How Tiny Music Reinvented Stone Temple Pilots

How Tiny Music Reinvented Stone Temple Pilots

Thirty years later, Tiny Music… Songs from the Vatican Gift Shop still feels like a left turn nobody saw coming.In this episode of Self-Titled, Seth and Josh revisit Stone Temple Pilots’ boldest and most adventurous album — the record that pushed the band far beyond the “grunge” label and revealed just how inventive they really were. From the swagger of “Big Bang Baby” and “Pop’s Love Suicide” to the strange beauty of “Adhesive,” “Daisy,” and “And So I Know,” we break down the album track by track and talk about: -Why Tiny Music felt so different in 1996 -The DeLeo brothers’ underrated musicianship -Scott Weiland’s evolution as a vocalist and frontman -The album’s glam, psychedelic, lounge, and classic rock influences -Why the back half of the record deserves more attention -How STP grew beyond the criticism that followed them early on We also revisit our memories of hearing this album as teenagers, discuss the MTV era that surrounded it, and talk about why Tiny Music still sounds fresh decades later. If you love alternative rock, Stone Temple Pilots, or albums that took creative risks and aged beautifully, this one’s for you. #StoneTemplePilots #TinyMusic #STP #AlternativeRock #90sMusic #ScottWeiland

Television’s Marquee Moon Still Sounds Like the Future

Few albums feel as alive, mysterious, and forward-thinking as Marquee Moon by Television. Released in 1977 at the dawn of the CBGB era, the album somehow still sounds futuristic nearly 50 years later. In this episode of Self Titled, Seth and Jordan dive deep into the story behind Marquee Moon — from the early days of the New York punk scene and CBGB to the singular guitar chemistry between Tom Verlaine and Richard Lloyd. Along the way, they explore how the album blurred the line between punk, art rock, and post-punk before most of those labels even existed. The conversation includes: -Why Marquee Moon still sounds unlike almost anything else -The influence of Television on bands like Wilco, Pavement, The Strokes, and more -The myth and reality of the CBGB scene -The hypnotic guitar interplay that defines the album -A track-by-track discussion of songs like “See No Evil,” “Venus,” “Friction,” and the towering title track “Marquee Moon” If you love adventurous guitar music, atmospheric records, or albums that seem to exist outside of time, this one’s for you.

Viagra Boys' Cave World: Degenerates, Shrimp, and Mass Hysteria

Viagra Boys made a party album about paranoia. On the surface, Cave World is chaotic, funny, and completely unhinged—shrimp references, absurd lyrics, and grooves that feel like they belong in a sweaty club at 1 a.m. But the deeper you go, the more it starts to feel like something else entirely. This is an album about conspiracy, social breakdown, masculinity, and the strange headspace a lot of people found themselves in coming out of the pandemic. It’s satire, but it doesn’t always announce itself that way. Sometimes it’s obvious. Sometimes it’s uncomfortable. And sometimes it’s both at once. In this episode of Self Titled, Seth and Jordan break down Cave World track by track—talking about the band’s sound, their live shows, the humor, the paranoia, and why this might be one of the most fun (and quietly sharp) records of the last few years. Also… we try to make sense of the shrimp thing. Topics covered: * Why Cave World works as both a party record and a critique * Viagra Boys’ place in the modern post-punk wave * The band’s obsession with devolution, paranoia, and absurdity * Live show experiences (and why they matter for this band) * Track-by-track highlights and standout moments If you’ve never listened to Viagra Boys, this might be the perfect place to start. If you have, you probably already know—this band doesn’t sound like anyone else.

Picking Our Top 5 Wilco Songs Was Almost Impossible

We set out to do something simple: pick our top 5 Wilco songs. It turns out… that’s almost impossible. With over a dozen albums and a catalog that spans everything from Yankee Hotel Foxtrot to Sky Blue Sky to A Ghost Is Born and beyond, narrowing it down to just five songs each turned into a much bigger challenge than we expected. What started as a fun exercise quickly became a deep dive into what makes Wilco one of our all-time favorite bands. In this episode, we each share our personal top 5 Wilco songs—along with the stories, memories, and musical moments that made them stick. There’s no definitive list here. Just three fans trying to make sense of a catalog that means a lot to us. If you’re a longtime Wilco fan, we’d love to hear your list. And if you’re newer to the band, this might be a good place to start. Chapters: 00:00 Intro 07:40 Number 5s 13:41 Number 4s 18:29 Number 3s 23:05 Number 2s 29:20 Number 1s

Ween's The Mollusk: Sea Shanties, Heartbreak, and Demented Children Songs

What do you even say about an album like The Mollusk? On the surface, it’s ridiculous. Sea creatures. Polka dot whales. Songs that sound like children’s music… until they suddenly don’t. But the more time you spend with it, the more it reveals itself as something surprisingly cohesive—and absolutely brilliant. In this episode of Self Titled, we dive into The Mollusk by Ween—a record that blends nautical folklore, psychedelic weirdness, and real emotional weight into one of the most unique albums of the ’90s. We talk about: -Why this album can feel impenetrable at first—and why it eventually clicks -The strange (and very real) story behind how it was made -Songs like “Mutilated Lips,” “Buckingham Green,” and “Ocean Man” -Whether this is actually Ween’s masterpiece If you’ve ever bounced off Ween—or if you’ve loved them for years—this is one worth revisiting. Chapters: 00:00 Intro 03:20 Listening to Ween around non-Ween fans 05:52 Our history with Ween and The Mollusk 15:18 Where does The Mollusk rank among Ween albums 19:40 The making of The Mollusk 25:00 Track-by-track breakdown 01:21:04 The aftermath of The Mollusk 01:31:58 What makes Ween special