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Apr 07, 2026 By Mark Redfern Photography by Tom Jackson (Pulp), Derrick Santini (Suede)

If you subscribe now for 50% off, for a limited time your subscription will start with The ’90s Issue Part 2 (aka Issue 75). But soon new subscriptions will switch over to start with the following edition (Issue 76).

Subscribe here for 50% off—starting at only $2.49 an issue, $9.99 for four issues—with promo code SPRING2026 (valid worldwide on both four-issue and eight-issue subscriptions).

The ’90s Issue Part 2 features Pulp and Suede on the two covers.

Sometimes sequels are better than the original and we hope the follow-up to our 2024 ’90s Issue surpasses the first installment. As well as interviews with musicians, actors, and directors who made their mark in the ’90s, the issue includes our first ever list of the Best Albums of the 1990s (a Top 300 no less).

The issue is currently being printed as is available to pre-order from us directly here (each issue includes both covers, one on the front and one on the back). Or there’s still time to subscribe and receive this as your first issue. Subscribe here.

The issue will also soon be available to purchase nationwide in such stores as Barnes & Noble and Books-A-Million, and elsewhere.

Issue 75 also features interviews with De La Soul, Air, Sarah McLachlan, Saint Etienne, Spacehog, Garbage, Ratboys, Sharon Van Etten, Dry Cleaning, The Twilight Sad, The Divine Comedy, Slint, Miki Berenyi Trio, and others.

COVER STORIES

Pulp

Lily Moayeri spoke to all four core members of Pulp—Jarvis Cocker, Candida Doyle, Nick Banks, and Mark Webber—about being one of the reluctant figureheads of the Britpop movement, their classic ’90s albums and songs, the 2023 passing of Pulp bassist Steve Mackey, and their remarkable 2025 comeback album, More, their first new album in 24 years.

Tom Jackson photographed Pulp exclusively for Under the Radar in London.

“The flag-waving, jingoistic idea of [Britpop] is bad. The English flag, the Cross of St. George, is often bandied around in racist circumstances. It doesn’t seem like an inclusive thing.” – Jarvis Cocker

“I went off it towards the end of the 20th century. I wasn’t enjoying things at all, and got into a weird, convoluted thought process, because it had been something that I wanted to do from being a kid, and then I achieved my ambition, and then it kind of bit me.” – Jarvis Cocker

“It feels good to come back to it on your own terms, to feel in control. That’s what I didn’t like about when we got very popular in the late ’90s, that it took the control of it away from you, and it stopped being fun.” – Jarvis Cocker

“We spent years trying to get somewhere. Now to be in that position where we are somewhere and we can do more or less what we like, and it seems people still like us, it’s a real privileged position to be in.” – Candida Doyle

“Communication is historically very bad in our group. Jarvis, especially, never tells us what his intentions are.” – Mark Webber

“Steve [Mackey] was gone so early. We could all go early. Maybe you think rather than sit on your backside for 25 years, you get up and make a record. It helps you come alive.” – Nick Banks

Suede

For our other cover story, Celine Teo-Blockey spoke to Suede’s Brett Anderson and Mat Osman about helping to launch Britpop and then quickly distancing themselves from it, their iconic ’90s albums, the tortuous recording of their 1994 masterpiece Dog Man Star, and how they’ve remained vital three decades later with acclaimed new albums, such as 2025’s Antidepressants.

Derrick Santini photographed Brett Anderson exclusively for Under the Radar in London.

“I’m not interested in being a legacy act.” – Brett Anderson

“The irony of Britpop and our relationship with it—was that we started it, but it became something that was completely diametrically opposed to the nature of the band.” – Brett Anderson

“I think Dog Man Star is a great record. But I don’t have good memories of making it.” – Brett Anderson

“When we split up there was no more excess, by then, everyone was kind of healthy and mentally well. We’d just lost our kind of power.” – Mat Osman

“I know this is a really kind of bad way to judge which songs are working, but the number of ‘Life Is Golden’ and ‘She Still Leads Me On’ tattoos that I’ve seen, made me think we’re doing something right…. No one is getting anything from A New Morning as a tattoo.” – Mat Osman

DETECTION

The front-of-book Detection section features interviews with the following about their latest albums: Dry Cleaning, MEMORIALS, Ratboys, and The Twilight Sad.

“There’s no way to live where you aren’t endangering your health, unless you’re in the wilderness and you have survival skills, not using a phone, eating nuts and berries.” – Florence Shaw of Dry Cleaning

“I want the people on my phone to stop telling me 10 different ways to do everything. It’s reached a saturation point I feel for a lot of people.” – Florence Shaw of Dry Cleaning

“Some of the most unexpected sounds on the record came from the harpsichord, these muted sounds that we never could have planned for. In a way it was great for shattering my perception that the recording process needs great mics and new equipment to sound perfect.” – Verity Susman of MEMORIALS

“We took a lot of inspiration from David Axelrod’s first two albums.” – Matthew Simms of MEMORIALS

“The more people invest in their own well-being and mental health, the better. One of my big takeaways from the whole process is to create space and be intentional about understanding my own self in a clear way.” – Julia Steiner of Ratboys

“The cabin is less than three hours from where we live, but since it’s on 75 acres we could turn up and be loud and not disturb any of the neighbors. Nobody was around us at all except for chicken and deer.” – Julia Steiner of Ratboys

“The first time I heard the first song off the record it just hit me like a ton of bricks.” – James Graham of The Twilight Sad

“[Robert Smith of The Cure] felt part of the band and it was important that he was on the album because he’s been there through the whole process both personally and professionally.” – Andy MacFarlane of The Twilight Sad

THE ’90S

The majority of Issue 75 is focussed on the 1990s. It includes new interviews with musicians about their classic albums from that decade (and sometimes also about their current albums), including with Air, Arrested Development, De La Soul, The Divine Comedy, Garbage, Heatmiser (Elliott Smith’s early band), Sarah McLachlan, Rialto, Spacehog, and Slint. We also spoke to Miki Berenyi Trio, which is led by the former singer/guitarist in ’90s shoegazers Lush. Plus Sharon Van Etten discusses one of her favorite ’90s movies, Empire Records.

We also interviewed actress Marianne Jean-Baptiste about starring in the Oscar-nominated British film Secrets & Lies, which was directed by Mike Leigh. Amy Heckerling spilled her own secrets on writing and directing the trendsetting ’90s classic movie Clueless. For our article on the award-winning, groundbreaking NBC police show Homicide: Life of the Streets we spoke to actors Kyle Secor, Reed Diamond, and Clark Johnson, as well as showrunner/executive producer/writer Tom Fontana.

“We grew up with the idea that in the year of 2000 we will all be in space and we will have laser guns. When we did Moon Safari, it was 1998 and we understood that nothing like this would happen. So, the album is the testimony of this nostalgia.” – Nicolas Godin of Air

“The dilemma with being a Black parent in the United States is you’re trapped between fighting for justice and trying to raise children to be normal, to fit in society.” – Speech of Arrested Development

“We had a lot of fun making those songs [on De La Soul is Dead]. But we also wanted to be vulnerable enough to talk about any part of our lives, not just partying.” – Kelvin “Posdnuos” Mercer of De La Soul

“There was nothing else to do [in the 1990s]. I had no significant others or offspring, no dog. It was me in a bedsit somewhere in South London with my equipment, some novels, and a driving ambition to be a pop star.” – Neil Hannon of The Divine Comedy

“I don’t mean to be intimidating, but as I’ve gotten older, I’ve realized that what I take as an explosion of feeling is often perceived as aggression, and it shuts people down.” – Shirley Manson of Garbage

“I had been in the closet until we moved to Portland, and I was living as an out gay guy. I wanted a new life, and I wanted to create something. I saw a way to be in the world was to be in a band.” – Neil Gust of Heatmiser

“The industry loves to suck young people up and drain them. So I assumed that would happen, and it did in a bad way to Brittany [Murphy].” – Amy Heckerling on writing/directing Clueless

“There were people that went to look for their birth parents after seeing Secrets & Lies.” – Marianne Jean-Baptiste on starring in Secrets & Lies

“As a woman, very quickly you realize that everything in the world has been built by men for men. So, if you wanna change things, you gotta do it yourselves.” – Sarah McLachlin

“I think about what people used to spend on videos—[Lush’s] ‘Hypocrite’ probably cost about 80 fucking grand. We literally hired an entire fairground! It was crazy money, wasn’t it? I remember talking to Pulp, and I think ‘This Is Hardcore’ cost about 500 grand.” – Miki Berenyi of Miki Berenyi Trio (and formerly of Lush)

“It was the last days of Rome. It really was, that early to mid-’90s period, just into the 2000s. Because the internet was coming over the fucking horizon, and it was about to kick the shit out of the whole thing. And it has. I can’t see it ever coming back like that.” – K.J. “Moose” McKillop of Miki Berenyi Trio (and formerly of Lush)

“He saved our show. We would never have come back for a third season if Robin [Williams] hadn’t been on.” – Kyle Secor of starring in Homicide: Life on the Street

“[The new album] touches on the themes of the previous incarnation of Rialto, but it’s more worldly, more weathered, and maybe more nuanced.” – Louis Eliot of Rialto

“I bet I probably never really dealt with the emotions concerning Spiderland. Probably never have in a lot of ways, I guess.” – Todd Brashear of Slint

“It’s a very confusing, destabilizing experience, the process of becoming famous and having some of your music become so well known. It has an effect on the personalities in the group and the relationships.” – Royston Langdon of Spacehog

“Everyone wanted to be Liv Tyler, but I really wanted to be Robin Tunney. That scene where she shaves her head, out of all the scenes in that movie, that was how I felt, and I didn’t know how to express it.” – Sharon Van Etten on Empire Records

TOP 300 ALBUMS OF THE 1990S

We spent over a year, on and off, compiling our first ever list of the best albums of the 1990s. There was much debate and multiple ballots and we settled on our Top 300, with our contributors writing new blurbs on each of the Top 100 in this 14-page section.

THE END

For our regular last page feature, The End, we ask a different artist the same set of questions about endings and death. Sarah Cracknell of Saint Etienne (who also made their mark in the ’90s) is this issue’s participant.

“[My father] was a very cool guy who worked in the film industry with Stanley Kubrick and on some Bond films, plus loads more. He just missed me becoming successful with Saint Etienne which is such a shame because I know he would’ve loved that, he was one of my biggest supporters!” – Sarah Cracknell

REVIEWS

Issue 75 has a selection of album reviews, including of the latest albums by the following:

Broken Social Scene
deary
Wendy Eisenberg
Friko
Gorillaz
Iron & Wine
Ladytron
Greg Mendez
Metric
Miss Grit
Mitski
Modern Woman
Kevin Morby
Morrissey
The New Pornographers
Snail Mail
SUNN O)))
Jessie Ware
Eaves Wilder

DIGITAL SAMPLER

Each issue comes with a digital sampler that is a free download and includes up to 39 complimentary MP3s. This issue’s digital sampler includes tracks by:

The Beths
Black Country, New Road
Cheekface
deary
Dread Spectre Council
Baxter Dury
Echo Vocation
Felsmann + Tiley
Fepeste
Gwenno
Kneecap
Katie Knipp
Lala Lala
Ladytron
Cate Le Bon
Joey Maltese
MEMORIALS
Miki Berenyi Trio
Miss Grit
Modern Woman
Kevin Morby
Molina
Lael Neale
New German Cinema
plantoid
Ratboys
Jeffrey Runnings
Saint Etienne
Sparks
The Sunny Smiles Three
Suneaters
Emma-Jean Thackray
The Twilight Sad
TV Star
Ulrika Spacek
Weird Nightmare
Eaves Wilder
Gary Young & Pavement
youbet

DIGITAL MAGAZINE

The digital version of the issue (for iPads, iPhones and other smartphones, Macs, and PCs) also features extra interviews not found in the print magazine, as well as additional full-page photos from our photo shoots for the issue.

The digital magazine features additional interviews with the following artists: Neko Case, Felsmann + Tiley, Voxtrot, and Wolf Alice. Our contributors also write about ’90s albums they love that didn’t make it on our Top 300 Albums of the 1990s.

Special thanks to all the writers, photographers, advertisers, subscribers, Patreon supporters, musicians, labels, and publicists who helped make this issue happen.

Click here to pre-order the print version of the issue (the digital version is coming soon).

More About Under the Radar

Founded by music writer Mark Redfern (that’s me) and photographer Wendy Lynch Redfern, Under the Radar began as a black & white zine distributed around Los Angeles. Wendy and I met and fell in love in December 2020 and a year later our first issue was born. Above is the first known photo of Wendy and me. Over two decades later, it’s still run by the same couple—we’re now married with a daughter (Rose, currently 13), living in Virginia, and still putting out print issues featuring original photography, passionate journalism, and a deep love of indie music.

We’ve weathered the collapse of Borders Books (which wiped out half our distribution), the death of traditional print advertising, and more, but never lost sight of what made us start this magazine: a belief in the power of great music and meaningful journalism.

We were the first national print magazine to interview Vampire Weekend and Fleet Foxes, the first U.S. outlet to talk to Wet Leg and The Last Dinner Party, and early champions of now-beloved artists like Charli XCX (on our cover in 2013, 11 years before Brat). We helped define the indie boom of the 2000s—featuring Death Cab for Cutie, Bright Eyes, Interpol, The National, TV on the Radio, Yeah Yeah Yeahs, and many more—and have also interviewed older legends like Brian Wilson, Yoko Ono, Peter Gabriel, New Order, and Depeche Mode. We were also the last magazine to interview and photograph Elliott Smith before his tragic death.

And we’ve done it all without corporate backing or billionaire investors.

We’ve outlasted most of our print-era peers not because we had the deepest pockets or the biggest staff, but because we’ve kept it personal. Because we care. Because we believe music journalism should be driven by heart, not algorithms.

If you want a deeper look at how Under the Radar survived the last 20+ years—through births, deaths, cross-country moves, and a rapidly changing media landscape—read our behind-the-scenes secret origin story, written for our 20th Anniversary Issue in 2021.

Now we’re finishing up Issue 75, but our printer was recently bought by a new company, raised rates, and now requires full payment upfront, instead of 50% upfront. Combined with slower ad sales, and over the fall and winter we had a big subscription drive to raise $7,000 to print the next issue. It was successful, but costs don’t just stop at printing, we also have to ship the issue and fund the following one.

Subscriptions are 50% off, and bringing in around 100 new subscribers in the next two weeks would help cover additional costs. You can also support us on Patreon, buy back issues for 50% off, or advertise in Issue 75.

If Under the Radar has ever helped you discover a band, inspired you, or reminded you why print still matters—this is the moment to help us keep going.

Each issue includes:

• 20–30 in-depth interviews.
• 20–50 album reviews.
• A downloadable MP3 sampler of up to 40 new tracks.
• Original photography and exclusive features that often remain print-only.

New subscriptions start with Issue 75, The ‘90s Issue Part 2, with new conversations with Pulp, Suede, Garbage, Air, De La Soul, Slint, the cast and creators of the acclaimed TV show Homicide: Life on the Street, and Clueless’ director Amy Heckerling, and more. It also features our first ever list of the best albums of the 1990s. Later this year we also plan to put out a special 25th Anniversary Issue, which you’ll receive if you subscribe now.

New subscribers will be sent an email with complimentary codes to access the digital versions of the last two issues of Under the Radar to read while you wait for the next print issue to arrive in the mail.

Subscribe here!

Below is a look inside the magazine, with some spreads from previous issues, as well as some of our original photography and some of our previous magazine covers. We’ve always shot our own covers with our own photographers since Issue 1. Plus there are some behind-the-scenes photos.

Also 50% off: Covers of Covers, our 20th anniversary 2-CD set featuring exclusive tracks by Peter Bjorn and John, Cassandra Jenkins, Grandaddy, Water From Your Eyes, Kevin Drew (Broken Social Scene), and more. Grab the CD here, or get the CD + 20th Anniversary Issue bundle

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