapture. |
| Perfume | Paris Angels | 1990 | Willis | Madchester, Indie Dance, Alternative | An interesting dichotomy of sound. It starts off big, like U2 or the Alarm, but instead of stadium rock anthem, the tempo shifts into 4rd gear into a baggy, somewhat drunk vocals + electronic dance beat. The tempo changes again as the spaceship lifts off. | Don’t think I ever heard this! I know the band, but I’ve never fully investigated their albums. I will now, though. WOW. I couldn’t sit still while listening. The drums almost sound doubled up, or (possibly) purposely out of phase ever so slightly. “Drunk beat” is a precise description! Vocally, I can’t help but think of The Wedding Present. This is definitely the core of the Madchester sound in every way. Amazing find. |
| Dream About Me | The Depreciation Guild | 2010 | Gregg | Shoegaze,Dream pop | I really like this blend of synth and shoegaze sound. That lead in was a brief hit of RunDMC that gets run over by early Cocteau Twins – even into the first verse as he sings in falsetto, which quickly reveals a lower range and discernable lyrics. The chord progression is upbeat and grounding, offset by occasional pitch bends and keyboard flourishes and simple, yet effective guitar solo. The synthetic-sounding drums keep this song moving along a flight path, while still giving room for everything else to happen. | Drummer/Vocalist Kurt Feldman, former member of Ice Choir and Pains of Being Pure at Heart started this project in 2006, sounding a lot like later era-shoegaze while incorporating a groovy, almost programmed drum sound, helping the beat stand out a bit more than most of their peers. Listening now, it sounds like a precursor to the more recent “NuGaze” sound. The melody is soft & dreamy, and remains nestled under the washy guitars and persistent drums. I forgot how much I enjoy this song, and I think you’ll like it too. |
| The Beginning | Landroid | 2026 | Willis | Indie Pop, Electronic | Sophomore album released June 12 with a new collaborator, Nigel Roman on vocals and guitar. This is the intro song to the album and is epic in a Dark Side of the Moon fashion. Setting the stage for an album that was meant to be enjoyed start to finish. It starts in like a void of space, but then gradually forms into a song, building and stretching the vibe and turning more into rock. Three of them touring and at Hotel Utah June 26. | The slow burn of the intro creeps up like smoke in a dark nightclub. I would LOVE to see this performed live. What a journey this song turned out to be. I appreciate that they let it breathe, waiting nearly 3 mins before finding it’s groove. Then the skittish beat shuffles in and elevates the mood perfectly. Can’t put my finger on who this sounds like, but it also sounds quite singular. This sent me into a trance. |
| Porcelain | Moby | 2000 | Gregg | Trip Hop,Ambient Pop | Moby’s muttered lyrics really work in this song, being so neutral between 3 distinct feelings. 1) The trip-hop beat and short-sampled strings feel anticipatory, like something big is about to happen, but never does. 2) The playful piano notes and chords dancing along happily like a butterfly fluttering along a white picket fence lined with flowers on a summer day 3) what I hear is “stay…stay… woman” feels like missing a loved one. All this makes it feel like a music video. This album is a must have “Electronica” that is not just electronic. Has a little bit of everything: downtempo, dance, rock, ambient, instrumental, poetry. | Figured I’d maintain the trance-like state Landroids sent me into. I’d place this song near the top of my favorite songs from 00-10. It’s hazy and dreamy and sad and beautiful all at once. Moby’s voice has never been particularly great, but in this song he uses it effectively. I can never get enough of the “Hey… Hey… Hey.. Woman you are tired” sample that is sampled throughout (not sure what the lyrics are for that part, but that’s what I hear lol). Then the swelling keys fill the song like puffy clouds, while the simple piano accents feel like cool rain during a sunshower on a humid day. |
| Go! | Public Service Broadcasting | 2015 | Willis | Electronic, Post-Rock, Indie | With all the hype around SpaceX IPO and renewed public attention to space travel, I think this clever track with retro samples harkens back to an earlier era of mission control and makes a very melodic, catchy danceable, yet ambient song. It captures the excitement and anticipation of launch in a graceful and pleasing way. | This band is so compelling to me. I’d have never thought I could be so into hearing spoken word like this, but the music’s urgency and beauty almost make it feel as if it’s soundtracking the most important moment in the world’s history. This is so smart and quite multi dimensional. I can only imagine how powerful they would sound live. The next space shuttle launch, they should feature this song. |
| Surprise Me Again | Haircut 100 | 1982 | Gregg | New Wave,Smart Pop | I wonder if the Cranberries stole this guitar intro. That’s funny you use the word “Smart” to describe this pop, which is exactly the word that came to my mind from the first verse. I really like how they sing “you… sudden -ly smile” so genuinely and sincerely. Love how they snuck in the subtle, yet skilled saxophone riffs which don’t feel cheesy. I do not have this album, but now I think is something to keep an eye out for. | Shocked I never chose them before today. I am a massive fan of this band’s only album. It’s a masterpiece that showcases the unique voice of Nick Heyward, while also featuring a unique horn-centric brand of New Wave. This could be classified as “Intelli-wave”. Most known for “Love Plus One”, they are mostly considered a One Hit Wonder (erroneously). And while this album is a start to finish classic, this song always stands out as a missed hit. It’s a sincere love song that never fails to make me smile. Maybe due to the line “You suddenly smiled, you took me by surprise” |
| Rob Roy | BEATPELLA HOUSE | 2024 | Willis | Beatbox, Hip Hop, Pop | I am always fascinated by human beatbox. Starting from Doug E. Fresh and Bobby McFerrin, to modern names like Dharni, D-Low, Improver, KRNFX. The internet (specifically short form videos) has helped this skill to propagate across the globe and develop exponentially, as artists push each other to innovate and battle. From South Korea (Wing, Hiss, Hellcat, Huckle and vocalist Yella E.), the beatboxing is clean and tight here. Even the horns sound somewhat convincing. Beatboxing is hard to take seriously sometimes, but the soulful lyrics give it some legitimacy that I think is charming. | |
| There’s A Woman | Gino Soccio | 1979 | Gregg | Electronic,Experimental,Disco | How the hell is this from 1979?? This could be the Beta Band stepped out of a time machine and walked up to a keyboard demo set up with the Arpeggiator at Guitar Center. Someone goes over to the conga drums… a house diva fills in with female vocals. | I often try to go back into the 70’s to see which disco songs best provided the blueprint for House & Techno. Clearly Giorgio Moroder and Kraftwerk are at the forefront, but occasionally I’ll find something that is JUST as innovative and ahead of its time. This song is every bit as influential as any other pre-house song. For sure it has the Moroder “I Feel Love” synth oscillations, but it also feels fresh & new. Similar to I Feel Love, it could be confused as a song from the new millennium. Groundbreaking form for a relatively unknown song. Excited to listen in headphones with you. |
Follow these links to listen to these songs (without us talking) on the following platforms:
Deep Dive #121 Archive
Deep Dive #121 Show Notes
| Song | Artist | Year | Pick | Genre(s) | Willis Notes | Gregg Notes |
| Caught In My Shadow | The Wonder Stuff | 1991 | Willis | Alt. Rock, Power Pop | I first heard them in college radio, associated with bands “from across the pond”,with a slight english folk sound – but that was all I knew. UK act started in 1986 that toured with Ned’s Atomic Dustbin along with Pop Will Eat Itself. Often combining elements of folk, ska, punk, and glam rock. Miles Hunt as the mainstay, the band broke up and then re-formed – still making music (last release 2019) with fairly consistent sound. The chorus is catchy with strong bassline, w/a rapping style interlude. Mandolin adds a folk feel. | Another band I caught up to while in college, and realized they were part of a whole “college rock”, left of center subculture that was built for people like myself. I had a difficult time figuring out if they were novelty, because some songs seemed quite overtly goofy in nature, but then I discovered several gems that have been with me for 30+ years. I remember this song, but only as part of the album track list. It never made it to mix tapes, which made this all the more enjoyable for me. I had “A Wish Away” in the queue, but this serves as a worthy selection for the DD listeners (and us). |
| We Don’t Speak Anymore | Thredd | 2026 | Gregg | Indietronica /Experimental Pop | My jaw dropped too on first listen, and still delivers. I hear the rhythmics and duet vocals of The XX, replacing the guitar and bass with way more electronics – Radiohead definitely. They seem new. looking forward to following this UK trio. | When i first heard this, I had to lift my jaw off the floor. It was the first new artist I’ve heard achieve a Radiohead-like effect with sonics, songwriting, and trippyness. In fact, I thought it WAS radiohead for a minute or 2 lol. After one listen, I had to give it the headphone test, and boy did it pass. I wish it was a bigger hit, so I could keep it around longer, but this will still find its way into future playlists, simply because it’s a pure fit. |
| Edge of the Edge | Panda Bear & Sonic Boom | 2022 | Willis | Psychedelic Pop, Electronic | The phone tones may be a thing of the past, but put an interesting date on this song. Panda Bear is Noah Lennox from Baltimore and the band Animal Collective – among other notable collabs: “Doin’ it Right “ w/Daft Punk on Random Access Memories Sonic Boom is Peter Kember from Spacemen 3 The nod to retro is so well executed. This could easily be mistaken for a Brian Wilson song. The lines of old and new blurred so much, I wasn’t sure if the do wop was them or samples. | Great damn song. Funny enough, it samples an old Doo Wop song called “Denise” by Randy & the Rainbows (a DooWop Drive essential). Couple years back it was in a TV commercial, and one night my father texted me to alert me that he heard “Denise” being sampled in a new song in a Honda ad – and it brought him such pride for some reason. I even sent him the full song, and his exact words were “this sounds like the Beach Boys” (good call on your part lol). Panda Bear is like Brian wilson on acid, as are most of his projects (including Animal Collective). This is a modern psychedelic masterpiece. |
| Aht Uh Mi Hed | Shuggie Otis | 1974 | Gregg | Psych Soul /Space Funk /Experimental | Literally never heard this name before, and kinda blows my mind how this stands up today. Warm vibes, sweet soulful vocals, sophisticated production, as you noted, to discover. Eagle crying. Sounds like he went dark for awhile after initial success, but then re-issue in 2013 revived his career. | So far ahead of his time. An artist worthy of a deep dive from any music-head – as you will discover a bevy of sounds and techniques that were used to some effect in future subculture music like Electronic, Trip Hop, Jungle, Neo Soul, Dub, etc. This beat is super simple, but essentially forms the foundation for dub and reggae that was bubbling under at this time. Artists like Prince, Lenny Kravitz, Thundercat and Flying Lotus have all cited Shuggie as a primary influence, and you’ll hear it all over his songs. |
| Rain In The Summertime | The Alarm | 1987 | Willis | Alt Rock, Post Punk | This week, a flash rainstorm hit our neighborhood for about an hour, which was the heaviest rain and hail I’ve experienced in over 50 years living in SJ. Milo and I ran outside and soaked it all up., sliding around on the ice pellets and being just dumped on. It was glorious. Of course the soundtrack for that moment was this song. As I’m typing this, learning that a “new” album released today called “Transformation”, but posthumously a year after the passing of lead singer from Cancer. I will never forget the 5th grade report I did on Wales, the “culture” section talked about Tom Jones but I should have included these guys. Like U2, their songs have a stadium rock quality that you feel like raising your arms and soaking in, just like rain in the summertime. | I always thought this was as good as any 80’s U2 song, but somehow wasn’t quite as mainstream. I’ve always gone back n forth on whether I should play this on HFD, but have resisted – thinking it was too “arena rockish”. But hearing it in the context of the DD, I probably shouldn’t be overthinking it. This is a great song, in the vein of the Simple Minds formula (melodic, rhythmic rock with a big, sing-along chorus). I always loved “Strength” more than this one, but both are classics. On air, I’ll tell you a couple great stories about Mike Peters, and all his charity work (in conjunction with Squeeze and Anchor & Hope). I was lucky enough to meet Mike and his wife after his first battle with cancer, and he was a saint. Sadly he passed away last year. |
| Somebody to Love | Dwight Twilley | 1981 | Gregg | Power Pop /Pre Indie | I thought maybe a familiar name, but actually no. All of his works are unfamiliar to me. I like this song’s varied structure, which I think makes it feel alternative or indie Although it is anchored with power-rock-rhythm with power chords is broken up with guitar riffs that decorate in a playful way, and how his vocals understate with pain up until he lightens up and stretches out with “lo-oh, oh, uh-oh, ove” I am curious now what was Uncle Jimmy’s profession, education and background that unlocked and fueled his passion for discovering and sharing music? | Another artist to chalk up as a Big Star disciple, he remained just under the radar for his whole career, but still maintained a long, solid career making music. He was “indie” before we knew what indie was. This song was on the famous Memorex Blue mixtape my Uncle Jimmy gave me in 1981. I remember listening to it repeatedly, amazed by how desperate he sounded. I believed he was truly aching for love. It stuck with me. When my Uncle passed and I inherited his record collection, this album was one of the first I was eager to play. So amazed that I finally owned it! The lyric that hits me hard: “Think about what won’t forget. Everyone that ever was, trying to find that piece of love” |
| Left Unsaid | Amélie Swann | 2024 | Willis | Trip Hop, Dark Pop | “Gritty but Pretty” is this artist’s tagline. She wants you to imagine combining Portishead with the opera singer from the Fifth Element. Although most will remember the extraction of stones from blue innards, I loved that performance. I totally get that and dig it. Dark bassline groove paired with bluesy female vocals. I only wish the song were longer and took a turn left or right – anywhere, just keep going! | Made me sad to see only 167 plays on a song released a year ago, considering how good this song is! Its confounding how so many crap artists have billions of streams, yet a hi-quality little nugget like this goes unnoticed. Her voice is powerful, almost operatic at times. I do wish it had a noticeable change, like a bridge or chorus that shifts the melody slightly. Still, this is a banger. |
| Too Little Too Late | Joris Voorn (Ft. Underworld) | 2019 | Gregg | Electronic /Ambient | I am ALL IN on this one! Robotic and dark, but the groove gives it soul. I wouldn’t have known the vocals coming from Joris or Underworld. A cool blend of vocals and a subtle trance sound and beat. It moves in energy waves that are I love the lines “My Name is Natasha, she says, slow the beat down”. Totally IG’able. | Dutch DJ & Producer – I discovered how legit he was during Covid. His sound design aesthetics were like a drug, but specifically hearing this song was a gamechanger. I love Underworld as u know, so knowing they considered Joris worthy of a collab told me all I needed to know. This would be in my dj set if i were to play an event in 2026, as it hits all the spots. The monotone vocals weave through the trancey fog like a motorcycle with high beams on. Even right now, I was even dancing in my seat. |
| Witness Mark | Silversun Pickups | 2026 | Willis | Indie Rock, Dream Pop | Played them over a year ago, they released this new album Tenterhooks in Feb, and now on world tour. I don’t want to let this new release get away! In Sept @Chase center w/Weezer and the Shins I like their blend of groovy downtempo rock, subtle guy/girl vocals and dynamic rhythmic expertise. Spacious, atmospheric, and a total vibe. | I’ve tapped into this new album for HFD, playing a few of the lead singles, even though I’ve shied away from playing their better known, classic material. For about 5-10 years, they were seemingly the lone “Shoegaze” and “Grunge” holdover, even though they came well “after” those movements. They carried that torch, when nobody seemed to care about distorted, washy guitars anymore. And they were HUGE. Hard to believe, with the resurgence of the sound they helped define, they didn’t generate more excitement with this new record. I’m glad you found this deeper cut, cus it fits the station even better than the others I played (and I didn’t bother listening to the full album, so I wouldn’t have found it). |
| Lifesavers | Kent | 1998 | Gregg | Indie Rock /Post Modern | A band I’ve never heard of before, but kinda wished I had! I hear more of a sad version of Smashing Pumpkins – same powerful sound pressure level with that bass, but with slightly airy-er, twangier guitars. Maybe it’s a sound of the grunge era? The pressure only releases at the very end when you can take a breath. | Highly acclaimed Swedish group that briefly crossed into the US, due to a similarity to Radiohead (at OK Computer’s peak). I remember finding this at a “Listening Post” in a local record store – and it was this song, the album’s opener, that blew my head to pieces. They had better known songs, but I heard these lyrics to Lifesavers: “I will save your life when you’re out and down. I will dim all the lights, to comfort your eyes. You would do the same, you’d do it all for me..” From that point forward, I was hooked. This whole album is a start to finish masterpiece. Sadly most of their other albums were mostly in Swedish, making it harder for me to connect w/ the lyrics. I will put this album up against just about any of the late 90’s. |
Song playlists are also available on these platforms:
Deep Dive #120 Archive
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.” |
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