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{{Infobox music genre
| name = Indie rock
| stylistic_origins = {{hlist|[[Alternative rock]]|[[punk rock]]|[[post-punk]]|[[college rock]]|[[Dunedin sound]]}}
| cultural_origins = Late 1970s to early 1980s, United States, United Kingdom and Australia
| derivatives = {{hlist|[[Chillwave]]|[[chamber pop]]|[[grunge]]<ref name="DiBlasi, Alex 2013. p. 520">DiBlasi, Alex. "Grunge" in ''Music in American Life: An Encyclopedia of the Songs, Styles, Stars and Stories that Shaped Our Culture'', p. 520-524. Edited by Jacqueline Edmondson. ABC-CLIO, 2013. p. e520</ref>| [[post-rock]]}}
| subgenres = {{hlist|[[Emo]]|[[math rock]]|[[noise pop]]|[[post-punk revival]]|[[sadcore]]|[[slacker rock]]|[[slowcore]]|[[shoegaze]]}}
| fusiongenres = {{hlist|[[Alternative dance]]|[[alternative R&B]]|[[grindie]]|[[indie folk]]|[[new rave]]}}
| regional_scenes = {{hlist|[[Australian indie rock|Australia]]|[[Indie rock in Belgium|Belgium]]|[[Rock music in the Netherlands#Indie rock|Netherlands]]|[[Music of Nevada#Indie|Nevada]]|[[New Yorkshire|Yorkshire]]}}
| local_scenes = {{hlist|[[Popular music of Birmingham#Indie and post-punk revival|Birmingham]]|[[Dunedin sound|Dunedin]]|[[Madchester|Manchester]]|[[Culture of Sheffield#Popular music|Sheffield]]|[[Music in Leeds#Alternative rock|Leeds]]|[[Hamburger Schule|Hamburg]]}}
| other_topics = {{hlist|[[Indie pop]]|[[Britpop]]|[[DIY ethic]]|[[jangle pop]]|[[Lo-fi music|lo-fi]]|[[noise rock]]}}
}}
 
'''Indie rock''' is a [[Music subgenre|subgenre]] of [[rock music]] that originated in the United States, United Kingdom, and New Zealand in the 1970s and 80s.<ref>{{Cite web |date=2019-04-03 |title=How did the Dunedin Sound influence the |url=https://savedelicious.com/how-did-the-dunedin-sound-influence-the-music-scene-in-dunedin-and-the-rest-of-new-zealand-as-a-whole/ |url-status=live |archive-url=https://web.archive.org/web/20220527150211/https://savedelicious.com/how-did-the-dunedin-sound-influence-the-music-scene-in-dunedin-and-the-rest-of-new-zealand-as-a-whole/ |archive-date=May 27, 2022 |access-date=2022-05-22 |website=SaveDelicious |language=en-US}}</ref><ref>{{Cite news |title=Nuns at the altar of rock |url=https://www.theguardian.com/music/2009/may/15/flying-nun-indie-rought-trade |last=Aston |first=Martin |date=2009-05-15 |access-date=2023-03-12 |work=The Guardian}}</ref> Originally used to describe rock music released through [[independent record label]]s, the term became more widely associated with the music the bands produced and was initially used interchangeably with [[alternative rock]] or "[[Pop rock|guitar pop rock]]".<ref>{{cite book|first=Katja|last=Plemenitas|chapter=The Complexity of Lyrics in Indie Music: The Example of Mumford & Sons|editor-last1=Kennedy|editor-first1=Victor|editor-last2=Gadpaille|editor-first2=Michelle|title=Words and Music|chapter-url=https://books.google.com/books?id=E9UxBwAAQBAJ&pg=PA79|date=2014|publisher=Cambridge Scholars Publishing|isbn=978-1-4438-6438-1|page=79}}</ref>
 
In the 1980s, the use of the term "[[independent music|indie]]" (or "[[indie pop]]") started to shift from its reference to recording companies to describe the style of music produced on [[punk rock|punk]] and [[post-punk]] labels.<ref name="BrownandVolgsten2006p.194">S. Brown and U. Volgsten, ''[[iarchive:musicmanipulatio0000unse|Music and Manipulation: on the Social Uses and Social Control of Music]]'' (Berghahn Books, 2006), {{ISBN|1-84545-098-1}}, p. 194.</ref> During the 1990s, [[grunge]] and [[Punk rock#Punk revival and mainstream success|punk revival]] bands in the US and [[Britpop]] bands in the UK broke into the mainstream, and the term "alternative" lost its original [[Counterculture|counter-cultural]] meaning. The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status.<ref name=AllMusicIndie/> By the end of the 1990s, indie rock developed several subgenres and related styles, including [[slacker rock|lo-fi]], [[noise pop]], [[emo]], [[slowcore]], [[post-rock]], and [[math rock]].<ref name=AllMusicIndie/>
 
In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream. The commercial breakthrough from these scenes was led by four bands: [[the Strokes]], [[the White Stripes]], [[the Hives]] and [[the Vines (band)|the Vines]]. Emo also broke into mainstream culture in the early 2000s.<ref name="DeRogatis2003">{{Citation |last=DeRogatis |first=J. |title=True Confessional? |date=October 3, 2003 |url=http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |journal=Chicago Sun-Times |df=mdy-all |archive-url=https://web.archive.org/web/20110501150556/http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |archive-date=May 1, 2011 |url-status=dead}}.</ref> By the end of the decade, the proliferation of indie bands was being referred to as an "indie landfill",<ref name="T. Walker">{{Citation |last=T. |first=Walker |title=Does the world need another indie band? |date=January 21, 2010 |url=https://www.independent.co.uk/arts-entertainment/music/features/does-the-world-need-another-indie-band-870520.html |journal=Independent |df=mdy-all |archive-url=https://web.archive.org/web/20100304122059/http://www.independent.co.uk/arts-entertainment/music/features/does-the-world-need-another-indie-band-870520.html |archive-date=March 4, 2010 |url-status=dead}}.</ref> with the term "landfill indie" becoming used by some critics/websites as subgenre for a certain type of 2000s indie band, in the same way Britpop is used for British guitar music of the 1990s.<ref>{{Cite web |last=Power |first=Ed |date=July 28, 2019 |title=How landfill indie swallowed guitar music in the mid-Noughties |url=https://www.independent.co.uk/arts-entertainment/music/features/landfill-indie-kaiser-chiefs-album-razorlight-kooks-ricky-wilson-a9022051.html |url-access=registration |url-status=live |archive-url=https://web.archive.org/web/20221206010156/https://www.independent.co.uk/arts-entertainment/music/features/landfill-indie-kaiser-chiefs-album-razorlight-the-kooks-ricky-wilson-a9022051.html |archive-date=Dec 6, 2022 |website=The Independent}}</ref><ref>{{Cite web |last=Sanchez |first=Miguel |date=September 4, 2020 |title=The Top 50 Greatest Landfill Indie Songs of All-Time (Vice) |url=https://www.pieandbovril.com/forum/index.php?/topic/265539-the-top-50-greatest-landfill-indie-songs-of-all-time-vice/ |url-status=live |archive-url=https://web.archive.org/web/20221024102720/https://www.pieandbovril.com/forum/index.php?/topic/265539-the-top-50-greatest-landfill-indie-songs-of-all-time-vice/ |archive-date=Oct 24, 2022 |website=The Pie Shop}}</ref><ref name="vice.com">{{Cite web |last1=Akinfenwa |first1=Jumi |last2=Joshi |first2=Tara |last3=Garland |first3=Emma |date=August 27, 2020 |title=The Top 50 Greatest Landfill Indie Songs of All Time |url=https://www.vice.com/en/article/bv8a8w/the-top-50-greatest-landfill-indie-songs-of-all-time |url-status=live |archive-url=https://web.archive.org/web/20221111203505/https://www.vice.com/en/article/bv8a8w/the-top-50-greatest-landfill-indie-songs-of-all-time |archive-date=Nov 11, 2022 |website=Vice}}</ref>
 
In the 2000s, changes in the music industry and the growing importance of the [[internet]] enabled a new wave of indie rock bands to achieve mainstream success, leading to questions about its meaningfulness as a term.<ref name="N. Abebe">{{Citation |last=Abebe |first=N. |title=The Decade in Indie |date=February 25, 2010 |url=https://pitchfork.com/features/articles/7704-the-decade-in-indie/ |journal=Pitchfork |access-date=April 30, 2011}}.</ref>
 
==Characteristics==
The term indie rock, which comes from "independent", describes the small and relatively low-budget [[independent record label|label]]s on which it is released and the [[DIY ethic|do-it-yourself]] attitude of the bands and artists involved. Although distribution deals are often struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds, emotions and subjects of limited appeal to large, mainstream audiences.<ref name="AllMusicIndie">{{Citation |title=Indie rock |url=https://www.allmusic.com/explore/style/d2687 |journal=AllMusic |df=mdy-all |archive-url=https://web.archive.org/web/20110105070517/http://www.allmusic.com/explore/style/d2687 |archive-date=January 5, 2011 |url-status=dead}}.</ref> The influences and styles of the artists have been extremely diverse, including [[punk rock|punk]], [[psychedelic rock|psychedelia]], [[post-punk]] and [[country music|country]].<ref name=BrownandVolgsten2006p.194/> The terms "[[alternative rock]]" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed [[Nirvana (band)|Nirvana]] into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success.<ref name=AllMusicIndie/> Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with authenticity, and the depiction of a simple guy or girl.<ref>{{cite journal|last1=Henry|first1=Stephen|last2=Novara|first2=Vincent J|title=Sound Recording Review: A Guide to Essential American Indie Rock (1980–2005)|journal=Notes: Quarterly Journal of the Music Library Association|date=2009|volume=65|issue=4|pages=816–33}}</ref>
 
''Allmusic'' identifies indie rock as including a number of "varying musical approaches [not] compatible with mainstream tastes".<ref>{{cite web|url=https://www.allmusic.com/style/indie-rock-ma0000004453|title=Indie Rock – Significant Albums, Artists and Songs – AllMusic|work=AllMusic}}</ref> Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like [[Pavement (band)|Pavement]], to punk-folk singers such as [[Ani DiFranco]].<ref name=Bogdanov2002USAlternative>S. T. Erlewine, "American Alternative Rock / Post Punk", in V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, pp. 1344–6.</ref> In fact, there is an everlasting list of genres and subgenres of indie rock.<ref>{{cite news|author=SISARIO, B.|date=January 3, 2010|title=When indie-rock genres outnumber the bands|work=[[The New York Times]]}}</ref> Many countries have developed an extensive local [[Independent music|indie]] scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown elsewhere. However, there are still indie bands that start off locally, but eventually attract an international audience.<ref>{{cite news|author=PARELES, J.|date=October 16, 2004|title=Feeling hyper, indie rock casts off its slacker image|work=[[The New York Times]]}}</ref><ref>J. Connell and C. Gibson, ''Sound Tracks: Popular Music, Identity, and Place'' (Abingdon: Routledge, 2003), {{ISBN|0-415-17028-1}}, pp. 101–3.</ref>
 
Indie rock is noted for having a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed [[riot grrrl]] music of acts like [[Bikini Kill]], [[Bratmobile]], [[7 Year Bitch]], [[Team Dresch]] and [[Huggy Bear (band)|Huggy Bear]].<ref>M. Leonard, ''Gender in the Music Industry: Rock, Discourse and Girl Power'' (Aldershot: Ashgate, 2007), {{ISBN|0-7546-3862-6}}, p. 2.</ref> However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels.<ref>{{Cite magazine|title = UpFront: The Indies – Where the Girls Aren't: Why Aren't More Women Running Indie Labels|last = Harding|first = Cortney|date = October 13, 2007|magazine = Billboard }}</ref>
 
==History==
=== Post-punk and indie pop ===
{{Main|Post-punk|Indie pop}}
{{See also|College rock|Jangle pop}}
[[File:Jesus and Mary Chain 2007.jpg|thumb|[[The Jesus and Mary Chain]] performing in California in 2007]]
 
The BBC documentary ''Music for Misfits: The Story of Indie''<ref>{{Cite web|url=https://www.bbc.co.uk/programmes/b06g64wb/episodes/guide|title=Music for Misfits: The Story of Indie – Episode guide – BBC Four|website=BBC|access-date=2016-03-21}}</ref> pinpoints the birth of indie as the 1977 self-publication of the [[Spiral Scratch (EP)|Spiral Scratch EP]] by Manchester band [[Buzzcocks]]. Although Buzzcocks are often classified as a punk band, it has been argued by the BBC and others<ref>{{Cite web|url=http://www.23indie.com|title=A definition of indie music|website=23indie.com|access-date=2016-03-21}}</ref> that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie" ("indie" being the shortened form of "independent").
 
"[[Indie pop]]" and "indie" were originally synonymous.<ref name="Abebe2005"/> In the mid-1980s, "indie" began to be used to describe the music produced on [[post-punk]] labels rather than the labels themselves.<ref name="BrownandVolgsten2006p.194" /> The indie rock scene in the US was prefigured by the [[college rock]]<ref>A. Earles, ''Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock'' (Voyageur Press, 2010), {{ISBN|0-7603-3504-4}}, p. 140.</ref> that dominated [[Campus radio|college radio]] playlists, which included key bands like [[R.E.M.]] from the US and [[The Smiths]] from the UK.<ref name="AMCollegeRock">{{Citation|title=College rock |journal=Allmusic |url=https://www.allmusic.com/explore/style/d11971 |archive-url=https://web.archive.org/web/20101229184652/http://www.allmusic.com/explore/style/d11971 |archive-date=December 29, 2010 |url-status=dead |df=mdy-all }}.</ref> These two bands rejected the dominant [[synthpop]] of the early 1980s,<ref>{{Citation|last=S. T. Erlewine |title=The Smiths |journal=Allmusic |url=https://www.allmusic.com/artist/the-smiths-p5466/biography |archive-url=https://web.archive.org/web/20110716055657/http://allmusic.com/artist/rem-p116437/biography |archive-date=July 16, 2011 |url-status=dead |df=mdy-all }}.</ref><ref>{{Citation|last=S. T. Erlewine |title=R.E.M. |journal=Allmusic |url=https://www.allmusic.com/artist/the-smiths-p5466/biography |archive-url=https://web.archive.org/web/20110729132146/http://www.allmusic.com/artist/the-smiths-p5466/biography |archive-date=July 29, 2011 |url-status=dead |df=mdy-all }}.</ref> and helped inspire guitar-based [[jangle pop]]; other important bands in the genre included [[10,000 Maniacs]] and [[the dB's]] from the US, and [[the Housemartins]] and [[the La's]] from the UK. In the United States, the term was particularly associated with the abrasive, distortion-heavy sounds of the [[Pixies (band)|Pixies]], [[Hüsker Dü]], [[Minutemen (band)|Minutemen]], [[Meat Puppets]], [[Dinosaur Jr.]], and [[The Replacements (band)|the Replacements]].<ref name="AMCollegeRock" />
 
In the United Kingdom the ''[[C86]]'' cassette, a 1986 ''[[NME]]'' compilation featuring [[Primal Scream]], [[the Pastels]], [[the Wedding Present]] and other bands, was a document of the UK indie scene. It gave its name to the indie pop scene that followed, which was a major influence on the development of the British [[Indie music scene|indie scene]] as a whole.<ref>{{Citation|last=M. Hann |title=Fey City Rollers |journal=Guardian.co.uk |date=April 23, 2001 |url=https://www.theguardian.com/music/2004/oct/13/popandrock |archive-url=https://web.archive.org/web/20110605002754/http://www.guardian.co.uk/music/2004/oct/13/popandrock |archive-date=June 5, 2011 |url-status=dead |df=mdy-all }}.</ref><ref>{{Citation|last=N. Hasted |title=How an NME cassette launched indie music |journal=Independent.co.uk |date=October 27, 2006 |url=https://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html |archive-url=https://web.archive.org/web/20120727024017/http://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html |archive-date=July 27, 2012 |url-status=dead |df=mdy-all }}.</ref> Major precursors of [[indie pop]] included [[Postcard Records|Postcard]] bands [[Josef K (band)|Josef K]] and [[Orange Juice (band)|Orange Juice]], and significant labels included [[Creation Records|Creation]], [[The Subway Organization|Subway]] and [[Glass Records|Glass]].<ref name="Abebe2005">{{Citation|title=Twee as Fuck: The Story of Indie Pop |last=N. Abebe |work=Pitchfork Media |date=October 24, 2005 |url=https://pitchfork.com/features/articles/6176-twee-as-fuck/ |archive-url=https://web.archive.org/web/20110224073504/http://pitchfork.com/features/articles/6176-twee-as-fuck |archive-date=February 24, 2011 |url-status=dead |df=mdy-all }}.</ref> [[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,<ref>{{Citation|title=The Jesus and Mary Chain Biography |magazine=Rolling Stone |url=https://www.rollingstone.com/music/artists/the-jesus-and-mary-chain/biography |archive-url=https://web.archive.org/web/20120829125745/http://www.rollingstone.com/music/artists/the-jesus-and-mary-chain/biography |archive-date=August 29, 2012 |url-status=dead |df=mdy-all }}.</ref><ref>{{Citation|title=the Jesus and Mary Chain |journal=Encyclopædia Britannica |url=https://www.britannica.com/EBchecked/topic/303087/the-Jesus-and-Mary-Chain?anchor=ref666600 |archive-url=https://web.archive.org/web/20111202161103/https://www.britannica.com/EBchecked/topic/303087/the-Jesus-and-Mary-Chain?anchor=ref666600 |archive-date=December 2, 2011 |url-status=dead |df=mdy-all }}.</ref>{{importance example}} while [[New Order (band)|New Order]] emerged from the demise of post-punk band [[Joy Division]] and experimented with [[techno]] and [[house music]].<ref name=Bogdanov2002UKAlternative>S. T. Erlewine, "British Alternative Rock", in V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, pp. 1346–7.</ref>{{importance example}}
 
=== Noise rock and shoegazing ===
{{Main|Noise rock|Shoegazing}}
 
The most abrasive and discordant outgrowth of punk was [[noise rock]], which emphasised loud distorted electric guitars and powerful drums, and was pioneered by bands including [[Sonic Youth]], [[Big Black]] and [[Butthole Surfers]].<ref>{{Citation|title=Noise Rock |journal=Allmusic |url=https://www.allmusic.com/explore/style/noise-rock-d2925 |archive-url=https://web.archive.org/web/20110509093542/http://www.allmusic.com/explore/style/noise-rock-d2925 |archive-date=May 9, 2011 |url-status=dead |df=mdy-all}}.</ref>▼
 
[[Swans (band)|Swans]], an influential band from New York, is identified as part of the [[No Wave]] scene which included Lydia Lunch, and James Chance & The Contortions. These bands were documented by [[Brian Eno]] on the seminal compilation album [[No New York]]. A number of prominent [[Independent record label|indie rock record labels]] were founded during the 1980s. These include Washington, D.C.'s [[Dischord Records]] in 1980, [[Seattle]]'s [[Sub Pop|Sub Pop Records]] in 1986<ref>{{Citation|last=R. Weinstein |title=An Interview with Bruce Pavitt |journal=Allmusic |date=April 23, 2001 |url=http://www.tripzine.com/listing.php?id=pavitt |archive-url=https://web.archive.org/web/20110512172329/http://www.tripzine.com/listing.php?id=pavitt |archive-date=May 12, 2011 |url-status=dead |df=mdy-all}}.</ref> and New York City's [[Matador Records]] and [[Durham, North Carolina|Durham]], North Carolina's [[Merge Records]] in 1989. [[Chicago]]'s [[Touch and Go Records]] was founded as a [[fanzine]] in 1979 and began to release records during the 1980s.<ref>A. Earles, ''Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock'' (Voyageur Press, 2010), {{ISBN|0-7603-3504-4}}, p. 72.</ref>
 
The Jesus and Mary Chain, along with Dinosaur Jr, indie pop 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 pedal]]s onstage rather than interact with the audience, acts like [[My Bloody Valentine (band)|My Bloody Valentine]], and later [[Slowdive]] and [[Ride (band)|Ride]] created a loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback.<ref name=AMShoegaze>{{Citation|title=Shoegaze |journal=Allmusic |url=https://www.allmusic.com/explore/style/shoegaze-d2680 |archive-url=https://web.archive.org/web/20110224064714/http://www.allmusic.com/explore/style/shoegaze-d2680 |archive-date=February 24, 2011 |url-status=dead |df=mdy-all}}.</ref>
 
The other major movement at the end of the 1980s was the drug-fuelled [[Madchester]] scene. Based around [[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, [[Northern soul]] and [[funk]] with melodic guitar pop.<ref>{{Citation|title=Madchester |journal=Allmusic |url=https://www.allmusic.com/explore/style/d4391 |archive-url=https://web.archive.org/web/20160916083911/http://www.allmusic.com/explore/style/d4391 |archive-date=September 16, 2016 |url-status=dead |df=mdy-all}}.</ref>
 
===Development: 1990s===
 
====Alternative enters the mainstream====
{{Main|Alternative rock}}
[[File:Stevemalkmus(by Scott Dudelson).jpg|left|thumb|[[Pavement (band)|Pavement]] singer/guitarist [[Stephen Malkmus]]]]▼
The 1990s brought major changes to the alternative rock scene. [[Grunge]] bands such as [[Nirvana (band)|Nirvana]], [[Pearl Jam]], [[Soundgarden]], and [[Alice in Chains]] broke into the mainstream, achieving commercial chart success and widespread exposure.<ref name=AllMusicIndie/> [[Punk revival]] bands like [[Green Day]] and [[The Offspring]] also became popular and were grouped under the "alternative" umbrella.<ref name=Bogdanov2002USAlternative/> Similarly, in the United Kingdom [[Britpop]] saw bands like [[Blur (band)|Blur]] and [[Oasis (band)|Oasis]] emerge into the mainstream, abandoning the regional, small-scale and political elements of the 1980s [[Indie pop|indie]] scene.<ref>A. Bennett and J. Stratton, ''Britpop and the English Music Tradition'' (Aldershot: Ashgate Publishing, 2010), {{ISBN|0-7546-6805-3}}, p. 93.</ref> Bands like [[Hüsker Dü]] and [[Violent Femmes]] were just as prominent during this time period, yet they have remained iconoclastic, and are not the bands that are frequently cited as inspirations to the current generation of indie rockers.<ref>Novara, Vincent J., and Henry Stephen. "A Guide to Essential American Indie Rock (1980–2005)." ''Notes'' 65.4 (2009): 816-33. Web.</ref>
 
As a result of alternative rock bands moving into the mainstream, the term "alternative" lost its original counter-cultural meaning and began to refer to the new, commercially lighter form of music that was now achieving mainstream success. It has been argued that even the term "sellout" lost its meaning as grunge made it possible for a niche movement, no matter how radical, to be co-opted by the mainstream, cementing the formation of an individualist, fragmented culture.<ref name="Swanson">C. Swanson [https://nymag.com/arts/art/features/1993-new-museum-exhibit/ "Are We Still Living in 1993?"], retrieved February 26, 2013.</ref> It is argued that staying independent became a career choice for bands privy to industry functions rather than an ideal, as resistance to the market evaporated in favor of a more synergistic culture.<ref name="Swanson"/>
 
▲[[File:Stevemalkmus(by Scott Dudelson).jpg|left|thumb|[[Pavement (band)|Pavement]] singer/guitarist [[Stephen Malkmus]]]]
====Lo-fi and 'slacker rock' scene====
{{Main|Lo-fi music#1990s: Changed definitions of "lo-fi" and "indie"}}
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status.<ref name=AllMusicIndie/> Even grunge bands, following their break with success, began to create more independent sounding music, further blurring the lines.<ref name="Swanson"/> Ryan Moore has argued that, in the wake of the appropriation of alternative rock by the corporate music industry, what became known as indie rock increasingly turned to the past to produce forms of "retro" rock that drew on [[garage rock]], [[surf rock]], [[rockabilly]], [[blues]], [[country music|country]] and [[swing music|swing]].<ref>R. Moore, ''Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis'' (New York: New York University Press, 2009), {{ISBN|0-8147-5748-0}}, p. 11.</ref>
 
Other bands drew on a [[Lo-fi music|Lo-fi]] sound which eschewed polished recording techniques for a D.I.Y. ethos. This was spearheaded by [[Beck]], [[Sebadoh]] and [[Pavement (band)|Pavement]],<ref name=Bogdanov2002USAlternative/> who were joined by eclectic folk and rock acts of the [[The Elephant 6 Recording Company|Elephant 6]] collective, including [[Neutral Milk Hotel]], [[Elf Power]] and [[of Montreal]].<ref>D. Walk, "The Apples in Stereo: Smiley Smile", ''CMJ New Music'', Sep 1995 (25), p. 10.</ref>
Other regional scenes existed during the early- to mid-1990s. [[Spin (magazine)|Spin]] published a 1992 feature about the North Carolina "Triangle" (Raleigh, Durham and Chapel Hill), describing a growing scene of indie-rock bands who were influenced by hardcore punk and post-punk.<ref>{{cite book |last1=Fidler |first1=Daniel |title=Robbing the cradle |date=Nov 1992 |publisher=SPIN Media LLC |url=https://books.google.com/books?id=2bSupwnJ2pIC&q=chapel+hill+indie+rock&pg=RA1-PT90}}</ref> The [[Chapel Hill, North Carolina|Chapel Hill]] college town, once dubbed the "next Seattle" by industry scouts,<ref>{{Cite web|url=https://ew.com/article/1993/01/08/chapel-hill-nc-new-seattle/|title=Chapel Hill, N.C.: The new Seattle?|website=EW.com}}</ref><ref>{{Cite web |url=https://www.newsobserver.com/entertainment/music-news-reviews/article246438740.html |title=Chapel Hill NC music scene, indie rock once called Next Seattle &#124; Raleigh News & Observer |access-date=February 28, 2021 |archive-date=February 28, 2021 |archive-url=https://web.archive.org/web/20210228231436/https://www.newsobserver.com/entertainment/music-news-reviews/article246438740.html |url-status=dead }}</ref> featured bands like [[Archers of Loaf]], [[Superchunk]] and [[Polvo]].<ref>{{Cite web|url=https://www.ncarts.org/comehearnc/365-days-music/look-indie-rock-music-scene-chapel-hill|title=A Look at the Indie Rock Music Scene in Chapel Hill|website=Ncarts.org}}</ref> Superchunk's single "[[Slack Motherfucker]]" has also been credited with popularizing the "[[slacker]]" stereotype, and has been called a defining anthem of 90s indie-rock.<ref>{{Cite news|url=https://magazine.columbia.edu/article/merge-records-and-explosion-american-indie-rock|title=Merge Records and the Explosion of American Indie Rock|website=Columbia Magazine}}</ref>▼
 
In the United States, the 1990s indie rock scene, closely linked to the aforementioned lo-fi movement included bands such as Pavement, [[Sebadoh]], [[Guided by Voices]], [[Built to Spill]] and [[Modest Mouse]]. The 1992 album [[Slanted and Enchanted]], is considered one of the definitive albums of this era, melding indie rock, lo-fi and [[slacker rock]] characteristics.<ref>{{Cite magazine|url=http://www.billboard.com/articles/columns/rock/7767802/pavement-slanted-and-enchanted-album-indie-masterpiece|title=Pavement's 'Slanted and Enchanted' Turns 25: Why the Smart-Ass, Slacker Masterpiece Is the Definitive Indie Rock Album|date=April 20, 2017|magazine=Billboard}}</ref> ''Rolling Stone'' called ''Slanted and Enchanted'' "the quintessential indie rock album" and placed it on the magazine's list of [[Rolling Stone's 500 Greatest Albums of All Time|the 500 greatest albums of all time]].<ref name="RS2012" >{{cite news |url=https://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/pavement-slanted-and-enchanted-20120524 |title=500 Greatest Albums of All Time |magazine=Rolling Stone |at=135: ''Slanted and Enchanted'' - Pavement |author=''Rolling Stone'' Staff |date=May 31, 2012 |access-date=February 21, 2017 |archive-date=March 13, 2017 |archive-url=https://web.archive.org/web/20170313191128/http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/pavement-slanted-and-enchanted-20120524 |url-status=dead }}</ref> There were other notable lo-fi releases during this period such as Guided by Voice's [[Bee Thousand]], which was recorded on [[Multitrack recording|four track machines]] or other home recording devices. In the second half of the decade, the Washington-based group, [[Modest Mouse]] continued with the abrasive lo-fi tradition with the 1997 release of [[the Lonesome Crowded West]].
 
====Diversification====▼
▲Other regional scenes existed during the early- to mid-1990s. [[Spin (magazine)|Spin]] published a 1992 feature about the North Carolina "Triangle" (Raleigh, Durham and Chapel Hill), describing a growing scene of indie-rock bands who were influenced by hardcore punk and post-punk.<ref>{{cite book |last1=Fidler |first1=Daniel |title=Robbing the cradle |date=Nov 1992 |publisher=SPIN Media LLC |url=https://books.google.com/books?id=2bSupwnJ2pIC&q=chapel+hill+indie+rock&pg=RA1-PT90}}</ref> The [[Chapel Hill, North Carolina|Chapel Hill]] college town, once dubbed the "next Seattle" by industry scouts,<ref>{{Cite web|url=https://ew.com/article/1993/01/08/chapel-hill-nc-new-seattle/|title=Chapel Hill, N.C.: The new Seattle?|website=EW.com}}</ref><ref>{{Cite web |url=https://www.newsobserver.com/entertainment/music-news-reviews/article246438740.html |title=Chapel Hill NC music scene, indie rock once called Next Seattle &#124; Raleigh News & Observer |access-date=February 28, 2021 |archive-date=February 28, 2021 |archive-url=https://web.archive.org/web/20210228231436/https://www.newsobserver.com/entertainment/music-news-reviews/article246438740.html |url-status=dead }}</ref> featured bands like [[Archers of Loaf]], [[Superchunk]] and [[Polvo]].<ref>{{Cite web|url=https://www.ncarts.org/comehearnc/365-days-music/look-indie-rock-music-scene-chapel-hill|title=A Look at the Indie Rock Music Scene in Chapel Hill|website=Ncarts.org}}</ref> Superchunk's single "[[Slack Motherfucker]]" has also been credited with popularizing the "[[slacker]]" stereotype, and has been called a defining anthem of 90s indie-rock.<ref>{{Cite news|url=https://magazine.columbia.edu/article/merge-records-and-explosion-american-indie-rock|title=Merge Records and the Explosion of American Indie Rock|website=Columbia Magazine}}</ref>
 
In [[Chicago]], the 1990s DIY scene has been described as a cross-pollination of indie-rock, post-punk and jazz.<ref>{{Cite web|url=https://pitchfork.com/features/yearbook/9851-yearbook-beyond-rockthe-heyday-of-chicagos-90s-diy-scene/|title=Yearbook: Beyond Rock—The Heyday of Chicago's '90s DIY Scene|publisher=Pitchfork.com|access-date=November 17, 2021}}</ref>
 
While this style of music gained traction early on, by the end of the decade interest from both the industry and the public had waned. Critics have pointed to changing music tastes, as seen in the dominance of other pop and rock genres, as a key factor leading to the decline of this scene.<ref>{{Cite web|url=https://www.vox.com/culture/2017/10/25/16070928/peak-indie-rock-1997|title=The life and death of the indie-rock heyday|first=Scott|last=Timberg|date=October 25, 2017|website=Vox.com}}</ref>
 
{{anchor|Indietronica}}
====Indie electronic====
{{redirect|Indietronica|a more comprehensive overview of electronic/rock fusion styles|Electronic rock}}
{{Infobox music genre
| name = Indie electronic
| other_names = Indietronica
| stylistic_origins = *[[Rock music|Rock]]<ref name=AMGO/>
*[[electronic music|electronic]]<ref name=AMGO/>
*[[krautrock]]<ref name=AMGO/>
*[[synth-pop]]<ref name=AMGO/>
*[[dance music|dance]]<ref name=AMGO/>
| cultural_origins = Early 1990s
}}
 
Indie electronic or indietronica<ref>{{Cite web|url=https://www.wearetheguard.com/music/indie-electronic|title=Indie Electronic|website=WeAreTheGuard.com}}</ref> covers rock-based artists who share an affinity for electronic music, using samplers, synthesizers, drum machines, and computer programs.<ref name=AMGO>{{cite web|url=https://www.allmusic.com/style/indie-electronic-ma0000012275|title=Indie Electronic – Significant Albums, Artists and Songs|work=AllMusic}}</ref> Less a style and more a categorization, it describes an early 1990s trend of acts who followed in the traditions of early electronic music (composers of the [[BBC Radiophonic Workshop]]), [[krautrock]] and [[synth-pop]].<ref name=AMGO/> Progenitors of the genre were English bands [[Disco Inferno (band)|Disco Inferno]], [[Stereolab]], and [[Space (UK band)|Space]].<ref name=AMGO/> Most musicians in the genre can be found on independent labels like [[Warp (record label)|Warp]], [[Morr Music]], [[Sub Pop]] or [[Ghostly International]].<ref name=AMGO/> Examples include [[Broadcast (band)|Broadcast]], [[MGMT]], [[LCD Soundsystem]] and [[Animal Collective]].▼
 
▲====Diversification====
By the end of the 1990s, indie rock developed a number of subgenres and related styles. Following [[indie pop]], these included lo-fi, noise pop, sadcore, post-rock, space rock and math rock.<ref name=AllMusicIndie/> The work of [[Talk Talk (band)|Talk Talk]] and [[Slint]] helped inspire [[post-rock]] (an experimental style influenced by [[jazz]] and [[electronic music]], pioneered by [[Bark Psychosis]] and taken up by acts such as [[Tortoise (band)|Tortoise]], [[Stereolab]], and [[Laika (band)|Laika]]),<ref name="S. Taylor, 2006 pp. 154-5">S. Taylor, ''A to X of Alternative Music'' (London: Continuum, 2006), {{ISBN|0-8264-8217-1}}, pp. 154–5.</ref><ref name=AMpostrock>{{Citation|title=Post rock |journal=Allmusic |url={{AllMusic|class=explore|id=style/d2682|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUOZlt8K?url=http://www.allmusic.com/explore/style/d2682 |archive-date=February 14, 2011 |url-status=dead |df=mdy-all }}.</ref> as well as leading to more dense and complex, guitar-based [[math rock]], developed by acts like [[Polvo]] and [[Chavez (band)|Chavez]].<ref>{{Citation|title=Math rock |journal=Allmusic |url={{AllMusic|class=explore|id=style/d4560|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUOlnegC?url=http://www.allmusic.com/explore/style/d4560 |archive-date=February 14, 2011 |url-status=dead |df=mdy-all }}.</ref> Built to Spill's 1999 album [[Keep It Like a Secret]] helped to shape the indie-rock sound of the early 2000s.<ref>{{Cite web|url=https://riotfest.org/2017/08/built-spill-accidentally-changed-indie-rock-landscape-keep-like-secret/|title=How Built To Spill Accidentally Changed the Indie Rock Landscape With 'Keep It Like a Secret'|date=August 14, 2017}}</ref>
 
▲Indie electronic or indietronica<ref>{{Cite web|url=https://www.wearetheguard.com/music/indie-electronic|title=Indie Electronic|website=WeAreTheGuard.com}}</ref> covers rock-based artists who share an affinity for electronic music, using samplers, synthesizers, drum machines, and computer programs.<ref name=AMGO>{{cite web|url=https://www.allmusic.com/style/indie-electronic-ma0000012275|title=Indie Electronic – Significant Albums, Artists and Songs|work=AllMusic}}</ref> Less a style and more a categorization, it describes an early 1990s trend of acts who followed in the traditions of early electronic music (composers of the [[BBC Radiophonic Workshop]]), [[krautrock]] and [[synth-pop]].<ref name=AMGO/> Progenitors of the genre were English bands [[Disco Inferno (band)|Disco Inferno]], [[Stereolab]], and [[Space (UK band)|Space]].<ref name=AMGO/> Most musicians in the genre can be found on independent labels like [[Warp (record label)|Warp]], [[Morr Music]], [[Sub Pop]] or [[Ghostly International]].<ref name=AMGO/> Examples include [[Broadcast (band)|Broadcast]], [[MGMT]], [[LCD Soundsystem]] and [[Animal Collective]].
[[Space rock]] looked back to progressive roots, with drone-heavy and minimalist acts like [[Spacemen 3]] in the 1980s, [[Spectrum (band)|Spectrum]] and [[Spiritualized]], and later groups including [[Flying Saucer Attack]], [[Godspeed You! Black Emperor]] and [[Quickspace]].<ref>{{Citation|title=Space rock |journal=Allmusic |url=https://www.allmusic.com/explore/style/space-rock-d2784 |archive-url=https://www.webcitation.org/5wUOtn84J?url=http://www.allmusic.com/explore/style/d2784 |archive-date=February 14, 2011 |url-status=dead |df=mdy-all }}.</ref> In contrast, [[sadcore]] emphasized pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like [[American Music Club]] and [[Red House Painters]].<ref>{{Citation|title=Sadcore |journal=Allmusic |url={{AllMusic|class=explore|id=style/d4588|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUP1oqYG?url=http://www.allmusic.com/explore/style/d4588 |archive-date=February 14, 2011 |url-status=dead |df=mdy-all }}.</ref>
 
▲The most abrasive and discordant outgrowth of punk was [[noise rock]], which emphasised loud distorted electric guitars and powerful drums, and was pioneered by bands including [[Sonic Youth]], [[Big Black]] and [[Butthole Surfers]].<ref>{{Citation|title=Noise Rock |journal=Allmusic |url=https://www.allmusic.com/explore/style/noise-rock-d2925 |archive-url=https://web.archive.org/web/20110509093542/http://www.allmusic.com/explore/style/noise-rock-d2925 |archive-date=May 9, 2011 |url-status=dead |df=mdy-all}}.</ref>
The revival of [[Baroque pop]] reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like [[Arcade Fire]], [[Belle and Sebastian]], [[Rufus Wainwright]], [[Beirut (band)|Beirut]] and [[The Decemberists]].
 
During the 1990s a number of groups, such as [[Sunny Day Real Estate]] and [[Weezer]], diversified the emo genre from its [[hardcore punk]] roots. A number of [[Midwestern emo]] groups started to form during the mid-1990s including [[the Promise Ring]], [[the Get Up Kids]], and [[American Football (band)|American Football]]. Weezer's ''[[Pinkerton (album)|Pinkerton]]'' (1996) introduced the emo genre to a wider and more mainstream audience.<ref>{{Citation |last=S. T. Erlewine |title=Weezer: Pinkerton |url=https://www.allmusic.com/album/pinkerton-r241030/review |journal=Allmusic |df=mdy-all |archive-url=https://web.archive.org/web/20110612151356/http://www.allmusic.com/album/pinkerton-r241030/review |archive-date=June 12, 2011 |url-status=dead}}.</ref> Emo also broke into mainstream culture in the early 2000s, with the platinum-selling success of [[Jimmy Eat World]]'s ''[[Bleed American]]'' (2001) and [[Dashboard Confessional]]'s ''[[The Places You Have Come to Fear the Most]]'' (2001).<ref name="DeRogatis2003" /> The new emo had a more refined sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.<ref name="DeRogatis2003" /> At the same time, use of the term "emo" expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.<ref>{{Citation |last=H. A. S. Popkin |title=What exactly is 'emo,' anyway? |date=March 26, 2006 |url=https://www.today.com/popculture/what-exactly-emo-anyway-wbna11720603 |website=MSNBC.com |df=mdy-all}}.</ref> During the {{nowrap|mid-to-late}} 2000s, emo was played by multi-platinum acts such as [[Fall Out Boy]],<ref name="chartblog">{{Citation |last=F. McAlpine |title=Paramore: Misery Business |date=June 14, 2007 |url=http://www.bbc.co.uk/blogs/chartblog/2007/06/paramore_misery_business.shtml |website=MSNBC.com |df=mdy-all |archive-url=https://web.archive.org/web/20110209092430/http://www.bbc.co.uk/blogs/chartblog/2007/06/paramore_misery_business.shtml |archive-date=February 9, 2011 |url-status=dead}}.</ref> [[My Chemical Romance]],<ref>{{Citation |last=J. Hoard |title=My Chemical Romance |url=https://www.rollingstone.com/music/artists/my-chemical-romance/biography |magazine=Rolling Stone |df=mdy-all |archive-url=https://web.archive.org/web/20110321175802/http://www.rollingstone.com/music/artists/my-chemical-romance/biography |archive-date=March 21, 2011 |url-status=dead}}.</ref> [[Paramore (band)|Paramore]],<ref name="chartblog" /> and [[Panic! at the Disco]].<ref>{{Citation |last=F. McAlpine |title=Paramore "Misery Business" |date=December 18, 2006 |url=https://www.nme.com/news/nme/24758 |journal=NME |df=mdy-all |archive-url=https://web.archive.org/web/20101228145612/http://www.nme.com/news/nme/24758 |archive-date=December 28, 2010 |url-status=dead}}</ref>
 
===Mainstream success: 2000s–present===
Line 105 ⟶ 84:
 
[[File:The Libertines (40466665072).jpg|thumb|[[The Libertines]] were described by ''[[AllMusic]]'' as "one of the U.K.'s most influential 21st century acts"]]
The success of the Strokes also revitalised the then-dying [[post-Britpop]] scene in the United Kingdom with groups who took the band's influence and experimented with their sound. This first wave of UK acts included [[Franz Ferdinand (band)|Franz Ferdinand]], [[Kasabian]], [[Maxïmo Park]], [[the Cribs]], [[Bloc Party]], [[Kaiser Chiefs]] and [[the Others (band)|the Others]].<ref name="Beaumont 2020" /> However, [[the Libertines]], who formed in 1997, stood as the UK's counterpoint to the Strokes, being described by ''[[AllMusic]]'' as "one of the U.K.'s most influential 21st century acts"<ref name="Phares, AllMusic">{{cite web |last1=Phares |first1=Heather |title=Biography: the Libertines |url=https://www.allmusic.com/artist/the-libertines-mn0000080649/biography |website=[[AllMusic]] |access-date=16 June 2023}}</ref> and ''[[the Independent]]'' stating that "the Libertines wanted to be an important band, but they could not have predicted the impact they would have".<ref name=independent0703>{{cite news|url=https://www.independent.co.uk/arts-entertainment/music/features/after-the-libertines-what-todays-bands-owe-carl-and-pete-439391.html|archive-url=https://web.archive.org/web/20080608030141/http://www.independent.co.uk/arts-entertainment/music/features/after-the-libertines-what-todays-bands-owe-carl-and-pete-439391.html|url-status=dead|archive-date=8 June 2008|title=After The Libertines: What today's bands owe Carl and Pete|access-date=27 February 2008|author=Thornton, Anthony |author-link=Anthony Thornton (writer)|date=9 March 2007|work=[[The Independent]] | location=London}}</ref> Influenced by [[the Clash]], [[the Kinks]], [[the Smiths]] and [[the Jam]],<ref name="Phares, AllMusic" /> the band's style of tinny, high register, sometimes acoustic, guitar parts topped by lyrics of British [[Parochialism|parochial]] pleasures in the vocalists' authentic English accents became widely imitated.<ref name=independent0703 /> [[The Fratellis]], [[the Kooks]], and [[the View (band)|the View]] were three such acts to gain significant commercial success, although the most prominent post-Libertines band was Sheffield's [[Arctic Monkeys]].<ref name=independent0703 /> One of the earliest groups to owe their initial commercial success to the use of [[Internet social network]]ing,<ref>A. Goetchius, ''Career Building Through Social Networking'' (Rosen, 2007), {{ISBN|1-4042-1943-9}}, pp. 21–2.</ref> the Arctic Monkeys had two No. 1 singles, and their album ''[[Whatever People Say I Am, That's What I'm Not]]'' (2006) became the fastest-selling debut album in British chart history.<ref>{{citation |last=A. Kumi |url=https://www.theguardian.com/arts/news/story/0,,1698025,00.html |work=The Guardian |title=Arctic Monkeys make chart history |date=January 30, 2006 |archive-url=https://web.archive.org/web/20110823024750/http://www.guardian.co.uk/uk/2006/jan/30/arts.artsnews |archive-date=August 23, 2011 |url-status=dead |df=mdy-all }}</ref>
 
In this success, legacy indie bands soon entered the mainstream,<ref name=Spitz2010>M. Spitz, [https://books.google.com/books?id=yqmlNOuYQdEC&pg=PA95 "The 'New Rock Revolution' fizzles"], May 2010, ''Spin'', vol. 26, no. 4, ISSN 0886-3032, p. 95.</ref> including [[Modest Mouse]] (whose 2004 album ''[[Good News for People Who Love Bad News]]'' reached the US top 40 and was nominated for a [[Grammy]] Award), [[Bright Eyes (band)|Bright Eyes]] (who in 2004 had two singles at the top of the Billboard magazine [[Hot 100 Single Sales]])<ref>{{Citation|last=J. Arndt |title=Bright Eyes Sees Double |journal=Soul Shine Magazine |date=November 23, 2004 |url=http://www.soulshine.ca/news/newsarticle.php?nid=1293 |archive-url=https://web.archive.org/web/20110514021037/http://www.soulshine.ca/news/newsarticle.php?nid=1293 |archive-date=May 14, 2011 |url-status=dead |df=mdy-all }}.</ref> and [[Death Cab for Cutie]] (whose 2005 album ''[[Plans (album)|Plans]]'' debuted at number four in the US, remaining on the Billboard charts for nearly one year and achieving platinum status and a Grammy nomination).<ref>{{Citation|last=A. Leahey |title=Death Cab for Cutie: Biography |journal=Allmusic |url=https://www.allmusic.com/artist/death-cab-for-cutie-p365455/biography |archive-url=https://web.archive.org/web/20110424203425/http://www.allmusic.com/artist/death-cab-for-cutie-p365455/biography |archive-date=April 24, 2011 |url-status=dead |df=mdy-all }}.</ref> This new commercial breakthrough and the widespread use of the term indie to other forms of popular culture, led a number of commentators to suggest that indie rock had ceased to be a meaningful term.<ref>{{Citation|last=K. Korducki |title=Is indie rock dead? |journal=The Varsity |date=July 17, 2007 |url=http://thevarsity.ca/articles/99 |archive-url=https://web.archive.org/web/20110916134124/http://thevarsity.ca/articles/99 |archive-date=September 16, 2011 |url-status=dead |df=mdy-all }}.</ref><ref>{{Citation|last=R. Maddux |title=Is Indie Dead? |journal=Paste Magazine.com |date=January 26, 2010 |url=https://www.pastemagazine.com/articles/2010/01/is-indie-dead.html |archive-url=https://web.archive.org/web/20110403102612/http://www.pastemagazine.com/articles/2010/01/is-indie-dead.html |archive-date=April 3, 2011 |url-status=dead |df=mdy-all }}.</ref>
 
Additionally, a second wave of bands emerged in the United States that managed to gain international recognition as a result of the movement included [[the Black Keys]], [[Kings of Leon]], [[Modest Mouse]], [[the Shins]], [[the Bravery]], [[Spoon (band)|Spoon]], [[the Hold Steady]], and [[the National (band)|the National]].<ref name=DeRogatis2003p373-4>J. DeRogatis, ''Turn on your Mind: Four Decades of Great Psychedelic Rock'' (Milwaukee, WI: Hal Leonard Corporation, 2003), {{ISBN|0-634-05548-8}}, p. 373.</ref> The most commercially successful band of this wave was Las Vegas' [[the Killers]]. Formed in 2001, after hearing ''Is This It'', the band scrapped the maojority of their prior material to rewrite it under the Strokes' influence.<ref>{{cite web|url=https://www.nme.com/news/music/the-strokes-talk-the-killers-rivalry-2072222|title=The Strokes talk about their rivalry with The Killers|first=Luke Morgan|last=Britton|date=May 15, 2017|work=[[NME]]|access-date=June 25, 2019}}</ref> The band's debut single "[[Mr. Brightside]]" spent 260 non-consecutive weeks, or five years, on the [[UK Singles Chart]] as of April 2021, the most out of any song,<ref name="copsey">{{cite web|url=https://www.officialcharts.com/chart-news/the-killers-mr-brightside-claims-record-breaking-260th-week-exactly-five-years-on-the-official-singles-chart-top-100__32800/|title=The Killers' Mr Brightside claims record-breaking 260th week – exactly five years – on the Official Singles Chart Top 100|last=Copsey|first=Rob|publisher=Official Charts Company|date=April 1, 2021|access-date=April 2, 2021}}</ref><ref name="moore">{{cite web|url=https://www.nme.com/news/music/the-killers-set-new-uk-chart-record-with-mr-brightside-2912306|title=The Killers set new UK chart record with 'Mr. Brightside'|last=Moore|first=Sam|website=NME|date=April 1, 2021|access-date=April 2, 2021}}</ref> and {{As of|2017}}, it had charted on the UK Singles Chart in 11 of the last 13 years,<ref>{{cite news |url=https://www.npr.org/2017/06/04/530079710/mr-brightside-will-never-die-and-heres-why |title='Mr. Brightside' Will Never Die, And Here's Why |first=Stephen |last=Thompson |date=June 4, 2017 |work=NPR Music}}</ref> including a 35-week run peaking at number 49 in 2016–2017.<ref name="MetChart">{{cite web |last1=Westbrook |first1=Caroline |title=Mr Brightside by The Killers has been in the UK charts every year since 2004 |url=http://metro.co.uk/2017/05/20/mr-brightside-by-the-killers-has-been-in-the-uk-charts-every-year-since-2004-6650448/ |work=Metro |date=May 20, 2017 |access-date=May 31, 2017}}</ref> Furthermore, it was the UK's most streamed pre-2010 song, until it was surpassed in late 2018,<ref>{{citation |title=(What's The Story) Morning Glory? [Remastered] |date=October 2, 1995 |url=https://open.spotify.com/album/1VW1MFNstaJuygaoTPkdCk |language=en |access-date=November 16, 2018}}</ref> and continued to be purchased for download hundreds of times a week by 2017.<ref name="200weeks"/> In March 2018, the song reached the milestone of staying in the Top 100 of the UK Singles Chart for 200 weeks.<ref name="200weeks">{{cite web |url=http://www.officialcharts.com/chart-news/why-the-killers-mr-brightside-refuses-to-leave-the-official-singles-chart-top-100__19190/ |title=Why The Killers' Mr Brightside refuses to leave the Official Singles Chart Top 100 |date=March 16, 2018 |first=Rob|last=Copsey |work=Official Charts Company}}</ref>
 
====Proliferation====
[[File:Alex Turner and Nick O'Malley Roskilde 2014.jpg|thumb|150px |[[The Arctic Monkeys]] are one of the most commercially successful indie rock bands]]
The impact of the Strokes, the Libertines and Bloc Party led to significant major label interest in indie rock artists, which was then exacerbated by the success of the Arctic Monkeys. In the years following ''[[Whatever People Say I Am, That's What I'm Not]]'' there was a proliferation of bands such as [[the Rifles (band)|the Rifles]], [[the Pigeon Detectives]] and [[Milburn (band)|Milburn]], who created a more formulaic derivative of the earlier acts.<ref name="vice.com"/><ref>{{Cite web|url=https://www.nme.com/features/landfill-indie-snobbery-2741199|title=The term 'landfill indie' is nothing but musical snobbery|website=Nme.com|date=September 1, 2020}}</ref> By the end of the decade, critics had taken to referring to this wave of acts as "landfill indie",<ref>{{Cite web|last=Power|first=Ed|date=28 July 2019|title=How landfill indie swallowed guitar music in the mid-Noughties|url=https://www.independent.co.uk/arts-entertainment/music/features/landfill-indie-kaiser-chiefs-album-razorlight-kooks-ricky-wilson-a9022051.html|access-date=2020-08-29|website=Independent.co.uk|language=en}}</ref><ref name="Beaumont 2020">{{Cite web|last=Beaumont|first=Mark|date=2020-05-04|title=From Britpop to 'landfill indie', lockdown forces us to face our musical pasts|url=https://www.nme.com/blogs/britpop-landfill-indie-razorlight-nostalgia-2658671|access-date=2020-08-29|website=Nme.com|language=en-GB}}</ref><ref name="T. Walker"/> a description coined by [[Andrew Harrison (journalist)|Andrew Harrison]] of ''[[The Word (magazine)|the Word]]'' magazine.<ref>{{Cite journal|last=S. Reynolds |title=Clearing up the indie landfill |journal=Guardian.co.uk |date=January 4, 2010 |url=https://www.theguardian.com/music/musicblog/2010/jan/04/clearing-up-indie-landfill |archive-url=https://web.archive.org/web/20111117025019/http://www.guardian.co.uk/music/musicblog/2010/jan/04/clearing-up-indie-landfill |archive-date=November 17, 2011 |url-status=dead |df=mdy-all }}</ref> A 2020 ''[[Vice Media|Vice]]'' article cited [[Johnny Borrell]], vocalist of [[Razorlight]], as the "one man who defined, embodied and lived Landfill Indie" due his forming of a "spectacularly middle-of-the-road" band despite his close proximity to the Libertines' "desperate kinetic energy, mythologised love-hate dynamic and vision of a dilapidated Britain animated by romance and narcotics".<ref name="vice.com"/> In a 2009 article for ''[[the Guardian]]'', journalist [[Peter Robinson (journalist)|Peter Robinson]] cited the landfill indie movement as dead, blaming [[the Wombats]], [[Scouting For Girls]], and [[Joe Lean & the Jing Jang Jong]] by stating "If landfill indie had been a game of ''[[Buckaroo!|Buckaroo]]'', those three sent the whole donkey's arse of radio-friendly mainstream guitar band monotony flying high into the air, legs flailing."<ref>{{Cite web|url=http://www.theguardian.com/music/2009/jan/17/florence-and-the-machine-indie|title=Peter Robinson on the death of landfill indie music|date=January 17, 2009|website=The Guardian}}</ref>
 
There continued to be commercial successes like Kasabian's ''[[Velociraptor!]]'' (2011) and Arctic Monkeys's ''[[Suck It and See]]'' (2011), which reached number one in the UK,<ref>{{Citation|last=G. Cochrane |title=2009: 'The year British indie guitar music died' |journal=BBC Radio 1 Newsbeat |date=January 21, 2010 |url=http://www.bbc.co.uk/newsbeat/10004881 |archive-url=https://web.archive.org/web/20101125173050/http://www.bbc.co.uk/newsbeat/10004881 |archive-date=November 25, 2010 |url-status=dead |df=mdy-all }}.</ref> and [[Arcade Fire]]'s ''[[The Suburbs (Arcade Fire album)|The Suburbs]]'' (2010), the Black Keys's ''[[Turn Blue (album)|Turn Blue]]'' (2014), Kings of Leon's ''[[Walls (Kings of Leon album)|Walls]]'' (2016), the Killers's ''[[Wonderful Wonderful (The Killers album)|Wonderful Wonderful]]'' (2017), which reached number one on the Billboard charts in the United States and the official chart in the United Kingdom, with Arcade Fire's album winning a Grammy for Album of The Year in 2011.<ref>{{Citation|title=53 Annual Grammy Awards: Awards and Nominees 2010 (Official Webpage) |website=Grammy.com |date=November 23, 2004 |url=http://www.grammy.com/NOMINEES |archive-url=https://web.archive.org/web/20110501020009/http://www.grammy.com/nominees |archive-date=May 1, 2011 |url-status=dead |df=mdy-all }}.</ref>
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