Alternative rock

Name	Alternative rock
Color	white
Bgcolor	crimson
Stylistic origins	Punk rock, Post-punk, New Wave, Folk rock
Cultural origins	Early 1980s, United Kingdom and United States
Instruments	Electric guitar – bass guitar – drums – sometimes keyboards
Popularity	Limited before the success of grunge and Britpop in the 1990s. Widespread since then.
Subgenres	Britpop – College rock – Dream pop – Gothic rock – Grunge – Indie pop – Indie rock – Math rock – Noise pop – Noise rock – Paisley Underground – Post-Britpop – Jangle pop  - Post-rock – Shoegazing
Fusiongenres	Alternative dance – Alternative hip hop - Alternative metal – Psychobilly – Industrial rock – Madchester – Post-punk revival – Riot Grrrl
Regional scenes	Athens, Georgia – Illinois – Manchester, England – Massachusetts – Seattle, Washington
Other topics	Bands – College radio – History – Independent music – Lollapalooza

Alternative rock (also called alternative music, alt-rock or simply alternative) is a genre of rock music that emerged in the 1980s and became widely popular in the 1990s. Alternative rock consists of various subgenres that have emerged from the independent music scene since the 1980s, such as grunge, Britpop, gothic rock, and indie pop. These genres are unified by their collective debt to the style and/or ethos of punk rock, which laid the groundwork for alternative music in the 1970s. At times alternative rock has been used as a catch-all phrase for rock music from underground artists in the 1980s, and all music descended from punk rock (including punk itself, New Wave, and post-punk).

While a few bands like R.E.M. and The Cure achieved commercial success and mainstream critical recognition, many alternative rock artists during the 1980s were cult acts that recorded on independent labels and received their exposure through college radio airplay and word-of-mouth. 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 commercially successful.

The term "alternative rock"

Before the term "alternative rock" came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979 Terry Tolkin used the term "Alternative Music" to describe the groups he was writing about. "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 very small DIY (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. By 1985, it 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; at the time, the common music industry terms for cutting-edge music were "new music" and "post modern", respectively indicating freshness and a tendency to recontextualize sounds of the past. Individuals who worked as 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 rock 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". 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". Usage of the term would broaden to include New Wave, pop music, 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. The use of "alternative" gained further exposure due to the success of Lollapalooza, for which festival founder and Jane's Addiction frontman Perry Farrell coined the term "Alternative Nation". In the late 1990s, the definition again became more specific. 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.

Characteristics

"Alternative rock" is essentially an umbrella term for underground music that has emerged in the wake of punk rock since the mid-1980s. Throughout much of its history, alternative rock has been largely defined by its rejection of the commercialism of mainstream culture. Alternative bands during the 1980s generally played in small clubs, recorded for indie labels, and spread their popularity through word of mouth. As such, there is no set musical style for alternative rock as a whole, although The New York Times in 1989 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." Sounds range from the dirty guitars of grunge to the gloomy soundscapes of gothic rock to the guitar pop revivalism of Britpop to the shambolic performance style of twee pop. More often than in other rock styles since the mainstreaming of rock music during the 1970s, alternative rock lyrics tend to address topics of social concern, such as drug use, depression, and environmentalism.

History

Alternative rock in the 1980s

relied on college radio airplay, constant touring, and a grassroots fanbase to break into the musical mainstream.]]

By 1984, a majority of groups signed to independent record labels were mining from a variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper rational post-punk years.

Throughout the 1980s, alternative rock was 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 relegated to independent record labels, fanzines, and college radio stations. Alternative bands built underground followings by touring constantly and regularly releasing low-budget albums. In the case of the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit in America, filled with different scenes in various parts of the country. By 1989 the genre had become popular enough that a package tour featuring New Order, Public Image Limited and The Sugarcubes toured the United States arena circuit.

In contrast, British alternative rock was distinguished from that of the United States early on 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. 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 that had cult followings in the United States received greater exposure through British national radio and the weekly music press, and many alternative bands had chart success there.

The American underground in the 1980s

and Thurston Moore of Sonic Youth]] Early American alternative bands such as 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; its debut album, Murmur (1983), entered the Top 40 and spawned a number of jangle pop followers. 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. 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. 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. [The Replacements] 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) to industrial rock (Ministry, Nine Inch Nails). These sounds were in turn followed by the advent of Boston's the Pixies and Los Angeles' Jane's Addiction. Largely based around the 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. Early grunge bands Soundgarden and Mudhoney found critical acclaim in the U.S. and UK, respectively. Some bands such as the Pixies had massive success overseas while they were ignored domestically.]] Gothic rock developed out of late-1970s British post-punk. With a reputation as the "darkest and gloomiest form of underground rock," gothic rock utilizes a synthesizer-and-guitar based sound drawn from post-punk to construct "foreboding, sorrowful, often epic soundscapes," and the genre's lyrics often address literary romanticism, morbidity, religious symbolism, and supernatural mysticism. Bauhaus' debut single "Bela Lugosi's Dead", released in 1979, is considered to be the beginning of the gothic rock genre. Around the same time, post-punk contemporaries Siouxsie and the Banshees and The Cure adopted the new sound. The Smiths' embrace of the guitar in an era of synthesizer-dominated music is viewed as signaling the end of the New Wave era and the advent of alternative rock in Britain. Despite the band's limited chart success and short career, 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.

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 while New Order emerged from the demise of post-punk band Joy Division and experimented with techno and house music. onstage rather than interact with the audience, shoegazing acts like My Bloody Valentine, Slowdive, Ride, and Lush created an overwhelmingly loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback. Shoegazing bands dominated the British music press at the end of the decade along with the drug-fueled 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 with melodic guitar pop.

Popularization in the 1990s

By the start of the 1990s, the music industry was enticed by alternative rock's commercial possibilities and major labels actively courted bands including Jane's Addiction, Dinosaur Jr, Firehose, Red Hot Chili Peppers, Nirvana, The Smashing Pumpkins and Hole. The success of Nevermind surprised the music industry. Nevermind not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general." Michael Azerrad asserted that Nevermind symbolized "a sea-change in rock music" in which the glam metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant.

Nirvana's surprise success with Nevermind heralded a "new openness to alternative rock" among commercial radio stations, opening doors for heavier alternative bands in particular. 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. 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." 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.

The grunge explosion

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. By the second half of 1992 Ten became a breakthrough success, being certified gold and reaching number two on the Billboard 200 album chart. Soundgarden's album Badmotorfinger and Alice in Chains' Dirt, 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."

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" 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. Nevertheless, upon its release in September 1993 In Utero topped the Billboard charts. 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.

Britpop

and Noel Gallagher of Oasis]] 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. Dubbed "Britpop" by the media, this movement represented by Blur, Oasis, Suede, and Pulp 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. 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 Oasis soon eclipsed the other band in popularity with its second album, (What's the Story) Morning Glory? (1995), which went on to become the third best-selling album in Britain's history.

Other trends

performing, Knoxville, Tennessee, 2006]] Long synonymous with alternative rock as a whole, indie rock became a distinct form following the popular breakthrough of Nirvana. Indie rock was formulated as a rejection of alternative's absorption into the mainstream by artists who could not or refused to cross over. While indie rock artists share the punk rock distrust of commercialized music, 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". 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 and Sebadoh became popular lo-fi cult acts in the United States, while subsequently artists like Liz Phair and Beck brought the aesthetic to mainstream audiences. The period also saw alternative confessional female singer-songwriters. Besides the previously mentioned Liz Phair, PJ Harvey and the massively successful Alanis Morissette fit into this sub group.

During the latter half of the 1990s, grunge was supplanted by post-grunge. Post-grunge bands such as Candlebox and Bush emerged soon after grunge's breakthrough. These artists 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." Post-grunge was a more commercially viable genre that tempered the distorted guitars of grunge with polished, radio-ready production.

Post-rock was established by Talk Talk's Laughing Stock and Slint's Spiderland albums, both released in 1991. 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. While the name of the genre was coined by music journalist Simon Reynolds in 1994, the sound of the genre was solidified by the release of Millions Now Living Will Never Die (1996) by the Chicago group Tortoise. Post-rock became the dominant form of experimental rock music in the 1990s and bands from the genre centered around the Thrill Jockey, Kranky, Drag City, and Too Pure record labels. A related genre, math rock, peaked in the mid-1990s. In comparison to post-rock, math rock is more "rockist" and relies on complex time signatures and intertwining phrases. While by the end of the decade a backlash had emerged against post-rock due to its "dispassionate intellectuality" and its perceived increasing predictability, a new wave of post-rock bands such as Godspeed You! Black Emperor and Sigur Rós emerged who further expanded the genre.

Mainstream decline

By the end of the decade, alternative rock's mainstream prominence declined due to a number of events, notably the death of Nirvana's Kurt Cobain in 1994 and Pearl Jam's lawsuit against concert venue promoter Ticketmaster, which in effect barred the group from playing many major venues around the United States. A signifier of alternative rock's declining popularity 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".

Despite alternative rock's declining popularity, some artists retained mainstream relevance. Post-grunge remained commercially viable into the start of the 21st century, when bands like Creed and Matchbox Twenty became among the most popular rock bands in the United States.

Alternative rock in the 21st century

of post-punk revival group Franz Ferdinand]] During the late 1990s and early first decade of the 21st century, several alternative rock bands emerged. Linkin Park, a very successful act in the early part of the 2000s, added various other elements to its Alternative metal roots. Muse,Mando Diao, The Strokes, Franz Ferdinand, and Interpol that drew primary inspiration from post-punk and New Wave, establishing the post-punk revival movement. Preceded by the success of 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 Modest Mouse, The Killers, and Yeah Yeah Yeahs, found commercial success in the early first decade of the 21st century. Due 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.".

See also

Independent music

List of alternative rock artists

Timeline of alternative rock

Bibliography

Azerrad, Michael. Come As You Are: The Story of Nirvana. Doubleday, 1994. ISBN 0-385-47199-8

Azerrad, Michael. Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991. Little Brown and Company, 2001. ISBN 0-316-78753-1 Erlewine, Stephen Thomas. "[ American Alternative Rock/Post-Punk]". Allmusic. Retrieved May 20, 2006. Erlewine, Stephen Thomas. "[ British Alternative Rock]". Allmusic. Retrieved May 20, 2006.

Harris, John. Britpop!: Cool Britannia and the Spectacular Demise of English Rock. Da Capo Press, 2004. ISBN 0-306-81367-X

Lyons, James. Selling Seattle: Representing Contemporary Urban America. Wallflower, 2004. ISBN 1-903364-96-5

Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984 Penguin, 2006. ISBN 0-14-303672-6

Fonarow, Wendy. Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Wesleyan, 2006. ISBN 0-819-568-112

Noise From The Underground : A History Of Alternative Rock, by Michael Lavine and Pat Blashill. ISBN 0-684-81513-3. Simon And Schuster Publishing, 1996

References

External links

[ Allmusic article for alternative rock]

Category:Rock music genres Category:20th-century music genres Category:21st-century music genres