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Genre of rock music
For the radio format associated with this genre, see Modern rock
Alternative rock (also known as alternative music,🍉 alt-rock or simply alternative) is a category of rock music that evolved from the independent music underground of the 1970s.🍉 Alternative rock acts achieved mainstream success in the 1990s with the likes of the grunge, shoegaze, and Britpop subgenres in🍉 the United States and United Kingdom, respectively. During this period, many record labels were looking for "alternatives", as many corporate🍉 rock, hard rock, and glam metal acts from the 1980s were beginning to grow stale throughout the music industry. The🍉 emergence of Generation X as a cultural force in the 1990s also contributed greatly to the rise of alternative rock.
"Alternative"🍉 refers to the genre's distinction from mainstream or commercial rock or pop. The term's original meaning was broader, referring to🍉 musicians influenced by the musical style or independent, DIY ethos of late-1970s punk rock.[4] Traditionally, alternative rock varied in terms🍉 of its sound, social context, and regional roots. Throughout the 1980s, magazines and zines, college radio airplay, and word of🍉 mouth had increased the prominence and highlighted the diversity of alternative rock's distinct styles (and music scenes), such as noise🍉 pop, indie rock, grunge, and shoegaze. In September 1988, Billboard introduced "alternative" into their charting system to reflect the rise🍉 of the format across radio stations in the United States by stations like KROQ-FM in Los Angeles and WDRE-FM in🍉 New York, which were playing music from more underground, independent, and non-commercial rock artists.[5][6]
Initially, several alternative styles achieved minor mainstream🍉 notice and a few bands, such as R.E.M. and Jane's Addiction, were signed to major labels. Most alternative bands at🍉 the time, like The Smiths, one of the key British alternative rock bands during the 1980s, however, remained signed to🍉 independent labels and received relatively little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the🍉 popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream, and many alternative bands🍉 became successful.
Emo found mainstream success in the 2000s with multi-platinum acts such as Fall Out Boy, My Chemical Romance, Paramore🍉 and Panic! at the Disco. Bands such as the White Stripes and the Strokes found commercial success in the early🍉 2000s, influencing an influx of new alternative rock bands that drew inspiration from garage rock, post-punk and new wave, establishing🍉 a revival of the genres.
Origin of term [ edit ]
In the past, popular music tastes were dictated by music executives🍉 within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, and🍉 therefore who could generate the most sales. These bands were able to record their songs in expensive studios, and their🍉 works were then offered for sale through record store chains that were owned by the entertainment corporations, along with eventually🍉 selling the merchandise into big box retailers. Record companies worked with radio and television companies to get the most exposure🍉 for their artists. The people making the decisions were business people dealing with music as a product, and those bands🍉 who were not making the expected sales figures were then excluded from this system.[7]
Before the term alternative rock came into🍉 common usage around 1990, the sorts of music to which it refers were known by a variety of terms. In🍉 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about.[page needed] In 1979 Dallas🍉 radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative".[10] "College rock" was used in🍉 the United States to describe the music during the 1980s due to its links to the college radio circuit and🍉 the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a🍉 result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines🍉 published charts based on small record stores called "Alternative Charts". The first national chart based on distribution called the Indie🍉 Chart was published in January 1980; it immediately succeeded in its aim to help these labels. At the time, the🍉 term indie was used literally to describe independently distributed records.[12] By 1985, indie had come to mean a particular genre,🍉 or group of subgenres, rather than simply distribution status.
The use of the term alternative to describe rock music originated around🍉 the mid-1980s;[13] at the time, the common music industry terms for cutting-edge music were new music and postmodern, respectively indicating🍉 freshness and a tendency to recontextualize sounds of the past.[4] A similar term, alternative pop, emerged around 1985.[15]
In 1987, Spin🍉 magazine categorized college rock band Camper Van Beethoven as "alternative/indie", saying that their 1985 song "Where the Hell Is Bill"🍉 (from Telephone Free Landslide Victory) "called out the alternative/independent scene and dryly tore it apart."[16] David Lowery, then frontman of🍉 Camper Van Beethoven, later recalled: "I remember first seeing that word applied to us... The nearest I could figure is🍉 that we seemed like a punk band, but we were playing pop music, so they made up this word alternative🍉 for those of us who do that."[17] DJs and promoters during the 1980s claim the term originates from American FM🍉 radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and🍉 giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term 'alternative' got rediscovered🍉 and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music."[18]
At first🍉 the term referred to intentionally non-mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and🍉 "high-energy dance anthems".[19] Usage of the term would broaden to include new wave, pop, punk rock, post-punk, and occasionally "college"/"indie"🍉 rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim🍉 Gerr wrote that Alternative also encompassed variants such as "rap, trash, metal and industrial".[20] The bill of the first Lollapalooza,🍉 an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock🍉 community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails, Siouxsie and the Banshees (as second headliners) and Jane's Addiction🍉 (as the headlining act).[20] Covering for MTV the opening date of Lollapalooza in Phoenix in July 1991, Dave Kendall introduced🍉 the report saying the festival presented the "most diverse lineups of alternative rock".[21] That summer, Farrell had coined the term🍉 Alternative Nation.[22]
In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has🍉 formerly been considered alternative rock—a college-centered marketing group with fairly lucrative, if limited, potential—has in fact moved into the mainstream."[20]
In🍉 the late 1990s, the definition again became more specific.[4] In 1997, Neil Strauss of The New York Times defined alternative🍉 rock as "hard-edged rock distinguished by brittle, '70s-inspired guitar riffing and singers agonizing over their problems until they take on🍉 epic proportions."[19]
Defining music as alternative is often difficult because of two conflicting applications of the word. Alternative can describe music🍉 that challenges the status quo and that is "fiercely iconoclastic, anticommercial, and antimainstream", and the term is also used in🍉 the music industry to denote "the choices available to consumers via record stores, radio, cable television, and the Internet."[23] However🍉 alternative music has paradoxically become just as commercial and marketable as the mainstream rock, with record companies using the term🍉 "alternative" to market music to an audience that mainstream rock does not reach.[24] Using a broad definition of the genre,🍉 Dave Thompson in his book Alternative Rock cites the formation of the Sex Pistols as well as the release of🍉 the albums Horses by Patti Smith and Metal Machine Music by Lou Reed as three key events that gave birth🍉 to alternative rock.[25] Until the early 2000s, when indie rock became the most common term in the US to describe🍉 modern pop and rock, the terms "indie rock" and "alternative rock" were often used interchangeably;[26] while there are aspects which🍉 both genres have in common, "indie rock" was regarded as a British-based term, unlike the more American "alternative rock".[27]
Characteristics [🍉 edit ]
The name "alternative rock" essentially serves as an umbrella term for underground music that has emerged in the wake🍉 of punk rock since the mid-1980s.[28] Throughout much of its history, alternative rock has been largely defined by its rejection🍉 of the commercialism of mainstream culture, although this could be contested since some of the major alternative artists have eventually🍉 achieved mainstream success or co-opted with the major labels from the 1990s onward (especially into the 2000s, and beyond). In🍉 the 1980s, alternative bands generally played in small clubs, recorded for indie labels, and spread their popularity through word of🍉 mouth.[29] As such, there is no set musical style for alternative rock as a whole, although in 1989 The New🍉 York Times asserted that the genre is "guitar music first of all, with guitars that blast out power chords, pick🍉 out chiming riffs, buzz with fuzztone and squeal in feedback."[30] More often than in other rock styles since the mainstreaming🍉 of rock music, alternative rock lyrics tend to address topics of social concern, such as drug use, depression, suicide, and🍉 environmentalism.[29] This approach to lyrics developed as a reflection of the social and economic strains in the United States and🍉 United Kingdom of the 1980s and early 1990s.[31]
1960s and 1970s: Precursors [ edit ]
Precursors to alternative rock existed in the🍉 1960s with proto-punk.[32] The origins of alternative rock can be traced back to The Velvet Underground & Nico (1967) by🍉 the Velvet Underground,[33] which influenced many alternative rock bands that would come after it.[34] Eccentric and quirky figures of the🍉 1960s, such as Syd Barrett have influence on alternative rock in general.[35]
1980s: Early history [ edit ]
One of the first🍉 popular alternative rock bands, R.E.M. relied on college-radio airplay, constant touring and a grassroots fanbase to break into the mainstream.
The🍉 Dead Kennedys formed the independent record label Alternative Tentacles in 1979, releasing influential underground music such as the 1983 self-titled🍉 EP from the Butthole Surfers. By 1984, a majority of groups that were signed to indie labels drew from a🍉 variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper-rational post-punk years.
"Alternative music🍉 is music that hasn't yet achieved a mainstream audience, Alternative isn't new wave any more, it's a disposition of mind.🍉 Alternative music is any kind of music that has the potential to reach a wider audience. It also has real🍉 strength, real quality, real excitement, and it has to be socially significant, as opposed to Whitney Houston, which is pablum."🍉 —Mark Josephson, Executive Director of the New Music Seminar speaking in 1988[37]
Throughout the 1980s, alternative rock remained mainly an underground🍉 phenomenon. While on occasion a song would become a commercial hit, or albums would receive critical praise in mainstream publications🍉 like Rolling Stone, alternative rock in the 1980s was primarily featured on independent record labels, fanzines and college radio stations.🍉 Alternative bands built underground followings by touring constantly and by regularly releasing low-budget albums. In the United States, new bands🍉 would form in the wake of previous bands, which created an extensive underground circuit filled with different scenes in various🍉 parts of the country.[28] College radio formed an essential part of breaking new alternative music. In the mid-1980s, college station🍉 KCPR in San Luis Obispo, California, described in a DJ handbook the tension between popular and "cutting edge" songs as🍉 played on "alternative radio".[38]
Although American alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence🍉 on later alternative musicians and laid the groundwork for their success. On September 10, 1988, an Alternative Songs chart was🍉 created by Billboard, listing the 40 most-played songs on alternative and modern rock radio stations in the US: the first🍉 number one was "Peek-a-Boo" by Siouxsie and the Banshees.[40] By 1989, the genre had become popular enough that a package🍉 tour featuring New Order, Public Image Limited and the Sugarcubes toured the US arena circuit.[41]
Early on, British alternative rock was🍉 distinguished from that of the US by a more pop-oriented focus (marked by an equal emphasis on albums and singles,🍉 as well as greater openness to incorporating elements of dance and club culture) and a lyrical emphasis on specifically British🍉 concerns. As a result, few British alternative bands have achieved commercial success in the US.[42] Since the 1980s, alternative rock🍉 has been played extensively on the radio in the UK, particularly by disc jockeys such as John Peel (who championed🍉 alternative music on BBC Radio 1), Richard Skinner, and Annie Nightingale. Artists with cult followings in the US received greater🍉 exposure through British national radio and the weekly music press, and many alternative bands had chart success there.[43]
American underground in🍉 the 1980s [ edit ]
Early American alternative bands such as the Dream Syndicate, the Bongos, 10,000 Maniacs, R.E.M., the Feelies🍉 and Violent Femmes combined punk influences with folk music and mainstream music influences. R.E.M. was the most immediately successful; their🍉 debut album, Murmur (1983), entered the Top 40 and spawned a number of jangle pop followers.[44] One of the many🍉 jangle pop scenes of the early 1980s, Los Angeles' Paisley Underground revived the sounds of the 1960s, incorporating psychedelia, rich🍉 vocal harmonies and the guitar interplay of folk rock as well as punk and underground influences such as the Velvet🍉 Underground.[28]
American indie record labels SST Records, Twin/Tone Records, Touch and Go Records, and Dischord Records presided over the shift from🍉 the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were🍉 emerging. Minneapolis bands Hüsker Dü and the Replacements were indicative of this shift. Both started out as punk rock bands,🍉 but soon diversified their sounds and became more melodic.[28] Michael Azerrad asserted that Hüsker Dü was the key link between🍉 hardcore punk and the more melodic, diverse music of college rock that emerged. Azerrad wrote, "Hüsker Dü played a huge🍉 role in convincing the underground that melody and punk rock weren't antithetical."[46] The band also set an example by being🍉 the first group from the American indie scene to sign to a major record label, which helped establish college rock🍉 as "a viable commercial enterprise". By focusing on heartfelt songwriting and wordplay instead of political concerns, the Replacements upended a🍉 number of underground scene conventions; Azerrad noted that "along with R.E.M., they were one of the few underground bands that🍉 mainstream people liked."
By the late 1980s, the American alternative scene was dominated by styles ranging from quirky alternative pop (They🍉 Might Be Giants and Camper Van Beethoven), to noise rock (Sonic Youth, Big Black, the Jesus Lizard[49]) and industrial rock🍉 (Ministry, Nine Inch Nails). These sounds were in turn followed by the advent of Boston's Pixies and Los Angeles' Jane's🍉 Addiction.[28] Around the same time, the grunge subgenre emerged in Seattle, Washington, initially referred to as "The Seattle Sound" until🍉 its rise to popularity in the early 1990s.[50] Grunge featured a sludgy, murky guitar sound that syncretized heavy metal and🍉 punk rock.[51] Promoted largely by Seattle indie label Sub Pop, grunge bands were noted for their thrift store fashion which🍉 favored flannel shirts and combat boots suited to the local weather.[52] Early grunge bands Soundgarden and Mudhoney found critical acclaim🍉 in the U.S. and UK, respectively.[28]
By the end of the decade, a number of alternative bands began to sign to🍉 major labels. While early major label signings Hüsker Dü and the Replacements had little success, acts who signed with majors🍉 in their wake such as R.E.M. and Jane's Addiction achieved gold and platinum records, setting the stage for alternative's later🍉 breakthrough. Some bands such as Pixies had massive success overseas while they were ignored domestically.[28]
In the middle of the decade,🍉 Hüsker Dü's album Zen Arcade influenced other hardcore acts by tackling personal issues. Out of Washington, D.C.'s hardcore scene what🍉 was called "emocore" or, later, "emo" emerged and was noted for its lyrics which delved into emotional, very personal subject🍉 matter (vocalists sometimes cried) and added free association poetry and a confessional tone. Rites of Spring has been described as🍉 the first "emo" band. Former Minor Threat singer Ian MacKaye founded Dischord Records which became the center for the city's🍉 emo scene.[55]
British subgenres and trends of the 1980s [ edit ]
Gothic rock developed out of late-1970s British post-punk. With a🍉 reputation as the "darkest and gloomiest form of underground rock", gothic rock uses a synthesizer-and-guitar based sound drawn from post-punk🍉 to construct "foreboding, sorrowful, often epic soundscapes", and the subgenre's lyrics often address literary romanticism, morbidity, religious symbolism, and supernatural🍉 mysticism.[56] Bands of this subgenre took inspiration from two British post-punk groups, Siouxsie and the Banshees,[57] and Joy Division. Bauhaus'🍉 debut single "Bela Lugosi's Dead", released in 1979, is considered to be the proper beginning of the gothic rock subgenre.🍉 The Cure's "oppressively dispirited" albums including Pornography (1982) cemented that group's stature in that style and laid the foundation for🍉 its large cult following.
The key British alternative rock band to emerge during the 1980s was Manchester's the Smiths. Music journalist🍉 Simon Reynolds singled out the Smiths and their American contemporaries R.E.M. as "the two most important alt-rock bands of the🍉 day", commenting that they "were eighties bands only in the sense of being against the eighties". The Smiths exerted an🍉 influence over the British indie scene through the end of the decade, as various bands drew from singer Morrissey's English-centered🍉 lyrical topics and guitarist Johnny Marr's jangly guitar-playing style.[42] The C86 cassette, a 1986 NME premium featuring Primal Scream, the🍉 Wedding Present and others, was a major influence on the development of indie pop and the British indie scene as🍉 a whole.[62][63]
Other forms of alternative rock developed in the UK during the 1980s. the Jesus and Mary Chain's sound combined🍉 the Velvet Underground's "melancholy noise" with Beach Boys pop melodies and Phil Spector's "Wall of Sound" production,[64][65] while New Order🍉 emerged from the demise of post-punk band Joy Division and experimented with disco and dance music.[42] The Mary Chain, along🍉 with Dinosaur Jr., C86 and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of🍉 the late 1980s. Named for the band members' tendency to stare at their feet and guitar effects pedals[66] onstage rather🍉 than interact with the audience, shoegazing acts like My Bloody Valentine and Slowdive created an overwhelmingly loud "wash of sound"🍉 that obscured vocals and melodies with long, droning riffs, distortion, and feedback.[67] Shoegazing bands dominated the British music press at🍉 the end of the decade along with the Madchester scene. Performing for the most part in the Haçienda, a nightclub🍉 in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and the Stone Roses mixed🍉 acid house dance rhythms with melodic guitar pop.[68]
1991–1997: Peak popularity [ edit ]
The Amerindie of the early '80s became known🍉 as alternative or alt-rock, ascendant from Nirvana until 1996 or so but currently very unfashionable, never mind that the music🍉 is still there. — Christgau's Consumer Guide: Albums of the '90s (2000)[69]
By the start of the 1990s, the music industry🍉 was enticed by alternative rock's commercial possibilities and major labels had already signed Jane's Addiction, Red Hot Chili Peppers and🍉 Dinosaur Jr. In early 1991, R.E.M. went mainstream worldwide with Out of Time while becoming a blueprint for many alternative🍉 bands.[28]
The first edition of the Lollapalooza festival became the most successful tour in North America in July and August 1991.🍉 For Dave Grohl of Nirvana who caught it near Los Angeles in an open-air amphitheater, "it felt like something was🍉 happening, that was the beginning of it all". The tour helped change the mentalities in the music industry: "by that🍉 fall, radio and MTV and music had changed. I really think that if it weren't for Perry [Farrell], if it🍉 weren't for Lollapalooza, you and I wouldn't be having this conversation right now".[70]
Kurt Cobain (foreground) and Krist Novoselic with Nirvana🍉 live at the 1992 MTV Video Music Awards
The release of the Nirvana's single "Smells Like Teen Spirit" in September 1991🍉 "marked the instigation of the grunge music phenomenon". Helped by constant airplay of the song's music video on MTV, their🍉 album Nevermind was selling 400,000 copies a week by Christmas 1991. Its success surprised the music industry. Nevermind not only🍉 popularized grunge, but also established "the cultural and commercial viability of alternative rock in general."[72] Michael Azerrad asserted that Nevermind🍉 symbolized "a sea-change in rock music" in which the hair metal that had dominated rock music at that time fell🍉 out of favor in the face of music that was authentic and culturally relevant. The breakthrough success of Nirvana led🍉 to the widespread popularization of alternative rock in the 1990s. It heralded a "new openness to alternative rock" among commercial🍉 radio stations, opening doors for heavier alternative bands in particular.[74] In the wake of Nevermind, alternative rock "found itself dragged-kicking🍉 and screaming ... into the mainstream" and record companies, confused by the genre's success yet eager to capitalize on it,🍉 scrambled to sign bands.[75] The New York Times declared in 1993, "Alternative rock doesn't seem so alternative anymore. Every major🍉 label has a handful of guitar-driven bands in shapeless shirts and threadbare jeans, bands with bad posture and good riffs🍉 who cultivate the oblique and the evasive, who conceal catchy tunes with noise and hide craftsmanship behind nonchalance."[76] However, many🍉 alternative rock artists rejected success, for it conflicted with the rebellious, DIY ethic the genre had espoused before mainstream exposure🍉 and their ideas of artistic authenticity.[77]
Grunge [ edit ]
Other grunge bands subsequently replicated Nirvana's success. Pearl Jam had released its🍉 debut album Ten a month before Nevermind in 1991, but album sales only picked up a year later.[78] By the🍉 second half of 1992 Ten became a breakthrough success, being certified gold and reaching number two on the Billboard 200🍉 album chart.[79] Soundgarden's album Badmotorfinger, Alice in Chains' Dirt and Stone Temple Pilots' Core along with the Temple of the🍉 Dog album collaboration featuring members of Pearl Jam and Soundgarden, were also among the 100 top-selling albums of 1992. The🍉 popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool".[52] Major record labels signed most🍉 of the prominent grunge bands in Seattle, while a second influx of bands moved to the city in hopes of🍉 success. At the same time, critics asserted that advertising was co-opting elements of grunge and turning it into a fad.🍉 Entertainment Weekly commented in a 1993 article, "There hasn't been this kind of exploitation of a subculture since the media🍉 discovered hippies in the '60s."[82] The New York Times compared the "grunging of America" to the mass-marketing of punk rock,🍉 disco, and hip hop in previous years. As a result of the genre's popularity, a backlash against grunge developed in🍉 Seattle.[52]
Nirvana's follow-up album In Utero (1993) was an intentionally abrasive album that Nirvana bassist Krist Novoselic described as a "wild🍉 aggressive sound, a true alternative record."[83] Nevertheless, upon its release in September 1993 In Utero topped the Billboard charts.[84] Pearl🍉 Jam also continued to perform well commercially with its second album, Vs. (1993), which topped the Billboard charts by selling🍉 a record 950,378 copies in its first week of release.[85] In 1993, the Smashing Pumpkins released their major breakthrough album,🍉 Siamese Dream—which debuted at number 10 on the Billboard 200 and sold over 4 million copies by 1996, receiving multi-platinum🍉 certification by the RIAA. In 1995, the band released their double album, Mellon Collie & the Infinite Sadness—which went on🍉 to sell 10 million copies in the US alone, certifying it as a Diamond record.[86]
Britpop [ edit ]
With the decline🍉 of the Madchester scene and the unglamorousness of shoegazing, the tide of grunge from America dominated the British alternative scene🍉 and music press in the early 1990s.[42] As a reaction, a flurry of British bands emerged that wished to "get🍉 rid of grunge" and "declare war on America", taking the public and native music press by storm.[87] Dubbed "Britpop" by🍉 the media, and represented by Pulp, Blur, Suede, and Oasis, this movement was the British equivalent of the grunge explosion,🍉 in that the artists propelled alternative rock to the top of the charts in their home country.[42]
Britpop bands were influenced🍉 by and displayed reverence for British guitar music of the past, particularly movements and genres such as the British Invasion,🍉 glam rock, and punk rock. In 1995, the Britpop phenomenon culminated in a rivalry between its two chief groups, Oasis🍉 and Blur, symbolized by their release of competing singles on the same day. Blur won "The Battle of Britpop", but🍉 they were soon eclipsed in popularity by Oasis whose second album, (What's the Story) Morning Glory? (1995), went on to🍉 become the third best-selling album in the UK's history.[90]
Indie rock [ edit ]
The indie rock band Pavement in 1993
Long synonymous🍉 with alternative rock as a whole in the US, indie rock became a distinct form following the popular breakthrough of🍉 Nirvana.[91] Indie rock was formulated as a rejection of alternative rock's absorption into the mainstream by artists who could not🍉 or refused to cross over, and a wariness of its "macho" aesthetic. While indie rock artists share the punk rock🍉 distrust of commercialism, the genre does not entirely define itself against that, as "the general assumption is that it's virtually🍉 impossible to make indie rock's varying musical approaches compatible with mainstream tastes in the first place".[91]
Labels such as Matador Records,🍉 Merge Records, and Dischord, and indie rockers like Pavement, Superchunk, Fugazi, and Sleater-Kinney dominated the American indie scene for most🍉 of the 1990s. One of the main indie rock movements of the 1990s was lo-fi. The movement, which focused on🍉 the recording and distribution of music on low-quality cassette tapes, initially emerged in the 1980s. By 1992, Pavement, Guided by🍉 Voices and Sebadoh became popular lo-fi cult acts in the United States, while subsequently artists like Beck and Liz Phair🍉 brought the aesthetic to mainstream audiences.[93] The period also saw alternative confessional female singer-songwriters. Besides the aforementioned Liz Phair, PJ🍉 Harvey fit into this sub group.[94]
In the mid-1990s, Sunny Day Real Estate defined the emo genre. Weezer's album Pinkerton (1996)🍉 was also influential.[55]
Post-rock was established by Talk Talk's Laughing Stock and Slint's Spiderland albums, both released in 1991.[95] Post-rock draws🍉 influence from a number of genres, including Krautrock, progressive rock, and jazz. The genre subverts or rejects rock conventions, and🍉 often incorporates electronic music.[95] While the name of the genre was coined by music journalist Simon Reynolds in 1994 referring🍉 to Hex by the London group Bark Psychosis,[96] the style of the genre was solidified by the release of Millions🍉 Now Living Will Never Die (1996) by the Chicago group Tortoise.[95] Post-rock became the dominant form of experimental rock music🍉 in the 1990s and bands from the genre signed to such labels as Thrill Jockey, Kranky, Drag City, and Too🍉 Pure.[95]
A related genre, math rock, peaked in the mid-1990s. In comparison to post-rock, math rock relies on more complex time🍉 signatures and intertwining phrases.[97] By the end of the decade a backlash had emerged against post-rock due to its "dispassionate🍉 intellectuality" and its perceived increasing predictability, but a new wave of post-rock bands such as Godspeed You! Black Emperor and🍉 Sigur Rós emerged who further expanded the genre.[95]
Other trends [ edit ]
In 1993, the Smashing Pumpkins' album Siamese Dream was🍉 a major commercial success. The strong influence of heavy metal and progressive rock on the album helped to legitimize alternative🍉 rock to mainstream radio programmers and close the gap between alternative rock and the type of rock played on American🍉 1970s Album Oriented Rock radio.[86]
1997–2010: Moving on [ edit ]
Foo Fighters (pictured in 2024) helped to fill a power vacuum🍉 in the late 1990s, and are considered to have established post-grunge.
Post-grunge band Creed in 2002
Going into the 21st century, most🍉 of the alternative rock bands that had achieved mainstream success in the 1990s had fractured due to a number of🍉 events, including the suicide of Nirvana's Kurt Cobain in April 1994, Pearl Jam's failed lawsuit against concert venue promoter Ticketmaster,🍉 Soundgarden's break-up in 1997, the original members of the Smashing Pumpkins breaking up in 2000, the announcement of L7's hiatus🍉 in 2001, the death of Layne Staley and the subsequent disbanding of Alice in Chains in 2002, and the disbanding🍉 of both the Cranberries and Stone Temple Pilots in 2003.[77] In addition to the fracturing of grunge bands, Britpop faded🍉 as Oasis's third album, Be Here Now (1997), received lackluster reviews and Blur began to incorporate influences from American alternative🍉 rock.
A signifier of alternative rock's changes was the hiatus of the Lollapalooza festival after an unsuccessful attempt to find a🍉 headliner in 1998. In light of the festival's troubles that year, Spin said, "Lollapalooza is as comatose as alternative rock🍉 right now".[99] Despite these changes in style however, alternative rock remained commercially viable into the start of the 21st century.
During🍉 the latter half of the 1990s, grunge was supplanted by post-grunge. Many post-grunge bands lacked the underground roots of grunge🍉 and were largely influenced by what grunge had become, namely "a wildly popular form of inward-looking, serious-minded hard rock."; many🍉 post-grunge bands emulated the sound and style of grunge, "but not necessarily the individual idiosyncracies of its original artists."[100] Post-grunge🍉 was a more commercially viable genre that tempered the distorted guitars of grunge with polished, radio-ready production.[100]
Originally, post-grunge was a🍉 label used almost pejoratively on bands that emerged when grunge was mainstream and emulated the grunge sound. The label suggested🍉 that bands labelled as post-grunge were simply musically derivative, or a cynical response to an "authentic" rock movement.[101] Bush, Candlebox🍉 and Collective Soul were labelled almost pejoratively as post-grunge which, according to Tim Grierson of About, is "suggesting that rather🍉 than being a musical movement in their own right, they were just a calculated, cynical response to a legitimate stylistic🍉 shift in rock music."[101] Post-grunge morphed during the late 1990s and 2000s as newer bands such as Foo Fighters, Matchbox🍉 Twenty, Creed and Nickelback emerged, becoming among the most popular rock bands in the United States.[101]
At the same time Britpop🍉 began to decline, Radiohead achieved critical acclaim with its third album OK Computer (1997), and its follow-ups Kid A (2000)🍉 and Amnesiac (2001), which were in marked contrast with the traditionalism of Britpop. Radiohead, along with post-Britpop groups like Travis,🍉 Stereophonics and Coldplay, were major forces in British rock in subsequent years.
Third-wave ska [ edit ]
After almost a decade in🍉 the underground, ska punk, a mixture of earlier British ska and punk acts, became popular in the United States. Rancid🍉 was the first of the "third-wave ska revival" acts to break. From the mid-1990s to early 2000s, the Mighty Mighty🍉 Bosstones, No Doubt, Sublime, Goldfinger, Reel Big Fish, Less Than Jake and Save Ferris charted or received radio exposure.[103][104]
Post-punk revival🍉 and garage rock revival [ edit ]
During the late 1990s and early 2000s, several alternative rock bands emerged, including the🍉 Strokes, Franz Ferdinand, Interpol, and the Rapture that drew primary inspiration from post-punk and new wave, establishing the post-punk revival🍉 movement.[105] Preceded by the success of bands such as the Strokes and the White Stripes earlier in the decade, an🍉 influx of new alternative rock bands, including several post-punk revival artists and others such as the Killers, and Yeah Yeah🍉 Yeahs, found commercial success in the early and mid 2000s. Owing to the success of these bands, Entertainment Weekly declared🍉 in 2004, "After almost a decade of domination by rap-rock and nu-metal bands, mainstream alt-rock is finally good again."[106] Arctic🍉 Monkeys were a prominent act to owe their initial commercial success to the use of Internet social networking,[107] with two🍉 UK No. 1 singles and Whatever People Say I Am, That's What I'm Not (2006), which became the fastest-selling debut🍉 album in British chart history.[108]
Emo [ edit ]
Emo band Jimmy Eat World performing in 2007
By 2000 and on into the🍉 new decade, emo was one of the most popular rock music genres.[55] Popular acts included the sales success of Bleed🍉 American by Jimmy Eat World (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003).[109] The🍉 new emo had a much more mainstream sound than in the 1990s and a far greater appeal among adolescents than🍉 its earlier incarnations.[109] At the same time, the use of the term "emo" expanded beyond the musical genre, becoming associated🍉 with fashion, a hairstyle and any music that expressed emotion.[110] Emo's mainstream success continued with bands emerging in the 2000s,🍉 including multi-platinum acts such as Fall Out Boy[111] and My Chemical Romance[112] and mainstream groups such as Paramore[111] and Panic!🍉 at the Disco.[113]
Other trends [ edit ]
Muse performing in Melbourne, January 2010
American rock band Red Hot Chili Peppers entered a🍉 new-found popularity in 1999 after the release of their album Californication (1999), with continued success throughout the 2000s. Thirty Seconds🍉 to Mars experienced a notable rise in popularity during the latter half of the 2000s.[114]
2010–present: The future [ edit ]
Most🍉 references to alternative rock music in the United States past 2010 are to the indie rock genre, a term that🍉 previously had limited usage on alternative rock channels and media.[26] Radio stations in the 2010s have been changing formats away🍉 from alternative rock, but this is mostly motivated by conglomeration efforts coupled with advertisers seeking more Top 40/Top 100 stations🍉 for sales.[115] While there have been conflicting opinions on the relevance of alternative rock to mainstream audiences beyond 2010,[116][117] Dave🍉 Grohl commented on an article from the December 29, 2013, issue of the New York Daily News stating that rock🍉 is dead:[118] "speak for yourself... rock seems pretty alive to me."[119]
Trends of the 2010s [ edit ]
Contemporary mainstream alternative rock🍉 bands tend to fuse musical elements of hard rock, electronica, hip-hop, indie, and punk while placing emphasis on keyboards and🍉 guitar. In 2010s, British rock band Muse gained a worldwide recognition with their album The Resistance and Drones which won🍉 Grammy Awards.[120][121]
American alternative duo Twenty One Pilots blurs the lines between genres including hip hop, emo, rock, indie pop and🍉 reggae and has managed to break numerous records.[122] They became the first alternative act to have two concurrent top five🍉 singles in the United States while their fourth studio album Blurryface (2024) was the first album in history to have🍉 every song receive at least a Gold certification from the Recording Industry Association of America.[123][124][125] Twenty One Pilots also became🍉 the first rock act to have a song reach a billion streams on Spotify.[126] Their breakout hit single "Stressed Out"🍉 was the twenty-fifth song to achieve the rare feat of at least one billion plays on the streaming platform. The🍉 milestone comes at a time when music genres represented on streaming platforms like Spotify are fairly homogeneous, being dominated by🍉 genres such as hip hop, EDM, and adult contemporary-styled pop.[126]
Alternative pop [ edit ]
Lana Del Rey performing at Irving Plaza,🍉 June 2012
Alternative pop (also known as alt-pop), is a term used to describe pop music with broad commercial appeal that🍉 is made by figures outside the mainstream, or which is considered more original, challenging, or eclectic than traditional pop music.[127]🍉 The Independent described alt-pop as "a home-made, personalised imitation of the mainstream that speaks far closer to actual teenage experience",🍉 and which is commonly characterized by a dark or downbeat emotional tone with lyrics about insecurity, regret, drugs, and anxiety.[128]
According🍉 to AllMusic, the alternative scene's "left-of-center pop" failed to experience mainstream success during the 1980s,[129] although the UK alternative pop🍉 band Siouxsie and the Banshees saw success in that decade.[130] Canadian singer Avril Lavigne's success in the early 2000s, including🍉 her hit single "Sk8er Boi", helped set the stage for a subsequent generation of female alt-pop singers.[131] In the late🍉 2000s, American singer Santigold established herself as an "alternative pop hero" due to her apparent artistic conviction.[132]
In the early 2010s,🍉 American singer Lana Del Rey developed a "cult-like following" with her cinematic, beat-heavy alt-pop," which was characterized by an "alluring🍉 sadness and melodrama."[133] New Zealand alt-pop singer Lorde achieved global success in 2013 and 2014, topping charts and winning awards.[134]🍉 In 2024, American singer Billie Eilish was credited with marking the "ascendence" of alternative pop in the mainstream with her🍉 dark, downbeat pop.[128]
See also [ edit ]
Radio formats
References [ edit ]
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