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20 forgotten fantastic albums from the 1990s you have likely never heard

BBG News

As time goes on, it appears that the factors contributing to certain albums being overlooked or forgotten continue to be consistent, regardless of the variety and progress each decade offered. The 1990s, with all its uniqueness and advancements, was not immune to this phenomenon.

It’s true that popular bands like Nirvana, Elliott Smith, Jeff Buckley, and grunge music in general are well-known. However, it’s important to remember that there are many albums out there that received praise from rock critics or developed a cult following, but were overlooked by the mainstream audience. These lesser-known gems may have slipped through the cracks without receiving the attention they deserved.

Instead of saying “The Internet was gaining momentum, but would that have made a difference, or would it have added to the confusion even more since major releases would have overshadowed (and did) them anyway? Nevertheless, the albums listed below deserved far more recognition than they received at the time, or didn’t receive any.” You could rephrase it as: “The Internet was picking up speed, but would that have mattered, or would it have made things even messier since popular releases would have overshadowed (and did) these albums anyway? However, the following 20 albums truly deserved more attention than they initially received.

20 forgotten gems from the 1990s you need to hear

The Chills – Submarine Bells (1990)

In the 1980s, when late Martin Phillips and his band The Chills ventured beyond their homeland, New Zealand, they were universally praised by critics. This acclaim came from a collection of singles or compilations they released.

Despite the fact that their debut album, titled “Brave Words,” received criticism for various reasons, and although “The Heavenly Pop Hit” may not have helped, this subsequent release seems to carry a shadow over it, despite being significantly superior to its predecessor.

Bitch Magnet – Ben Hur (1990)

As a gamer, I’d rephrase it like this: Over three studio albums, this Squirrel Bait spin-off found its groove by blending heavy, progressive, hardcore, and post-rock elements. This fourth album is where that unique fusion truly shines, reaching only a small, devoted fanbase who truly appreciated the effort.

American Music Club – Everclear (1991)

American Music Club’s music, spearheaded by its primary songwriter Mark Eitzel, was versatile, encompassing a wide range of themes as Eitzel saw fit. His lyrics, often bitter and dark, were an acquired taste for many listeners. However, their consistency never wavered, and this album in particular stands out for its exceptional production that ties everything together perfectly.

Tom Waits – Night On Earth OST (1992)

A well-known artist releasing an overlooked album? That’s possible, like Tom Waits with his mostly instrumental score for the film directed by Jim Jarmusch. Interestingly, Waits’ vocal style in this work harks back to before his Swordfishtrombones era. It’s puzzling why it didn’t resonate with listeners, even dedicated Waits fans, but perhaps that’s just the enigma of art.

The Lemonheads – Come on Feel the Lemonheads (1993)

If you know an artist who embodies the term ‘slacker’ perfectly, it’s Evan Dando, the creative mind behind The Lemonheads. Despite his casual approach, he produced exceptional music, notably after softening his hardcore leanings to offer a more melodic sound on “It’s A Shame About Ray” (1992). While its successor was equally brilliant, some critics found it similar to the first, but upon closer listen, it wasn’t just a repeat.

The Posies – Frosting On The Beater (1993)

The duo behind The Posies, Jonathan Auer and Ken Stringfellow, were dedicated advocates of power pop, skillfully blending intricate melodies with powerful guitar riffs on this album. However, power pop wasn’t particularly popular during that time, and as a result, this album didn’t receive the recognition it truly merited.

Uncle Tupelo – Anodyne (1993)

When your first album’s title and content serve as a template for a specific music sub-genre, you’re clearly on the right track. However, when two exceptionally talented songwriters are in charge, friction is inevitable, as demonstrated by Jay Farrar and Jeff Tweedy throughout their careers. This tension reached its peak with this album, which is their best work, but unfortunately, it also marked their end.

The John Spencer Blues Explosion – Orange (1994)

In a more natural and easy-to-read way: The term “Scuzz-blues” may be unfamiliar to many, but it was associated with the unique guitar style of one musician named John Spencer. Known for his work in groups like Pussy Galore and Royal Trux, Spencer explored what he believed were the true foundations of rock music, guided solely by instinct and raw energy. This approach yielded some remarkable outcomes, particularly on this album.

Kevin Salem – Soma City (1994)

Salem is well-known among indie artists from the 1990s, more so for his work as a producer rather than as an artist under his own name. However, in his debut solo album, he showcases himself as an exceptional songwriter and accomplished guitarist. Notably, he delivers one of the best solos of the decade on the final track “In A Whisper.

Self – Subliminal Plastic Motives (1995)

If you’ve been composing songs since you were four and you’ve mastered drumming by the age of 12, what would you create for your debut solo album? In essence, Matt Makaffey, as suggested by the term ‘solo’, essentially handles everything from instruments to samples. This results in a fast-paced fusion of power pop and hip hop on his first album.

Lotion – Nobody’s Cool (1995)

One way to put it in natural and easy-to-read language: How can you attract a well-known author like Thomas Pynchon as a fan of your music, have him write liner notes for your album, and yet remain relatively unknown to a larger audience? This is quite challenging because the music, although featuring complex structures and unique style combinations, is surprisingly easy and engaging to listen to.

Belly – King (1995)

As a dedicated gamer, I’ve always held Throwing Muses close to my heart, a band that was adored by critics and had a devoted following (still do). However, when the group’s primary songwriters, Kristin Hersh and Tanya Donelly, decided to pursue separate paths, it seemed their commercial success took a hit. Yet, their loyal fanbase stayed steadfast, standing by both musicians throughout their solo careers.

Meanwhile, Hersh continued to be deep within herself, whereas Donelly developed a captivating blend of psychedelic pop music with Belly, which unfortunately didn’t receive the recognition it truly merited.

Or:

As Hersh stayed thoughtful and reserved, Donelly teamed up with Belly to produce an intriguing psych pop mix that didn’t garner as much attention as it should have.

Eric Matthews – It’s Heavy In Here (1995)

When a classically trained trumpeter ventures into creating music outside the classical realm, you might encounter a blend of modernized baroque pop styles, similar to what Matthews and Richard Davies (as Cardinal) initially started. This innovative approach continued in Matthews’ solo albums, with this one being an example. It could be perceived as overly complex and intricate by some listeners.

The Olivia Tremor Control – Music from the Unrealized Film Script, Dusk at Cubist Castle (1996)

The members of the Elephant 6 collective continue to attract a devoted fanbase, many of whom think they deserve every bit of adoration, with Olivia Tremor Control standing out as one of the group’s most notable representatives. They produce a wide variety of music – from exceptional psychedelic pop to equally impressive ambient fragments. On their debut album, you can find all these styles combined in one place.

Jason Falkner – Presents Author Unknown (1996)

Initially, Falkner was part of Paisley Underground, a notable group, and Three O’Clock, before gaining significant success with Jellyfish in power pop music. Later, he joined The Grays, but his contributions primarily revolved around songwriting and production, skills he still excels at today. However, it was only when he began releasing outstanding solo albums, including this one, that his talent truly emerged. Unfortunately, it appears that his brilliance didn’t quite reach as many listeners as it deserved.

Labradford – Mi Media Naranja (1997)

Fans of post-rock music often acknowledge Labradford as one of the groups that truly embodied the “post” prefix in rock, through a collection of contemplative, intricate albums. This particular album is widely considered their finest, and its final two tracks exemplify the exceptional music that can be crafted within the realm of post-rock, if such boundaries indeed exist.

Beck – Mutations (1998)

Certainly, Beck is recognized widely and has a massive following, with many fans citing numerous albums from his catalog, save for this particular one. The issue wasn’t about its lack of quality or diversity, but rather it followed the critically acclaimed album, Odelay, and there was scarcely any resemblance to that sound in it.

Mark Hollis – Mark Hollis (1998)

Previously serving as the frontman for Talk Talk, he was consistently adventurous in sound exploration, examining not just individual notes, but also the gaps between them. Regrettably, this turned out to be his sole solo effort, an album that some music critics labeled as the quietest rock record ever made.

The Fall – The Marshall Suite (1999)

Regardless of who you might ask among The Fall’s longest-serving members, including the regrettably deceased Mark E. Smith, they wouldn’t have the answer as to how many albums The Fall produced (there are still new ones being released). It would be quite a challenge to choose the best one, but there’s one that even some devoted fans may overlook.

June & The Exit Wounds – A Little More Haven Hamilton, Please (1999)

Hailing from the fertile imagination of Todd Fletcher, a founding member of now-forgotten bands such as Twiggy and Very Secretary, this band with a name inspired by an equally obscure character from Robert Altman’s film “Nashville,” produced just one album that blended Todd Rundgren and Beach Boys-esque pop rock styles. This unique release garnered raised eyebrows from several critics, but much like the Parasol record label it was released on, the band and their music vanished from public view shortly thereafter.

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2025-07-18 13:00

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