Puller Roadside Monument – A Hidden Gem in '90s Rock
Released back in 1997, Puller Roadside Monument by Puller Roadside Monument is one of those albums that sneaks up on you when you least expect it. It’s raw, unfiltered, and packed with the kind of energy only '90s rock could deliver. Falling under the Alternative Rock and Indie Rock umbrellas, this Tooth & Nail Records release doesn’t try too hard to impress—it just does.
The album kicks off with “Lobbyest,” a track that grabs your attention right away. The basslines from Ryan Jewell are punchy yet melodic, blending perfectly with Corey French’s gritty guitar riffs. There’s something about how the song builds momentum—almost like it's daring you not to tap your foot along—that sticks with me every time I hear it. You can tell these guys weren’t chasing trends; they were making music because they had no choice but to let it out.
Then there’s “On Molasses Lake,” which flips the vibe entirely. Johnathon Ford takes over vocal duties here, bringing an emotional depth that feels almost haunting. This tune has a slower burn compared to the rest of the record, but don’t mistake its subtlety for weakness. The lyrics linger long after the final note fades, painting vivid imagery of stillness and reflection. If "Lobbyest" makes you move, "On Molasses Lake" makes you think—and maybe even feel a little too much.
What really sets this album apart is its authenticity. Nothing feels forced or overly polished. Geoff Riley (on drums for tracks 1 and 2) and Matthew Johnson (tracks 3 and 4) bring their own styles to the table, keeping things fresh across the four tracks. And props to Brad Beasley for capturing the band’s vibe so well through his photography—it ties everything together visually.
Sure, at just four songs, it might leave you wanting more. But isn’t that what the best albums do? They spark curiosity, leaving you hungry for whatever comes next. For fans of '90s indie and alt-rock, Puller Roadside Monument is worth digging up.
Honestly, though, I keep coming back to one thought: why isn’t this album talked about more? Maybe it got lost in the shuffle of bigger names dominating the era. Or maybe it was always meant to stay tucked away, waiting for the right ears to find it. Either way, stumbling onto gems like this reminds me why I fell in love with music in the first place.
