Dutch Interior tell us how Acetone, The Microphones, Angel Olsen and more influenced their new album ‘Moneyball’

Five of the six members of twangy, low-key LA band Dutch Interior write and sing, and their distinctive creative and actual voices keep things interesting on their pretty, contemplative third album, Moneyball, that also feels cohesive via a love of ’90s indie rock, alt-country and slowcore (along with those genres’ original ’60s/’70s influences). “We wanted to acknowledge that we exist in a tradition of American music and take that to places that are personal to us,” the band said when announcing the album. “It’s like we renovated an old house and then invited people in.” It’s a terrific album and you can listen below and read our full review here.

For more on Moneyball, Dutch Interior have made us a list of 10 albums that influenced it, including Acetown, The Velvet Underground, The Microphones, Angel Olsen and more. Check out their list and commentary from members Noah Kurtz, Conner Reeves, Jack Nugent, Davis Stuart and Shane Barton below.

Moneyball by Dutch Interior

DUTCH INTERIOR – 10 ALBUMS THAT INFLUENCED ‘MONEYBALL’

Happyness – Weird Little Birthday
Happyness is a wildly underrated three piece band from London that doesn’t play anymore. Their ability to fill out a song seemingly beyond the confines of one bass, one guitar, and drums while still maintaining space is amazing—listen to this record if you haven’t yet. “It’s On You” is maybe one of the best power pop songs ever written.

The Microphones – Mount Eerie
It’s hard to write anything about this record without feeling like you’re diminishing its weight; it’s one of those pieces of art that seems to hover above words for me (Jack). Mount Eerie is a record that must be listened to from start to finish as if it were one big song; with headphones on loud to hear the details creeping in the corners; with attention paid to the poetry of the lyrics; and with no expectations. It’s transcendent. The use of distorted bass and layered, blown out drums on this record is something that came up in the studio a lot while recording Moneyball (ie. the end of “Sandcastle Molds,” or the violin-bow bass on “Life “So Crazy”).

Yellow Swans – Going Places
It’s really important to make sounds in the absence of melody to emphasize melody. This absence allows the listener to fill in the blanks and navigate through the work without guidance so that when bits of melody are introduced, it hits harder than ever. This is the epitome of drone music, and this record displays it perfectly. Taking this ethos of discordant sound into the kind of music we make is huge for us.

Angel Olsen – My Woman
An overlooked aspect of the lyricism in “My Woman” is the humor (Shane). It’s a deeply insightful record but it is also irreverent in its self reflection. It finds the space to make despair funny – or to call out the absurdity of coping. Many of the songs on Moneyball find fun in the darkness in a similar way.

Talons – Rustic Bullshit
The use of found sound and unveiling of recording as an artifice in this record is akin to the way we record music (Davis). We’ve always tried to allow environmental artifacts that come up when recording in non-traditional spaces to take songs in different directions instead of refusing them. Oscar, Please, from our last record,“Blinded by Fame,” is a good example of this: we recorded the yard outside the garage our studio space was in and built a song around it. The environmental sounds that are normally blocked out became the bones of the song, sort of in the tradition of musique concret. There was a moment where a plane flew over us at the exact right moment to act as a crescendo to the song—it was like magic. We brought this to Moneyball too, and hopefully we can still bring it to a proper studio space when the time comes.

Bobby Charles – Bobby Charles
It’s fair to say that I’m immediately turned off by perfection in recordings (Conner). Older music was the antithesis of this. A lot of it was done live and there are a lot of mistakes in there. “Bobby Charles” feels incredibly tight, and the musicians playing on it are amazing, but then there are moments where, say, the bass player plays a wrong note, but somehow it still makes the cut. Because the emotion of the recording feels so right, mistakes like this don’t take away from it, but instead makes it better. This way of going about recording has become a part of Dutch Interior’s recording philosophy. It’s not that I like mistakes, it’s that this level of honesty in recordings heightens the emotional impact of a song. The perfect take isn’t always the best take (Hayden).

The Velvet Underground – The Velvet Underground and Nico
This band has been written about a thousand times for obvious reasons. It’s a massively inspiring record for all of us.

Acetone – Acetone
This is probably one of the best slowcore records ever, but calling it “slowcore” feels diminutive. The clarity and natural character of the recordings is amazing—I’ve never heard a record capture the way rock instruments actually sound (Conner). The melodic range of the guitar and bass on this record + the way they are mixed causes the two to blend into and out of each other. The constraint and wide dynamics of the performances from Mark Lightcap (guitar) and Richie Lee (bass) is unparalleled and no one will ever outdo them (Jack). Acetone’s influence is all over our discography and we were lucky enough to open for them in our shared homebase of Los Angeles in February.

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Dutch Interior are on tour with Frog starting this weekend and will be on the East Coast in June, including a NYC show at Baby’s All Right on June 10. See all dates below.

Dutch Interior – 2025 Tour Dates
Fri. Mar. 21 – Los Angeles, CA @ Well Wishes (album release party)
Sat. Mar. 22 – Los Angeles, CA @ The Echo*
Sun. Mar. 23 – San Francisco, CA @ Bottom Of The Hill*
Tue. Mar. 25 – Seattle, WA @ Black Lodge*
Wed. Mar. 26 – Vancouver, BC @ Fox Cabaret*
Thu. Mar. 27 – Portland, OR @ Mississippi Studios*
Fri. Mar. 28 – Boise, ID @ Treefort Music Festival
Thu. Apr. 3 – Los Angeles, CA @ Lodge Room^
Sun. Apr. 6 – San Diego, CA @ Voodoo Room^
Tue. Apr. 8 – Phoenix, AZ @ Rebel Lounge^
Thu. Apr. 10 – Austin, TX @ Mohawk^
Fri. Apr. 11 – San Antonio, TX @ Paper Tiger^
Sat. Apr. 12 – Houston, TX @ Wonky Power^
Sun. Apr. 13 – Denton, TX @ Rubber Gloves^
Thu. May 29 – Santa Ana, CA @ Constellation Room
Fri. May 30 – Las Vegas, NV @ The Griffin
Sat. May 31 – Salt Lake City, UT @ Quarters
Sun. June 1 Denver, CO @ Lost Lake
Tue. June 3 – Minneapolis, MN @ Zhora Darling
Wed. June 4 – Chicago, IL @ Empty Bottle
Thu. June 5 – Detroit, IL @ Parts & Labor
Sat. June 7 – Boston, MA @ Warehouse XI
Sun. June 8 – Philadelphia, PA @ Foto Club
Tue. June 10 – Brooklyn, NY @ Baby’s All Right
Wed. June 11 – Washington, DC @ Comet Ping Pong
Sat. Aug. 30 – Manchester, UK @ Manchester Psych Festival
Sun. Aug. 31 – Dorset, UK @ End of the Road Festival
Tue. Sep. 2 – Glasgow, UK @ The Hug and Pint
Wed Sep. 3 – Leeds, UK @ Brudenell Social Club
Thu. Sep. 4 – London, UK @ The George Tavern
Sat. Sep. 6 – Bristol, UK @ The Louisiana
Sun. Sep. 7 – Brighton, UK @ The Green Door Store
Tue. Sep. 9 – Brussels, BE @ Botanique
Wed. Sep. 10 – Berlin, DE @ Maschinenhaus
Fri. Sep. 12 – Paris, FR @ Supersonic

# supporting Iceage
* supporting Frog
^ supporting Lowertown