History Main / Britpop

* Music/{{Space}}
** 1996 - ''Music/{{Spiders|Album}}''

There was admittedly somewhat of a problem. The fact that Britpop was very hard to define led several sources around that time to not really understand what it was and so lumped various British Alternative Rock bands and artists with the movement no matter how tenuous the similarities were, such as Music/TheDivineComedy, Music/TeenageFanclub, Music/{{Stereolab}}, Music/TheBeautifulSouth, [[Music/TheJam Paul Weller]], Music/PrimalScream, Music/PJHarvey, and even '''''Music/{{Garbage}}''''' (who weren't even British apart from Scottish frontwoman Shirley Manson). Music/TheCardigans and Music/TheWannadies also found themselves associated with the movement due to their sonic similiarities to Britpop, despite both groups being from Sweden. One of the biggest offenders in this case was Denim, fronted by Lawrence of pioneering indie band Music/{{Felt}}. Though they influenced many bands in the scene, particularly the glammy ones like Pulp and The Auteurs, their music was perhaps even less Britpop than Radiohead, going for an unusual sound described as a half earnest/half tongue-in-cheek homage to the bubblegum and electro-pop of the early seventies. Arguably the BlackSheep of the whole scene were Music/{{Space}}, a band from Liverpool who shared the Super Furries' irreverent humor and eclecticism, but received none of the critical adulation and were largely accepted in indie circles as a mere novelty act, despite the massive commercial success of both their first two albums, as well as the GrowingTheBeard they experienced in their later, less commercially successful releases.

There was admittedly somewhat of a problem. The fact that Britpop was very hard to define led several sources around that time to not really understand what it was and so lumped various British Alternative Rock bands and artists with the movement no matter how tenuous the similarities were, such as Music/TheDivineComedy, Music/TeenageFanclub, Music/{{Stereolab}}, Music/TheBeautifulSouth, [[Music/TheJam Paul Weller]], Music/PrimalScream, '''Music/PJHarvey''', and even '''''Music/{{Garbage}}''''' (who weren't even British apart from Scottish frontwoman Shirley Manson). One of the biggest offenders in this case was Denim, fronted by Lawrence of pioneering indie band Music/{{Felt}}. Though they influenced many bands in the scene, particularly the glammy ones like Pulp and The Auteurs, their music was perhaps even less Britpop than Radiohead, going for an unusual sound described as a half earnest/half tongue-in-cheek homage to the bubblegum and electro-pop of the early seventies. Arguably the BlackSheep of the whole scene were Music/{{Space}}, a band from Liverpool who shared the Super Furries' irreverent humor and eclecticism, but received none of the critical adulation and were largely accepted in indie circles as a mere novelty act, despite the massive commercial success of both their first two albums, as well as the GrowingTheBeard they experienced in their later, less commercially successful releases.

** 2004 - ''Music/SuburbanRockNRoll''

It was after this that everything for the genre slowly started to fall apart. As mentioned above, many of the smaller names were following on from the coattails of the bigger names, but after the Battle of Britpop, the music industry failed to recognise how traditional rock-influenced bands like Oasis and The Charlatans had come up organically due to authenticity and unique sounds, and so from then on almost all new Britpop bands were interchangeable and inauthentic Oasis-a-likes thrown together either by alternative rockers of yesteryear now past their prime, such as the Seahorses (led by [[Music/TheStoneRoses John Squire]]) and Hurricane #1 (led by [[Music/{{Ride}} Andy Bell]]), or by inexperienced musicians that were generally mediocre in musical talent, such as Northern Uproar, the Diggers, Reef, 18 Wheeler, Heavy Stereo, 3 Colours Red, Shed Seven, Music/KulaShaker, Superstar, Embrace, Dodgy, Music/TheBluetones, and Gomez. Though some bands here, like Embrace and Gomez, would reinvent themselves and become popular, the rest didn't, and slowly, the Britpop scene became shunned and reviled.

'''Britpop''' was a somewhat ill-defined scene in British AlternativeRock that first had its origins within [[TheEighties the late-1980s]], and generally flourished in [[TheNineties the mid-1990s]].

* Music/{{Placebo}}

Various other bands that had been around for more than five years, such as Music/{{Pulp}} (a former post-punk band formed by a few teenage friends in [[OlderThanTheyThink 1978]] and personal favourites of radio legend Creator/JohnPeel), Music/TheBooRadleys (who were initially more part of the {{Shoegazing}} and DreamPop scenes) and The Charlatans (who, like The Stone Roses, were part of the Madchester scene and delivered the hit album ''Some Friendly'' a few years beforehand), began to embrace Britpop and gain commercial success as a result, with Pulp's ''Different Class'' and The Charlatans' ''Tellin' Stories'' cited as two of the genres' most important albums. One of the first bands to form out of this new boom was Supergrass, a band of teenagers formed out of the ashes of their earlier band The Jennifers. They played a significantly pop punky brand of Britpop and would deliver one of the genre's most iconic songs, "Alright".

There was admittedly somewhat of a problem. The fact that Britpop was very hard to define led several sources around that time to not really understand what it was and so lumped various British Alternative Rock bands and artists with the movement no matter how tenuous the similarities were, such as Music/TheDivineComedy, Music/TeenageFanclub, Music/{{Stereolab}}, Music/TheBeautifulSouth, [[Music/TheJam Paul Weller]], Music/PrimalScream, '''Music/PJHarvey''', and even '''''Music/{{Garbage}}''''' (who weren't even British apart from Scottish frontwoman Shirley Manson). One of the biggest offenders in this case was Denim, fronted by Lawrence of pioneering indie band Music/{{Felt}}. Though they influenced many bands in the scene, particularly the glammy ones like Pulp and The Auteurs, their music was perhaps even less Britpop than Radiohead, going for an unusual sound described as a half earnest/half tongue-in-cheek homage to the bubblegum and electro-pop of the early seventies. Arguably the BlackSheep of the whole scene were Music/{{Space}}, a band from Liverpool who shared the Super Furries' irreverent humor and eclecticism, but received none of the critical adulation and were largely accepted in indie circles as a mere novelty act, despite the massive commercial success of both their first two albums.

They weren't all bands, either. Several solo artists emerged from the scene and played the style as well. Ian Brown and Bernard Butler, formerly of The Stone Roses and Suede respectively, would go on to have their own respected solo careers that they continue to this very day. Meanwhile Boo Radleys vocalist Sice would have his own solo project under the name "Eggman". The Britpop solo artist that's most well-known, however, would be Music/RobbieWilliams. Formerly of the boy band [[Music/TakeThatBand Take That]] (they kicked him out in 1995 … and broke up a few months later), he reinvented himself with the genre and became one of the main superstars not just of Britpop, but for late-90s/early-2000s British music, after delivering 1997's ''Life Thru a Lens''. This is still considered one of the last defining albums of the genre and made iconic hits such as "Let Me Entertain You", "Old Before I Die", and his signature song "Angels".

There was admittedly somewhat of a problem. The fact that Britpop was very hard to define led several sources around that time to not really understand what it was and so lumped various British Alternative Rock bands and artists with the movement no matter how tenuous the similarities were, such as Music/TheDivineComedy, Music/TeenageFanclub, Music/{{Stereolab}}, Music/TheBeautifulSouth, [[Music/TheJam Paul Weller]], Music/PrimalScream, '''Music/PJHarvey''', and even '''''Music/{{Garbage}}''''' (who weren't even British apart from Scottish frontwoman Shirley Manson). One of the biggest offenders in this case was Denim, fronted by Lawrence of pioneering indie band Music/{{Felt}}. Though they influenced many bands in the scene, particularly the glammy ones like Pulp and The Auteurs, their music was perhaps even less Britpop than Radiohead, going for an unusual sound described as a half earnest/half tongue-in-cheek homage to the bubblegum pop of the early seventies. Arguably the BlackSheep of the whole scene were Music/{{Space}}, a band from Liverpool who shared the Super Furries' irreverent humor and eclecticism, but received none of the critical adulation and were largely accepted in indie circles as a mere novelty act, despite the massive commercial success of both their first two albums.

There was admittedly somewhat of a problem. The fact that Britpop was very hard to define led several sources around that time to not really understand what it was and so lumped various British Alternative Rock bands and artists with the movement no matter how tenuous the similarities were, such as Music/TheDivineComedy, Music/TeenageFanclub, Music/{{Stereolab}}, Music/TheBeautifulSouth, [[Music/TheJam Paul Weller]], Music/PrimalScream, '''Music/PJHarvey''', and even '''''Music/{{Garbage}}''''' (who weren't even British apart from Scottish frontwoman Shirley Manson). One of the biggest offenders in this case was Denim, fronted by Lawrence of pioneering indie band Music/{{Felt}}. Though they influenced many bands in the scene, particularly the glammy ones like Slade and The Auteurs, their music was perhaps even less Britpop than Radiohead, going for an unusual sound described as a half earnest/half tongue-in-cheek homage to the bubblegum pop of the early seventies. Arguably the BlackSheep of the whole scene were Music/{{Space}}, a band from Liverpool who shared the Super Furries' irreverent humor and eclecticism, but received none of the critical adulation and were largely accepted in indie circles as a mere novelty act, despite the massive commercial success of both their first two albums.