| 1 | [floatboxright: |
| 2 | Primary Stylistic Influences: |
| 3 | + PunkRock, PostPunk, NewWaveMusic, HardcorePunk |
| 4 | ] |
| 5 | [floatboxright: |
| 6 | Secondary Stylistic Influences: |
| 7 | + ProtoPunk, GarageRock, PsychedelicRock, ProgressiveRock, ElectronicMusic, KrautRock, HeavyMetal, GlamRock, FolkMusic, CountryMusic, a wide variety of other influences, depending on subgenre |
| 8 | ] |
| 9 | |
| 10 | ->''"The history of Australian rock has one recurring theme: it's the story of music described as 'alternative' becoming the mainstream."'' |
| 11 | -->-- '''Long Way to the Top: Stories of Australian Rock & Roll''' |
| 12 | |
| 13 | A term used when looking at a stone and talking about a different stone... wait, no, that's not right. |
| 14 | |
| 15 | [[ShapedLikeItself Rock that is alternative]]. Weird. Different, somehow. [[{{Pun}} Alternatively,]] you could define the term as any form of rock that doesn't fit the criteria for "classic" first-wave rock, ProgressiveRock, PunkRock, PostPunk, hard rock, straight HeavyMetal (and its variants), or any other form of rock that held a prominent mainstream presence before 1987-1991. Also known as 'indie' in the UK.[[note]]In North America, 'indie' is most often specificaly used to describe a quirkier more DIY-oriented subgenre of alternative rock, while in the UK (and the rest of Europe more generally) 'indie' isn't as distinct and can refer to stuff that Americans would generally just call alternative; it's worth noting that the use of 'indie' in North America was similarly quite broad up until the 1990s, as the alternative rock label [[NewerThanTheyThink didn't really catch on until then]]. Also like 'alternative', 'indie' is not to be taken literally; many key indie rock bands have left their independent labels to sign to major labels and the term "indie rock" now describes the general aesthetic and overall sound these bands perform.[[/note]] |
| 16 | |
| 17 | The general consensus is that alternative rock evolved from PostPunk back in the early '80s, with Music/{{REM}}'s 1981 debut single "Radio Free Europe" typically being regarded as the [[TropeMaker de-facto starting point]]. However, many would argue that post-punk itself was technically alternative music, with artists like Music/{{Wire}}, Music/TalkingHeads, [[Music/TheCureBand The Cure]], Music/JoyDivision, Music/{{XTC}}, and Music/TheB52s generally agreed to be "alternative" in some sense of the term (and if not that, they're typically considered major influences on alternative rock). There are no real set explicit differences between post-punk and early alternative music; A large number of post-punk and early new wave acts -- including nearly all of the bands listed above - would more explicitly adopt alternative rock as the 80's went on, further muddying the distinction, and post-punk music would form the backbone of early alternative radio playlists. Some first generation punk bands like Music/XUSBand and Music/SiouxsieAndTheBanshees would also evolve their sounds towards alternative music during the 1980s. Much of the early alternative scene in the United States evolved from local hardcore punk scenes as bands began to add melody, pop song structure, sophisticated lyrics, and more accomplished musicianship to their sound. The 2001 book ''Our Band Could Be Your Life'' by Michael Azerrad is considered an essential tome on the early history of alternative rock in the United States aside from R.E.M., and in particular focuses on how alternative evolved from punk. |
| 18 | |
| 19 | However, alternative rock can traces its roots well past punk, and the two genres share many of the same influences. The Music/VelvetUnderground, is in hindsight often considered to be the [[UrExample first alternative rock band]], and they predate punk itself by a decade. There were other artists like Hasil Adkins, Music/CaptainBeefheart, Music/{{Can}}, Robert Wyatt, Music/TheShaggs, Music/ScottWalker, Music/TomWaits, and Music/KingCrimson who were kicking around in the late '60s and early '70s doing stuff that would've been called "alternative" if they debuted with that kind of sound during or immediately before the early '80s. Also, there were several artists, such as Music/DavidBowie, Music/FrankZappa, Music/TheFugs, Music/TheStooges, Music/RoxyMusic, Music/PattiSmith, Music/{{Sparks}}, Music/{{Television}}, Music/TomPetty, Music/PinkFloyd and even Music/TheBeatles, who whilst weren't really alternative acts in general, recorded material that would serve as major building blocks for what would become alternative in the future. |
| 20 | |
| 21 | For the rest of the eighties, it blossomed underground, and was truly "alternative"; if you were bored of Top 40 radio, you could just switch on the [[CollegeRadio college campus radio station]] and hear the music of moderately obscure bands like Music/{{REM}}, Music/TheSmiths, Music/TheReplacements, Music/{{The Fall|Band}}, Music/HuskerDu, Music/{{Minutemen}}, Music/SonicYouth, and Music/DinosaurJr. The passionate cult followings these artists generated caused commercial radio to take notice, with pioneering stations like L.A.'s KROQ and Boston's WFNX offering a more polished take on alternative rock radio, while also regularly adding local and lesser known acts into their playlists just like the college stations did. Another major supporter of alternative rock in the U.S. was NBC's ''[[Series/LateNight Late Night with David Letterman]]'', whose [[Creator/DavidLetterman host]] often invited early alternative bands on as musical guests. Notably, Music/{{REM}} made their network television debut on ''Letterman'' on October 6, 1983, just six months after the release of [[Music/{{Murmur}} their debut album]]. In the U.K., the primary radio outlet for alternative and indie music was Creator/JohnPeel's BBC radio show. Peel personally chose the music he played on air, he was enthusiastic about the artists he enjoyed, and his longevity on the airwaves meant his endorsement carried a lot of weight in the British music scene. While he regularly played other styles, like dance, folk, reggae, and world music, it was indie rock for which he became most identified with among the general public. Airplay on Peel's show could [[ColbertBump instantly make a small band very cool overnight]], especially if he invited them to record a radio session or were voted by his listeners into his annual Festive Fifty countdowns. |
| 22 | |
| 23 | The alternative scene of the 1980s was dominated by medium-sized independent or semi-independent labels who often promoted the artists on their rosters as a unit, sometimes highlighting a specific sound or local scene that was heavily represented among those acts. The best known American alternative labels of this time included Creator/IRSRecords, Creator/SubPop, SST, [=Twin/Tone=], Dischord, K Records, Enigma, Creator/SireRecords, Bar None, Creator/TouchAndGoRecords, Slash, Epitaph, Restless, Sympathy for the Record Industry, and Creator/ElektraRecords. In Britian, where indie labels and scenes had flourished in the punk and post-punk eras, the most important alternative labels were Creator/FourADRecords, Creator/FactoryRecords, Rough Trade, Creator/BeggarsBanquetRecords, Creator/MuteRecords, Fiction, Creator/CreationRecords, Caroline, Postcard, One Little Independent (then known as One Little Indian), Cherry Red, Sarah Records, Fire Records, and Cooking Vinyl. |
| 24 | |
| 25 | American fans heavily coveted import or stateside releases by the British labels, and the Brits often recognized the top American acts. Audiophiles and collectors sought imports because American releases of British albums in the analog era tended to be mastered from multi-generation safety tapes, sometimes also [[ReCut altering the tracklisting]] and [[AlternateAlbumCover cover art]] for the U.S. release. Occasionally, the altered tracklistings [[BetterExportForYou worked in the American releases' favor]] by including material that was otherwise unavailable stateside. |
| 26 | |
| 27 | The Rhode Island band Music/ThrowingMuses were one of the first American alternative groups to garner a British following, and were signed to 4AD in 1986 as their first American act, later joined by fellow New Englanders Music/{{Pixies}}. Other examples include Music/{{REM}} being critical darlings in the UK from the get-go (and eventually establishing a large fan following outside of the US eastern seaboard as well) and Music/NewOrder becoming so well-known among the American urban scene that they eventually acquired a major label deal with Music/QuincyJones' Creator/WarnerBrosRecords-backed Qwest Records in 1985 (as well as their predecessor Music/JoyDivision being a posthumous critical darling in the American music press). Additionally, Music/TheSmiths and Music/DepecheMode established prominent footholds on the American west coast, owing to their regular airplay on KROQ and its [=NorCal=] counterpart, KITS. ImportFilter tended to apply, as the best alternative bands were often distributed by major labels overseas. I.R.S. Records proved to be the most popular of these labels in the US, as not only did they have R.E.M. on their roster, but also mainstream leaning acts like The English Beat and Music/TheGoGos in addition to offbeat college radio favorites like Music/WallOfVoodoo and Music/OingoBoingo. One I.R.S. act, the quirky husband-and-wife duo [=Timbuk3=], were among the first college rock bands to break onto Top 40 radio, with their 1986 classic "The Future's So Bright, I Gotta Wear Shades". In the UK, meanwhile, Factory, Mute, and Rough Trade all simultaneously emerged as the "Big Three" of the British alternative scene, with their idiosyncratic approaches to the movement, favoring of artistic creative control (to the point where Factory never signed formal contracts with their artists-- which came back to bite them when they ran out of money and unsuccessfully tried to negotiate a buyout with London Records, leading to their bankruptcy in 1992), and strong public and commercial presences cementing them as the most important and influential alternative labels east of the Atlantic. |
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| 29 | There was obviously an audience for alternative or college rock on both sides of the Atlantic, but the only way college radio acts got popular in the eighties was to either make your sound more mainstream friendly (Music/TearsForFears, Music/{{U2}}), have a BlackSheepHit (Music/SimpleMinds, Music/WasNotWas), or already be a commercially successful musician who just happened to get popular on college radio (Music/PeterGabriel, Music/{{Sting}}); there were also odd cases where an artist's sound was both commercially successful and decidedly alternative in ethos, but wasn't recognized as alternative rock until decades later (Music/TalkTalk, Music/KateBush, latter-day Music/TalkingHeads). Between 1987 and 1989, however, the genre started breaking through to mainstream pop and rock radio, with bands like Music/{{REM}}, Music/TheB52s, Music/{{The Cure|Band}}, Music/MidnightOil, Music/{{The Church|Band}}, Music/NewOrder and Music/LoveAndRockets all reaching the Top 40 on the strength of songs that crossed over from alternative radio stations, [[GenreTurningPoint a turning point for the genre]]. Other more accessible alt-rock acts, like Music/TenThousandManiacs and Music/JanesAddiction, also found their way into the mainstream by the end of the '80s even if they didn't crack the Top 40. The biggest acts that had started playing clubs in the early '80s were playing stadiums by the end of the decade. For instance, Music/DepecheMode sold out the 90,000 seat Rose Bowl in Pasadena, California in June 1988, which was a watershed moment for the rise in popularity of left-of-center college radio acts in the United States. |
| 30 | |
| 31 | R.E.M., the Cure, and Depeche Mode became three of the biggest names in rock music by 1989 without any of them compromising their alternative ethos; R.E.M. even signed to Creator/WarnerBrosRecords in 1988 on the condition they be given total artistic and creative control of their music... and the major label ''agreed'' (which, tellingly, was the only reason why R.E.M. signed onto them instead of onto other labels offering much more lucrative deals). The other two major bands were already distributed by other Warner subsidiaries in the U.S., with the Cure on Creator/ElektraRecords and Depeche Mode on Creator/SireRecords. Of the major labels, Warner seemed to invest the most in alternative music that decade, as despite their notorious penny-pinching in all other areas (which had already become the subject of mockery among the likes of Music/{{Devo}}, Music/{{Prince}}, and Music/FrankZappa, who had repeatedly butted heads with Warner execs in the past over more commercially risky endeavors like [[Music/{{Lather}} a contract-rushing quadruple-album]]), the label still had a reputation for being willing to take risks on less commercial acts and were still keen on demonstrating it. |
| 32 | |
| 33 | Alternative Rock was also a really diverse field at this point, reuniting under the same umbrella a lot of subgenres, like AlternativeCountry, AlternativeDance, AlternativeHipHop, AlternativeMetal, Christian Alternative Rock, [=Cowpunk=], DreamPop, FolkPunk, FunkRock, GothRock, {{Grunge}}, {{Industrial}}, JanglePop, {{New Wave|Music}}, No Wave, NoisePop, NoiseRock, PostPunk, PostRock, PowerPop, {{Shoegazing}}, {{Slowcore}}, SophistiPop and more leftfield forms of SynthPop. |
| 34 | |
| 35 | Aside from the US and UK, significant alternative scenes formed all across the world. Australia proved to be a significant hotbed for the style, with artists like Music/MidnightOil, Music/{{The Church|Band}}, The Go-Betweens, Hunters & Collectors, The Hoodoo Gurus, Music/TheBirthdayParty, and their singer Music/NickCave garnering cult popularity in the United States. New Zealand's distinct "Dunedin Sound" style, led by The Chills, proved to be influential on later indie rock. In Latin America, BMG's "Rock en tu idioma" (or "Rock in your langauge") campaign boosted the careers of influential Spanish-language alt-rock acts from Mexico (Caifanes and Maná) and Argentina (Soda Stereo, Charly Garcia, and Virus), while Music/LegiaoUrbana became a highly important band in their native Brazil. Canada's alternative scene typically had a folky or country oriented sound, but most of the popular early bands there like Music/TheTragicallyHip, 54-40, and Blue Rodeo, tended not to crossover to the States or UK as successfully as the Aussie bands did. Ireland's Music/{{U2}}, who never really fit well with either the new wave or post-punk scenes and quickly became one of the most popular bands in the world, adopted alternative rock as their style in the late 1980s. The Sugarcubes were the first band from Iceland, in any genre, to experience international commercial success as they became one of the most popular early alternative bands in both the US and UK, and they were also the launching pad for lead singer Music/{{Bjork}}'s long and influential solo career. In Japan, BOØWY, Music/ThePillows, and Music/ShonenKnife provided a contrast to the flashy Visual Kei metal scene of the era, while Music/RyuichiSakamoto, already famous for his work in Music/YellowMagicOrchestra, helped cultivate Music/DavidSylvian's solo career as an alternative-friendly art pop act. |
| 36 | |
| 37 | Noticing this new trend in rock music, as well as the sizable increase in alternative-formatted radio stations, ''Billboard'' magazine launched the Modern Rock Tracks (now Alternative Airplay) chart in September 1988. The history of this chart and its importance in tracking the history of the genres and the trends within it can be found [[https://pitchfork.com/features/article/9214-radio-friendly-unit-shifters-25-years-of-billboards-alternative-music-chart/ here]]. Creator/{{MTV}} got on board with alternative music much earlier than ''Billboard'' did, launching the ''120 Minutes'' block in 1986. The program, which ran until 2003, showcased alternative music videos, interviews, news and live performances. [[EarlyInstallmentWeirdness The first few episodes were focused on "Light Rotation" videos]], until producer (and later host) Dave Kendall refocused the show on the underground. Still, Sunday midnight airings relegated it to only the most dedicated (and those who kept VCR recordings). In the fall of 1987, as the genre picked up traction, MTV saw fit to create a specialty rotation for emergent artists called the "Buzz Bin" (retitled Buzz Clips in 1991, and finally Buzzworthy in 1998), which would mostly be home to new videos from alternative acts, and would have a notable impact on their fortunes, with many even entering heavy rotation on the channel. In addition to the weekly ''120 Minutes'', MTV aired a nightly alternative block, ''Post-Modern MTV'', from 1988 to 1990, followed by its better-known spiritual successor ''Alternative Nation'', which aired on MTV from 1992 to 1997. In 1996, MTV debuted [=MTV2=], which in its early years was largely devoted to alternative music. |
| 38 | |
| 39 | By this point, this style of music needed an overarching name to describe the varied and distinct artists that had become associated with it. Terms such as "college rock" (named after the place where it was most commonly found), "modern rock" (the term that had risen in the radio business to describe the commercial format playing this music), "new music" or "new pop" (favored by print journalists and used to describe a whole range of synth and guitar bands, from mainstream new wavers like Music/DuranDuran to cult names like The Fall), "post-punk" (although this term was later exclusively used to describe a separate but related genre), and "techno rock" (describing, specifically, alternative bands that used synthesizers and/or dance beats, like The Cure and New Order) were all used to varying degrees. "Alternative rock" however, became the predominant term used by the early 1990s. The term "alternative music" was coined by music writer Terry Tolkin in 1979 and later became used throughout the music industry. By 1991, the term had become mainstream, particularly after Perry Farrell of Music/JanesAddiction used it to describe his traveling Lollapalooza festival, which helped define the genre in the early '90s. Often, the genre and format are simply called "Alternative" because alternative stations played more than just guitar rock, and regularly featured folk, reggae, hip-hop, worldbeat, and electronic music on their playlists. Most of those styles continue to be part of the format in some fashion to this day. |
| 40 | |
| 41 | Three major events in 1990 are credited for setting the stage for the genre's breakout success throughout the decade. First, the establishment of imprints such as Creator/InterscopeRecords and [[Creator/GeffenRecords DGC]] allowed younger and newer artists to find success in the music industry. Although Interscope catered to all kinds of genres, it gained prominence within alternative circles as bands such as Bush, Music/NineInchNails, Music/NoDoubt, and Music/{{Primus}} would make their breakthrough albums there. As for DGC, they signed Music/SonicYouth at the end of the 80s off the buzz surrounding their critically-acclaimed opus, ''Music/DaydreamNation'', giving them full creative control and even the space to continue releasing independent records. They also held a bit of influence over getting other acts signed, notably Beck and Nirvana, but we'll get to those later, especially the latter. Secondly, the Music/MilliVanilli lip-syncing scandal [[GenreKiller significantly damaged]] the reputation of mainstream pop music for over half-a-decade, resulting in many pop acts that weren't Music/{{Madonna}} or Music/MichaelJackson (pre-1993) falling out of favor with listeners and leading to an increase in demand for more authentic fare over the manufactured acts that dominated many radio stations throughout the '80s[[note]]Notably, Music/AlanisMorissette started out as a mainstream pop artist when she debuted in the early '90s, and her first two albums were so horribly received that she drastically changed her style by integrating her music with elements of alternative and grunge for what would be her breakthrough work, ''Music/JaggedLittlePill''[[/note]]. Lastly, the alternative dance subgenre had a major mainstream breakout in the United States following the commercial and critical success of New Order and Depeche Mode, with groups like Jesus Jones and EMF scoring major pop hits with a sound that mixed rock guitars with the latest acid house dance beats. |
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| 43 | The next year, 1991, was alternative rock's breakthrough year into the mainstream, codified by the documentary ''1991: The Year That Punk Broke''. R.E.M. topped the album chart with ''Music/OutOfTime'', the Music/RedHotChiliPeppers had a mainstream breakthrough with ''Music/BloodSugarSexMagik'', and the inaugural Lollapalooza touring festival launched that summer. Those were signs of even bigger things to come at the end of the year with Music/{{Nirvana}}'s ''Music/{{Nevermind|Album}}'' and Music/PearlJam's ''Music/{{Ten|PearlJamAlbum}}'' becoming breakout successes, bringing the {{grunge}} subgenre, and Seattle, into the mainstream. Into a place the insular, attention-shy musicians didn't ''want'' to be. And yet poetically, driving the final stake into the waning HairMetal scene that, much like most of the mainstream pop acts of yesteryear, was considered pompous and superficial (though [[Music/SpiceGirls bubblegum pop would]] [[Music/BackstreetBoys come]] [[Music/{{NSYNC}} back]] [[Music/BritneySpears with a vengeance]] as soon as Grunge died, and many Hair Metal bands would reunite as time went on). The alternative rock bands that broke through in the early 90s paid plenty of respect to the artists that had influenced them, which inspired several new wave acts of the '80s nominally associated with alternative who had fallen out of favor, including Music/DuranDuran and Music/TheHumanLeague, to be more understated to fit the new decade. However, this came at the expense of less harsher/harder-sounding subtypes of alternative rock, such as DreamPop and JanglePop, falling by the wayside, [[FollowTheLeader as record labels sought to capitalize on Nirvana's overnight success]]. Although [[DeadHorseGenre grunge itself died soon after Kurt Cobain]], alternative rock itself continued to be popular until... well, today. In fact, it and HeavyMetal are considered the dominant forms of rock music in the mainstream right now. |
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| 45 | In the mid '90s, a contrived search by major labels to find "the next Nirvana" saw most of the international underground scene trawled, which briefly did see a bunch of varied genre bands being signed to major labels as "alternative artists," such as Japanese experimental band Music/{{Boredoms}}, Art Punk group Music/ButtholeSurfers, South Carolinian roots rockers Music/HootieAndTheBlowfish, English hardcore electronica group Music/TheProdigy, Oklahoman Psych-Punkers The Music/FlamingLips, and the Swing Revival or SkaPunk fad bands. Major labels scrambled to acquire the major independent labels as well as the back catalogs of artists they'd signed, reissuing their older albums to cash in on the alternative boom. However, once major labels and rock radio began to embrace PostGrunge and NuMetal, these artists were dropped in droves, with few exceptions (such as The Music/FlamingLips). It wasn't smooth sailing for the artists that weren't dropped by their major labels, either. Following the departure of key personnel, the previously artist-friendly Creator/ElektraRecords garnered the industry nickname "Neglektra", with acts like Music/TheAfghanWhigs, Music/{{Ween}}, Music/TheyMightBeGiants and even Music/{{Metallica}} reporting that they felt mismanaged and underpromoted by the label. Most of these artists did not feel compelled to re-sign a new contract with their labels when their deal was up with them, and many returned to independent or self-run labels for the rest of their career. Additionally, many commercial modern rock radio stations, which had previously been fairly adventurous in the styles and subgenres they had featured on air, eventually [[{{Flanderization}} found their playlists mostly pared down]] to the stereotypical heavy guitar-oriented alt-rock bands by the late '90s.[[note]]Not coincidentally, this shift all started taking place right after the [[https://en.wikipedia.org/wiki/Telecommunications_Act_of_1996 Telecommunications Act of 1996]] took effect in the US, with its removal of the cap on how many stations a company could own resulting in a heavy consolidation of American radio which in turn lead to more unique/local artists going by the wayside in favor of music with much more mass appeal, explaining just why the sound of modern rock radio suddenly changed so drastically during the late '90s/early 2000s.[[/note]] |
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| 47 | Alternative rock remained popular through the 1990s and into the 2000s. While the labels never did find another Nirvana, several artists that had gotten signed to majors in their wake, like Music/{{Weezer}}, Music/{{Beck|Musician}}, Music/TheSmashingPumpkins, and Music/GreenDay, went on to have long, successful, and influential careers in their own right. Nirvana drummer Music/DaveGrohl's next band, Music/FooFighters, largely assumed Nirvana's mantle as the biggest alternative band by the end of the 1990s. Alternative-adjacent groups like Music/SmashMouth, Music/SugarRay, and Music/BarenakedLadies all experienced huge pop radio success in the late '90s with a poppier take on the genre. PostGrunge, a more commercial take on the Seattle sound, also gained prominence in the late '90s through the success of bands like Music/CollectiveSoul, Music/{{Live}}, Bush, and Music/{{Silverchair}}. Unlike previously popular rock movements like hard rock and hair metal, '90s alternative had many female artists who were among the genre's most popular acts. These included female-fronted bands like Music/VerucaSalt, Music/{{Belly|Band}}, Music/SleaterKinney, Music/{{Hole}}, Music/{{Garbage}}, and Music/NoDoubt, as well as singer-songwriters like Music/PJHarvey, Music/SineadOConnor, Music/ToriAmos, Music/LizPhair, Music/{{Bjork}}, Music/SarahMcLachlan, and especially Music/AlanisMorissette. |
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| 49 | The lack of originality on alternative radio (not helped by its aforementioned heavy commercialization in the late '90s) caused indie rock, an outgrowth of the mid-to-late '80s alternative sound, to basically become the new "alternative". In the same period, indie rock's figureheads, the California band Music/{{Pavement}}, became celebrities of the underground with each of their albums garnering critical success. They even had a minor hit with "Cut Your Hair", all without betraying their underground roots or signing to a major label -- they had all they ever needed at the indie label Matador. Music/GuidedByVoices also became an unlikely success story, at least for a while. In the 1990s, the indie label scene changed entirely; While some older names like Epitaph, Sub Pop, Beggars Banquet, and 4AD continued to be major players, other important labels like IRS and Creation folded. In their place came new labels that similarly emphasized their roster as a unit. Labels that rose in prominence on the indie scene in the 1990s include the aforementioned Matador, Merge, Kill Rock Stars, Elephant 6, Bong Load, Domino, Saddle Creek, Polyvinyl, Jagjaguwar, Carpark, Thrill Jockey, Warp, Barsuk, Fueled by Ramen, XL, and Jeepster. |
| 50 | |
| 51 | Another Alternative offshoot that became popular in the mid '90s was {{Britpop}}, which sounded refreshing to American underground rock fans who didn't like the direction that commercial US alt-rock had taken (especially the emergence of PostGrunge). However, most of Britpop was virtually ignored by most other American rock fans with the exceptions of several Music/{{Oasis}} songs (most notably "Wonderwall" and "Champagne Supernova"), Music/{{Blur}}'s "[[BlackSheepHit Song 2]]" and The Verve's "[[OneHitWonder Bittersweet Symphony]]". Blur, along with two other Britpop bands, Music/SuperFurryAnimals and Music/{{Pulp}}, became critically adored cult heroes in the United States and often played on underground radio. That change in tastes is a stark one, considering that British bands were [[https://www.billboard.com/articles/columns/chart-beat/8479386/alternative-songs-foreign-acts-80s all over alternative radio]] just a few years beforehand. |
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| 53 | One of the biggest genres to break out around the same time was PopPunk, which, while at least didn't start out as an alt-rock genre, still saw a heavy amount of overlap after pop punk's mainstream breakthrough. While alt-radio was largely cold on PunkRock as a whole during its early years (aside from acts associated with PostPunk and Music/TheRamones), the breakthrough of Music/GreenDay with their 1994 smash album Music/{{Dookie}} gave way to the success of bands such as Music/TheOffspring, Music/Sum41, and especially Music/Blink182. While the genre was met with plenty of backlash from "real" punk rockers and underground alt-rock fans over its perceived commercialized sound and childish lyrics, pop-punk still maintains a dedicated following to this day despite its cyclic mainstream popularity. |
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| 55 | In the mid-2000s however, many American alternative stations decided they had grown tired of spinning NuMetal and PostGrunge (and to a lesser extent PopPunk) and began to play music from a handful of indie rock influenced bands that retained the original alternative sound instead of bands such as Music/{{Creed|Band}} and Music/{{Nickelback}}. Music magazines called this movement "The Return of Rock", which was led by a handful of new young bands whose names all began with "The": Music/TheHives, Music/TheVines, The Donnas, The Soundtrack of Our Lives, The Mooney Suzuki, The Music, Music/TheWhiteStripes and Music/TheStrokes. Most of these bands -- with the noteworthy exception of Music/TheWhiteStripes -- have since fallen out of favor partially due to CriticalDissonance, but their success allowed Alternative radio to take a chance on other Indie Rock music, such as Music/DeathCabForCutie, Music/TheNational, and Music/ModestMouse. |
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| 57 | Meanwhile, most of the folkier, softer or college-rock artists in the alternative scene largely migrated to a new radio format called adult album alternative or "AAA," an eclectic format that catered to those who wanted a lighter side to the alt-rock scene, Baby Boomers who wanted to keep up with newer music, alt-rock fans who disliked nu metal, post-grunge, or emo, and people who missed the singer-songwriter days of the 1970s. The format also incorporated other genres including folk, blues, jazz, world music, jam bands, and even classic rock. Despite being self-consciously "mellow" like adult contemporary stations, AAA aspired to a level of artistic credibility. The format birthed a mini-genre of alt-rock that saw considerable success with acts like Music/MatchboxTwenty, Music/GooGooDolls, Music/SarahMcLachlan, Music/CountingCrows, Music/SherylCrow and former Music/TenThousandManiacs frontwoman Natalie Merchant, while veteran alternative acts like Music/{{REM}}, Music/{{U2}}, and Music/DavidByrne also found homes there, with older material by these artists mixed in. Additionally, artists who were popular on the touring circuit but weren't often played on mainstream alt-rock radio, like Music/JackJohnson and the Music/DaveMatthewsBand, became major hitmakers on AAA radio. The format was tuned into the Americana, AlternativeCountry, and indie rock scenes much earlier than alternative radio was, with bands like Music/{{Wilco}} and Music/{{Spoon}} gaining traction there first while studiously avoiding the hard rock dominating other alternative stations in the late '90s and early 2000s. Some AAA artists such as Norah Jones and John Mayer even saw bursts of crossover success. Indeed, AAA stations are seen as "tastemakers," as new artists have become popular on these stations before breaking through to the mainstream. The format is a LighterAndSofter counterpart to active rock, playing classic and contemporary artists, though the balance of classic to modern music varies from station to station. For these reasons, AAA might be the SpiritualSuccessor to the original "freeform" stations of the late '60s and early alternative rock stations. |
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| 59 | AAA has particularly thrived on noncommercial stations. Among the American public radio stations that carry a music format, it is the most common behind jazz and classical. Even public stations that primarily carry a news and information format will often offer a AAA station on an alternate HD Radio channel or web stream. Creator/{{NPR}} member station KCRW's ''Morning Becomes Eclectic'' and WXPN's ''World Cafe'' are syndicated shows of the format popular enough to be carried on many NPR stations that otherwise don't offer a music format. Since many of these public stations are affiliated with universities, it also brings alternative rock back to its CollegeRadio roots, though the staffers and on-air talent are usually professionals rather than students. |
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| 61 | Music/{{Radiohead}} also remained wildly popular throughout the world, influencing bands that were heavily indebted to their sound. Some, such as Music/{{Muse}}, Music/{{Coldplay}} and Music/SnowPatrol, made major commercial inroads in the United States. |
| 62 | |
| 63 | Although a few PostGrunge bands like Music/ThreeDaysGrace still have some popularity on alternative radio, it's currently becoming a more indie-friendly territory that often overlaps with AAA (compare [[https://en.wikipedia.org/wiki/Number_one_modern_rock_hits_of_2003 this more hard rock driven list]] of #1 singles on Billboard's Alternative Songs chart from 2003 to the [[https://en.wikipedia.org/wiki/List_of_number-one_Billboard_Alternative_Songs_of_2012 much more indie friendly]] #1s on the same chart in 2012). The stations that never played the hard stuff, mostly independently owned, continue to be the major exporters of new music to American alternative radio. Post-Grunge and Nu Metal are still popular with rock fans, but you're more likely to hear those bands on an "Active Rock" station (you know the ones, those stations that play harder new rock in addition to ClassicRock). |
| 64 | |
| 65 | {{Emo|Music}} became a very big scene following the success of bands such as Music/{{Weezer}}, Music/JimmyEatWorld, Music/MyChemicalRomance, and Music/FallOutBoy. While it was a great scene while it lasted it was opposed on all sides by traditionalist punk rockers and emo haters in general. While it had some bands that aren't everyone's cup of tea, it was a vibrant and vital part of alternative rock history for most of the '90s and 2000s and it shouldn't be dismissed due to the negative connotations people have chosen to label the name with. Recently it has made a form of comeback in the form of the DefendPopPunk scene. |
| 66 | |
| 67 | At the same time, the tech-savvy indie audience also largely migrated away from terrestrial radio to internet radio stations, which could be even more uncommercial than public stations and some of which, like Pandora, could be customized to a listener's exact tastes. The other way the internet emerged as a tastemaker was the rise of online music news and review sites like Pitchfork and Stereogum, as well as the emergence of [=MySpace=] (and, later, Bandcamp) as a music promotion tool. Acts like Music/TVOnTheRadio and Music/VampireWeekend were able to build followings on the internet and cross over to the mainstream using all of these sites. |
| 68 | |
| 69 | Going from high tech to low tech, indie, being one of the few genres to embrace vinyl in the '90s and early '00s when pretty much the only people buying new vinyl were hipsters, audiophiles and [=DJs=], helped usher in the revival of interest in the format starting in the late '00s. Independent labels, alternative rock artists and fans were among the biggest supporters of that format before vinyl became a mainstream format again, associating the dominant CD format with consumerism out of anti-commercial values and Gen Xer '60s/'70s nostalgia. Music/PearlJam's ''Vitalogy'' was only available on vinyl for the first two weeks of its release, after major labels had largely abandoned the format. Vinyl stuck around as a mainstream format longer in the U.K. and Europe than in the U.S., which furthered its connection with indie music. The AlternativeDance subgenre, with its close ties to club and DJ culture, also had a natural affinity with vinyl. |
| 70 | |
| 71 | As the 2000s made way into the 2010s, alternative rock-- and rock as a whole-- faded from the public eye. The factors behind this are plentiful and cover too many topics for this wiki to cover alone, but the two biggest ones seem to be not only radically changing demographics in music listening, but also the creative stagnation of mainstream rock, with post-grunge and post-punk revival outstaying their welcomes in the US and UK, respectively, leading to public backlash. With no new forms of rock appearing to give a breath of fresh air, music listeners generally gravitated away from the supergenre altogether, leading pop, hip-hop, and electronic music to rush to fill the resulting vacuum. Adult alternative and indie rock continue to be popular, but neither has filled the cultural position alternative rock once held. These days, alternative rock is more "dormant" than "dead," but apart from the few and far-between likes of Music/TwentyOnePilots and Music/ImagineDragons-- all of whom bring together so many different styles that whether or not they count as "rock" is still an intense subject of debate-- the genre remains relegated to cult followings and nostalgia stations. Only a handful of alternative groups, such as Music/The1975, Music/{{Paramore}}, Music/ArcticMonkeys, and Music/VampireWeekend, saw mainstream commercial success in the 2010s, and mostly with their albums and concert tours than with their singles. Some new bands that appeared during the 2010s, like Music/AltJ and Music/CarSeatHeadrest, have been critically acclaimed and have been highly popular online, but have not reached the mainstream popularity or recognition that bands of their ilk would have had 20 years prior. Some lament this lack of headway, while others take advantage of it, with acts like Music/RedVox choosing to deliberately limit their exposure to keep their popularity from exploding to a level they wouldn't be able to handle. Maybe someday alternative rock will make a mainstream comeback, but when-- or even if-- that will happen cannot be determined. |
| 72 | |
| 73 | Often (duh) characterized by the PerishingAltRockVoice and its close relative such as {{Yarling}}. |
| 74 | |
| 75 | !!Alternative rock genres |
| 76 | The term covers many, many different subgenres, including but not limited to: |
| 77 | [[index]] |
| 78 | * AlternativeCountry |
| 79 | * AlternativeDance |
| 80 | * AlternativeHipHop (to a degree) |
| 81 | * AlternativeMetal |
| 82 | ** FunkMetal |
| 83 | ** NuMetal |
| 84 | * BaroquePop |
| 85 | * {{Britpop}} |
| 86 | * DarkCabaret |
| 87 | * DreamPop |
| 88 | * EmoMusic |
| 89 | ** DefendPopPunk |
| 90 | ** ScreamoMusic |
| 91 | * GothRock |
| 92 | ** DarkWave |
| 93 | * {{Grunge}} |
| 94 | ** PostGrunge |
| 95 | * Indie Rock |
| 96 | ** IndiePop |
| 97 | ** DancePunk |
| 98 | ** GarageRock Revival |
| 99 | ** {{New Wave|Music}} Revival |
| 100 | * {{Industrial}} |
| 101 | ** IndustrialMetal |
| 102 | * JanglePop |
| 103 | * MathRock |
| 104 | * NoiseRock |
| 105 | * NoisePop |
| 106 | * PopPunk (a matter of debate: while traditionally just a poppier offshoot of standard punk that came about before the emergence of modern alt-rock, some people now treat it as a subgenre due to many pop-punk acts taking strong influence from the genre since the 1990s, thanks in no small part to many early alternative artists such as Music/HuskerDu and Music/TheReplacements adopting a similar punk-infused power pop sound inspired by bands such as the Music/{{Buzzcocks}}) |
| 107 | * PostHardcore |
| 108 | * PostPunk (again, a matter of debate: some consider it an isolated precursor genre, others treat it as a subgenre; of note is that while the "post-punk" label didn't emerge until the 2000s, the kind of music it described was practically synonymous with alternative rock, if not with NewWaveMusic, during the 1980s) |
| 109 | * PostRock |
| 110 | * PowerPop (again, a matter of debate: some consider it merely an influence on the poppier alt rock groups while others treat it, especially its 80s incarnation that was crossbred with New Wave, as a subgenre) |
| 111 | * {{Shoegazing}} |
| 112 | * {{Slowcore}} |
| 113 | * SpaceRock |
| 114 | |
| 115 | !!Alternative rock artists |
| 116 | * Music/ThreeDoorsDown |
| 117 | * Music/IVOfSpades |
| 118 | * Music/ThirtySecondsToMars |
| 119 | ** 2009 - ''Music/ThisIsWar'' |
| 120 | * Music/ThreeEleven |
| 121 | * Music/TenThousandManiacs |
| 122 | ** 1987 - ''Music/InMyTribe'' |
| 123 | * Music/TheAcademyIs |
| 124 | * Music/TheAfghanWhigs |
| 125 | * Music/{{AFI}} |
| 126 | * Music/TheAgeOfInformation |
| 127 | * Music/AkiraYamaoka |
| 128 | * Music/TheAlarm |
| 129 | * Music/SteveAlbini |
| 130 | * Music/AliceInChains |
| 131 | * Music/TheAllAmericanRejects |
| 132 | * Music/AllTimeLow |
| 133 | * Music/AltJ |
| 134 | * Music/ToriAmos |
| 135 | ** 1992 - ''Music/LittleEarthquakes'' |
| 136 | * Music/AnarchyClub |
| 137 | * Music/{{Anathema|Band}} |
| 138 | * Music/{{Anberlin}} |
| 139 | * Music/AngelsAndAirwaves |
| 140 | * Music/{{Anouk}} |
| 141 | * Music/{{Area 11}} |
| 142 | * Music/ArtOfDying |
| 143 | * Music/{{Ash}} |
| 144 | * Music/AsianKungFuGeneration |
| 145 | * Music/{{Astronoid}} |
| 146 | * Music/{{Audioslave}} |
| 147 | * Music/{{AWOLNATION}} |
| 148 | * Music/AztecCamera |
| 149 | * Music/TheB52s |
| 150 | * Music/TheBabies |
| 151 | * Music/BaianaSystem |
| 152 | * Music/BarenakedLadies |
| 153 | * Music/TheBangles |
| 154 | * Music/{{Basehead}} |
| 155 | * Music/{{Beck|Musician}} |
| 156 | ** 1994 - ''Music/MellowGold'' |
| 157 | ** 1996 - ''Music/{{Odelay}}'' |
| 158 | ** 2005 - ''Music/{{Guero}}'' |
| 159 | * Music/BetterThanEzra |
| 160 | * Music/Bi2 |
| 161 | * Music/BiffyClyro |
| 162 | * Music/LloydCole |
| 163 | * Music/BigCountry |
| 164 | * Music/{{BIGMAMA}} |
| 165 | * Music/BillyTalent |
| 166 | * Music/{{Birdeatsbaby}} |
| 167 | * Music/BlackLightBurns |
| 168 | * Music/BlackRebelMotorcycleClub |
| 169 | * Music/BlindMelon |
| 170 | * Music/Blink182 |
| 171 | * Music/BloodhoundGang |
| 172 | * Music/BloodRedShoes |
| 173 | * Music/BlueOctober |
| 174 | * Music/{{Blur}} |
| 175 | ** 1994 - ''Music/{{Parklife}}'' |
| 176 | * Music/JeffBuckley |
| 177 | ** 1994 - ''Music/{{Grace}}'' |
| 178 | ** 1998 - ''Music/SketchesForMySweetheartTheDrunk'' |
| 179 | * Music/BoaUK |
| 180 | * Music/TheBooRadleys |
| 181 | * Music/DavidBowie: a major influence on the genre, later exploring it himself from the end of the 80's onward. Overlaps with art rock. |
| 182 | ** 1989 - ''Music/{{Tin Machine|Album}}'' (with Tin Machine) |
| 183 | ** 1993 - ''Music/BlackTieWhiteNoise'' |
| 184 | ** 1993 - ''Music/TheBuddhaOfSuburbia'' |
| 185 | ** 1995 - ''Music/{{Outside}}'' |
| 186 | ** 1997 - ''Music/{{Earthling}}'' |
| 187 | ** 1999 - ''[[Music/HoursDavidBowieAlbum 'hours...']]'' |
| 188 | ** 2002 - ''Music/{{Heathen}}'' |
| 189 | ** 2003 - ''Music/{{Reality}}'' |
| 190 | ** 2013 - ''Music/TheNextDay'' |
| 191 | ** 2016 - ''Music/BlackstarAlbum'' |
| 192 | * Music/BrandNew |
| 193 | * Music/TheBreeders |
| 194 | * Music/BrianBurton, aka Danger Mouse |
| 195 | * Music/BuckTick |
| 196 | * Music/{{Bush}} |
| 197 | * Music/KateBush: Enormously influential art pop musician who embraced a mix of that and experimental alternative rock from her fourth album onwards; numerous female musicians in this genre are indebted to her example. |
| 198 | ** 1982 - ''Music/TheDreaming'' |
| 199 | ** 1985 - ''Music/HoundsOfLove'' |
| 200 | ** 1989 - ''Music/TheSensualWorld'' |
| 201 | ** 1993 - ''Music/{{The Red Shoes|Album}}'' |
| 202 | ** 2005 - ''Music/{{Aerial}}'' |
| 203 | ** 2011 - ''Music/FiftyWordsForSnow'' |
| 204 | * Music/ButtholeSurfers |
| 205 | * Music/DavidByrne: helped influence the genre with the rest of Music/TalkingHeads, before experimenting with it himself during his solo career. Overlaps with art pop from the 2000s onwards. |
| 206 | ** 1989 - ''Music/ReiMomo'' |
| 207 | ** 1992 - ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' |
| 208 | ** 1994 - ''Music/{{David Byrne|Album}}'' |
| 209 | ** 1997 - ''Music/{{Feelings}}'' |
| 210 | ** 2001 - ''Music/LookIntoTheEyeball'' |
| 211 | ** 2004 - ''Music/GrownBackwards'' |
| 212 | ** 2008 - ''Music/EverythingThatHappensWillHappenToday'' (with Music/BrianEno) |
| 213 | ** 2012 - ''Music/LoveThisGiant'' (with Music/StVincent) |
| 214 | ** 2018 - ''Music/AmericanUtopia'' |
| 215 | * Music/TheCab |
| 216 | * Music/CageTheElephant |
| 217 | * Music/{{CAKE}} |
| 218 | * Music/{{The Calling|Band}} |
| 219 | * Music/CamperVanBeethoven |
| 220 | * Music/TheCardigans |
| 221 | * Music/CarSeatHeadrest |
| 222 | * Music/TheCatEmpire |
| 223 | * Music/CatherineWheel |
| 224 | * Music/NickCave |
| 225 | ** 1994 - ''Music/LetLoveIn'' |
| 226 | ** 1996 - ''Music/MurderBallads'' |
| 227 | * Music/{{Cheekface}} |
| 228 | * Music/EagleEyeCherry |
| 229 | * Music/CherryGhost |
| 230 | * Music/{{Chevelle}} (mostly AlternativeMetal, though can lean towards this on occasion) |
| 231 | * Music/ChronicFuture |
| 232 | * Music/{{Chumbawamba}} |
| 233 | * Music/{{The Church|Band}} |
| 234 | * Music/CityAndColour |
| 235 | * Music/{{CKY}} |
| 236 | * Music/TheClickFive |
| 237 | * Music/CobraStarship |
| 238 | * Music/JarvisCocker |
| 239 | * Music/{{Cold}} |
| 240 | * Music/{{Coldplay}} |
| 241 | ** 2000 - ''Music/{{Parachutes}}'' |
| 242 | ** 2002 - ''Music/ARushOfBloodToTheHead'' |
| 243 | ** 2005 - ''Music/XAndY'' |
| 244 | ** 2008 - ''Music/VivaLaVidaOrDeathAndAllHisFriends'' |
| 245 | ** 2011 - ''Music/MyloXyloto'' |
| 246 | ** 2014 - ''Music/{{Ghost Stories|Album}}'' |
| 247 | ** 2015 - ''Music/AHeadFullOfDreams'' |
| 248 | ** 2019 - ''Music/EverydayLife'' |
| 249 | ** 2021 - ''Music/MusicOfTheSpheres'' |
| 250 | * Music/CollectiveSoul |
| 251 | * Music/PaulaCole |
| 252 | * Music/ChrisCornell |
| 253 | * Music/CountingCrows |
| 254 | * Music/TheCranberries |
| 255 | * Music/TheCraneWives |
| 256 | * Music/CrashTestDummies |
| 257 | * Music/TheCult: Mainly their 1994 {{grunge}}-inspired [[SelfTitledAlbum self-titled album]] but their first two GothRock albums, ''Dreamtime'' and ''Love'', also qualify. Later albums have elements of this, though bordering on AlternativeMetal. |
| 258 | * Music/{{The Cure|Band}}: Initially a PostPunk[=/=]GothRock band, they embraced this genre in the mid-80's and didn't look back. |
| 259 | ** 1989 - ''Music/{{Disintegration|Album}}'' |
| 260 | * Music/{{Curve}} |
| 261 | * Music/TheDandyWarhols |
| 262 | * Music/DaveMatthewsBand |
| 263 | * Music/DavidCrowderBand |
| 264 | * Music/{{DAY6}} |
| 265 | * Music/DazeyAndTheScouts |
| 266 | * Music/DeadSara |
| 267 | * Music/TheDeadWeather |
| 268 | * Music/TheDecemberists |
| 269 | * Music/DelAmitri |
| 270 | * Music/DepecheMode: A SynthPop outlet that carved their own version of AlternativeDance following the departure of their first lyricist, helping [[TropeCodifier codify]] it alongside Music/NewOrder in addition to being embraced by the alternative rock crowd for their rock-influenced instrumentation and leftfield approach. |
| 271 | ** 1983 - ''Music/ConstructionTimeAgain'' |
| 272 | ** 1984 - ''Music/SomeGreatReward'' |
| 273 | ** 1986 - ''Music/BlackCelebration'' |
| 274 | ** 1987 - ''Music/MusicForTheMasses'' |
| 275 | ** 1990 - ''Music/{{Violator}}'' |
| 276 | ** 1993 - ''Music/SongsOfFaithAndDevotion'' |
| 277 | ** 1997 - ''Music/{{Ultra}}'' |
| 278 | ** 2005 - ''Music/PlayingTheAngel'' |
| 279 | ** 2007 - ''Music/{{Hourglass}}'' (Dave solo) |
| 280 | * Music/{{dEUS}} |
| 281 | ** 1994 - ''Music/WorstCaseScenario'' |
| 282 | ** 1996 - ''Music/InABarUnderTheSea'' |
| 283 | ** 1999 - ''Music/TheIdealCrash'' |
| 284 | ** 2005 - ''Music/PocketRevolution'' |
| 285 | * Music/AniDiFranco |
| 286 | * Music/DillonDixonBand |
| 287 | * Music/DinosaurJr |
| 288 | * Music/NicoleDollanganger |
| 289 | * Music/EaglesOfDeathMetal |
| 290 | * Music/EchoAndTheBunnymen |
| 291 | * Music/{{Editors}} |
| 292 | * Music/{{Eels}} |
| 293 | ** 1996 - ''Music/BeautifulFreak'' |
| 294 | * Music/{{Elbow}} |
| 295 | * Music/ElectricSix |
| 296 | * Music/{{Electronic}} |
| 297 | * Music/TheEraserheads |
| 298 | ** 1993 - ''Music/{{Ultraelectromagneticpop}}'' |
| 299 | * Music/{{Erasure}} |
| 300 | * Music/EvansBlue |
| 301 | * Music/{{Eve 6}} |
| 302 | * Music/{{Everclear}} |
| 303 | * Music/{{Failure}} |
| 304 | * Music/FaithNoMore |
| 305 | * Music/{{The Fall|Band}} |
| 306 | * Music/FallOutBoy |
| 307 | * Music/FallingUp |
| 308 | * Music/{{Feeder}} |
| 309 | * Music/{{Fightstar}} |
| 310 | * Music/{{Fishbone}} |
| 311 | * Music/FlamingLips |
| 312 | ** 1999 - ''Music/TheSoftBulletin'' |
| 313 | ** 2002 - ''Music/YoshimiBattlesThePinkRobots'' |
| 314 | * Music/{{Flyleaf}} |
| 315 | * Music/{{Foals}} |
| 316 | * Music/BenFolds |
| 317 | * Music/FooFighters |
| 318 | ** 1995 - ''Music/{{Foo Fighters|Album}}'' |
| 319 | ** 1997 - ''Music/TheColourAndTheShape'' |
| 320 | * Music/TheFray |
| 321 | * Music/TheFrontBottoms |
| 322 | * Music/JohnFrusciante |
| 323 | * Music/{{Fugazi}} |
| 324 | ** 1990 - ''Music/{{Repeater}}'' |
| 325 | * Music/FunLovinCriminals |
| 326 | * Music/PeterGabriel: An initial ProgressiveRock stalwart who shifted to a PostPunk-inspired brand of WorldMusic-infused art rock in the 80's, adopting elements of alternative rock too as the decade progressed. |
| 327 | ** 1982 - ''Music/{{Security}}'' |
| 328 | ** 1986 - ''Music/{{So}}'' |
| 329 | ** 1989 - ''Music/{{Passion}}'' |
| 330 | ** 1992 - ''Music/{{Us|1992}}'' |
| 331 | ** 1994 - ''Music/SecretWorldLive'' |
| 332 | ** 2002 - ''Music/{{Up|PeterGabrielAlbum}}'' |
| 333 | * Music/GangOfYouths |
| 334 | * Music/{{Garbage}} |
| 335 | * Music/LisaGermano |
| 336 | * Music/GinBlossoms |
| 337 | * Music/GirlsAgainstBoys |
| 338 | * Music/{{Glaive}} (later work) |
| 339 | * Music/GooGooDolls |
| 340 | * Music/MatthewGood |
| 341 | * Music/TheGoodTheBadAndTheQueen |
| 342 | * Music/{{Gorillaz}} |
| 343 | ** 2001 - ''Music/GorillazAlbum'' |
| 344 | ** 2004 - ''Music/{{Demon Days|Album}}'' |
| 345 | ** 2010 - ''Music/PlasticBeach'' |
| 346 | ** 2017 - ''Music/{{Humanz}}'' |
| 347 | ** 2018 - ''Music/TheNowNow'' |
| 348 | * Music/{{Gotye}} |
| 349 | * Music/{{Grandaddy}} |
| 350 | * Music/{{Grandson}} |
| 351 | * Music/JohnGrant |
| 352 | * Music/GreekFire |
| 353 | * Music/GreenDay |
| 354 | ** 1994 - ''Music/{{Dookie}}'' |
| 355 | ** 1995 - ''Music/{{Insomniac}}'' |
| 356 | ** 1997 - ''Music/{{Nimrod}}'' |
| 357 | ** 2000 - ''Music/{{Warning}}'' |
| 358 | ** 2004 - ''Music/AmericanIdiot'' |
| 359 | ** 2009 - ''Music/TwentyFirstCenturyBreakdown'' |
| 360 | ** 2016 - ''Music/RevolutionRadio'' |
| 361 | * Music/DaveGrohl |
| 362 | * Music/{{Grouplove}} |
| 363 | * Music/GuniwTools |
| 364 | * Music/HarveyDanger |
| 365 | * Music/JulianaHatfield |
| 366 | * Music/HawthorneHeights |
| 367 | * Music/{{Hazel}} |
| 368 | * Music/TheHeavy |
| 369 | * Music/TheHoldSteady |
| 370 | * Music/{{Hole}} |
| 371 | ** 1991 - ''Music/PrettyOnTheInside'' |
| 372 | ** 1994 - ''Music/LiveThroughThis'' |
| 373 | ** 1887 - ''Music/MyBodyTheHandGrenade'' |
| 374 | ** 1998 - ''Music/CelebritySkin'' |
| 375 | * Music/HomeTownHero |
| 376 | * Music/HotHotHeat |
| 377 | * Music/{{Hozier}} |
| 378 | * Music/{{Hum}} |
| 379 | * Music/{{Hurt}} |
| 380 | * Music/HuskerDu |
| 381 | * Music/{{IAMX}} |
| 382 | * Music/IconForHire |
| 383 | * Music/{{Idlewild}} |
| 384 | * Music/ImagineDragons |
| 385 | ** 2015 - ''Music/SmokeAndMirrors'' |
| 386 | * Music/{{Incubus}} |
| 387 | * Music/{{INXS}} |
| 388 | * Music/JacksMannequin |
| 389 | * Music/JackWhite |
| 390 | * Music/TheJam |
| 391 | * Music/JanesAddiction |
| 392 | * Music/JapaneseBreakfast |
| 393 | ** 2016 - ''Music/{{Psychopomp}}'' |
| 394 | ** 2017 - ''Music/SoftSoundsFromAnotherPlanet'' |
| 395 | ** 2021 - ''Music/{{Jubilee|2021}}'' |
| 396 | * Music/JarsOfClay |
| 397 | * Music/CosmoJarvis |
| 398 | * Music/{{Jawbox}} |
| 399 | * Music/{{Jhariah}} |
| 400 | * Music/TheJesusAndMaryChain |
| 401 | ** 1985 - ''Music/{{Psychocandy}}'' |
| 402 | * Music/TheJesusLizard |
| 403 | * Music/JimmyEatWorld |
| 404 | * Music/{{Joywave}} |
| 405 | * Music/KaizersOrchestra |
| 406 | ** Music/GeirZahl |
| 407 | * Music/{{Kamikazee}} |
| 408 | * Music/{{Kasabian}} |
| 409 | * Music/{{Keane}} |
| 410 | * Music/{{Kenickie}} |
| 411 | * Music/{{Kent}} |
| 412 | * Music/KillHannah |
| 413 | * Music/{{The Killers|Band}} |
| 414 | ** 2004 - ''Music/HotFuss'' |
| 415 | ** 2020 - ''Music/ImplodingTheMirage'' |
| 416 | * Music/KingsOfLeon |
| 417 | * Music/KitchensOfDistinction |
| 418 | * Music/{{Kongos}} |
| 419 | * Music/EdKowalczyk |
| 420 | * Music/LaDispute |
| 421 | * Music/TheLas |
| 422 | * Music/MaryLambert |
| 423 | * Music/LegiaoUrbana |
| 424 | * Music/LemonDemon |
| 425 | * Music/LesFriction |
| 426 | * Music/{{Lifehouse}} |
| 427 | * Music/MaggieLindemann |
| 428 | * Music/TheLike |
| 429 | * Music/LilUglyMane |
| 430 | * Music/LittleComets |
| 431 | * Music/LinkinPark |
| 432 | ** 2000 - ''Music/HybridTheory'' |
| 433 | *** "Music/InTheEnd" |
| 434 | ** 2003 - ''Music/{{Meteora}}'' |
| 435 | ** 2007 - ''Music/MinutesToMidnight'' |
| 436 | ** 2010 - ''Music/AThousandSuns'' |
| 437 | ** 2012 - ''Music/LivingThings'' |
| 438 | ** 2014 - ''Music/{{The Hunting Party|2014}}'' |
| 439 | ** 2017 - ''Music/OneMoreLight'' |
| 440 | * Music/{{Live}} |
| 441 | * Music/{{Lostprophets}} |
| 442 | * Music/CourtneyLove |
| 443 | * Music/LoveAndRockets |
| 444 | * Music/LoversAndLiars |
| 445 | * Music/{{Lucybell}} |
| 446 | * Music/{{Ludo}} |
| 447 | * Music/{{Lush}} |
| 448 | * Music/KirstyMacColl |
| 449 | * Music/ManMan |
| 450 | * Music/JohnnyManchildAndThePoorBastards |
| 451 | * Music/ManicStreetPreachers |
| 452 | * Music/{{Mansun}} |
| 453 | * Music/ManWithAMission |
| 454 | * Music/ClintMansell |
| 455 | * Music/MarcyPlayground |
| 456 | * Music/{{Marmozets}} |
| 457 | * Music/JohnnyMarr |
| 458 | * Music/MatchboxTwenty |
| 459 | * Music/MaximoPark |
| 460 | * Music/MaydayParade |
| 461 | * Music/MazzyStar |
| 462 | * Music/MeatPuppets |
| 463 | * Music/{{Melvins}} |
| 464 | * Music/{{Mew}} |
| 465 | * Music/MidnightOil |
| 466 | * Music/{{Mili}} |
| 467 | * Music/MindlessSelfIndulgence |
| 468 | * Music/{{Ministry}}: the TropeMaker for IndustrialMetal, demonstrating the artistic and mainstream viability of blending {{industrial}} music with HeavyMetal and alternative rock. |
| 469 | * Music/AlanisMorissette |
| 470 | ** 1995 - ''Music/JaggedLittlePill'' |
| 471 | * Music/{{Morphine}} |
| 472 | * Music/{{Morrissey}} |
| 473 | * Music/MsMr |
| 474 | * Music/{{Mudhoney}} |
| 475 | * Music/PeterMurphy |
| 476 | * Music/{{Muse}} |
| 477 | ** 1999 - ''Music/{{Showbiz}}'' |
| 478 | ** 2001 - ''Music/OriginOfSymmetry'' |
| 479 | ** 2003 - ''[[Music/AbsolutionAlbum Absolution]]'' |
| 480 | ** 2006 - ''Music/BlackHolesAndRevelations'' |
| 481 | *** "Music/KnightsOfCydonia" |
| 482 | ** 2009 - ''[[Music/TheResistanceAlbum The Resistance]]'' |
| 483 | ** 2012 - ''[[Music/The2ndLaw The 2nd Law]]'' |
| 484 | ** 2015 - ''Music/{{Drones}}'' |
| 485 | ** 2018 - ''Music/SimulationTheory'' |
| 486 | ** 2022 - ''Music/WillOfThePeople'' |
| 487 | * Music/MyChemicalRomance |
| 488 | ** 2002 - ''Music/IBroughtYouMyBulletsYouBroughtMeYourLove'' |
| 489 | ** 2004 - ''Music/ThreeCheersForSweetRevenge'' |
| 490 | *** "Music/{{Helena}}" |
| 491 | ** 2006 - ''Music/TheBlackParade'' |
| 492 | ** 2010 - ''Music/DangerDaysTheTrueLivesOfTheFabulousKilljoys'' |
| 493 | * Music/MyVitriol |
| 494 | * Music/MegMyers |
| 495 | * Music/NadaSurf |
| 496 | * Music/TheNational |
| 497 | * Music/TheNativeHowl (also Bluegrass/Thrash Metal) |
| 498 | * Music/NautilusPompilius |
| 499 | * Music/{{Needtobreathe}} |
| 500 | * Music/TheNeighbourhood |
| 501 | * Music/NeonTrees |
| 502 | * [[Music/PharrellWilliams N*E*R*D]] |
| 503 | * Music/NewOrder: Already acted as an influence on the genre during their days as Music/JoyDivision, before going on to become a TropeCodifier of British alternative rock and the TropeMaker for AlternativeDance. |
| 504 | ** 1981 - ''Music/{{Movement}}'' |
| 505 | ** 1983 - ''Music/PowerCorruptionAndLies'' |
| 506 | ** 1985 - ''Music/LowLife'' |
| 507 | ** 1986 - ''Music/{{Brotherhood}}'' |
| 508 | ** 1987 - ''Music/{{Substance|NewOrderAlbum}}'' |
| 509 | ** 1989 - ''Music/{{Technique}}'' |
| 510 | ** 1993 - ''Music/{{Republic}}'' |
| 511 | ** 2001 - ''Music/GetReady'' |
| 512 | ** 2015 - ''Music/MusicComplete'' |
| 513 | * Music/NewPolitics |
| 514 | * Music/NewRadicals |
| 515 | * Music/{{Nickelback}} |
| 516 | * Music/NineInchNails (overlaps with IndustrialMetal much of the time) |
| 517 | ** 1989 - ''Music/PrettyHateMachine'' |
| 518 | ** 1992 - ''Music/{{Broken|Album}}'' |
| 519 | ** 1994 - ''Music/TheDownwardSpiral'' |
| 520 | ** 1999 - ''Music/{{The Fragile|1999}}'' |
| 521 | ** 2005 - ''Music/WithTeeth'' |
| 522 | ** 2007 - ''Music/YearZero'' |
| 523 | ** 2008 - ''Music/TheSlip'' |
| 524 | ** 2013 - ''Music/HesitationMarks'' |
| 525 | * Music/{{Nirvana}}: by and large the representative for the entire genre since late 1991, much to their discontent. |
| 526 | ** 1989 - ''Music/{{Bleach|Album}}'' |
| 527 | ** 1991 - ''Music/{{Nevermind|Album}}'' |
| 528 | ** 1992 - ''Music/{{Incesticide}}'' |
| 529 | ** 1993 - ''Music/InUtero'' |
| 530 | ** 1994 - ''Music/MTVUnpluggedInNewYork'' |
| 531 | * Music/NoDevotion |
| 532 | * Music/{{Noah|Indonesia}} |
| 533 | * Music/SineadOConnor |
| 534 | * Music/{{Oasis}} |
| 535 | ** 1994 - ''Music/DefinitelyMaybe'' |
| 536 | ** 1995 - ''Music/WhatsTheStoryMorningGlory'' |
| 537 | ** 1997 - ''Music/BeHereNow'' |
| 538 | * Music/OKGo |
| 539 | ** 2006 - "Music/HereItGoesAgain" |
| 540 | * Music/OneOKRock |
| 541 | * Music/OrigamiAngel |
| 542 | ** 2019 - ''Music/SomewhereCity'' |
| 543 | ** 2021 - ''Music/GamiGang'' |
| 544 | * Music/OurLadyPeace |
| 545 | * Music/PaleSaints |
| 546 | * Music/PaleWaves |
| 547 | * Music/AmandaPalmer |
| 548 | * Music/ThePaperChase |
| 549 | * Music/OsParalamasDoSucesso |
| 550 | * Music/{{Paramore}} |
| 551 | * Music/PatoFu |
| 552 | * Music/MikePatton |
| 553 | * Music/{{Pavement}} |
| 554 | * Music/{{Peace}} |
| 555 | * Music/PearlJam |
| 556 | ** 1991 - ''{{Music/Ten|PearlJamAlbum}}'' |
| 557 | * Music/ThePeggies |
| 558 | * Music/APerfectCircle |
| 559 | * Music/LizPhair |
| 560 | ** 1993 - ''Music/ExileInGuyville'' |
| 561 | * Music/{{Phantom Planet|Band}} |
| 562 | * Music/ThePillows |
| 563 | * Music/{{Pixies}} |
| 564 | ** 1988 - ''Music/SurferRosa'' |
| 565 | ** 1989 - ''Music/{{Doolittle}}'' |
| 566 | * Music/{{Placebo}} |
| 567 | * Music/{{Plumb}} |
| 568 | * Music/{{Poe}} |
| 569 | * Music/PoetsOfTheFall |
| 570 | * Music/PopWillEatItself |
| 571 | * Music/ThePosies |
| 572 | * Music/DanielPowter |
| 573 | * Music/ThePresidentsOfTheUnitedStatesOfAmerica |
| 574 | * Music/{{Pretenders}} |
| 575 | * Music/ThePrettyReckless |
| 576 | * Music/PrimalScream |
| 577 | * Music/TheProclaimers |
| 578 | * Music/ThePsychedelicFurs |
| 579 | * Music/PuddleOfMudd |
| 580 | * Music/{{Qbomb}} |
| 581 | * Music/{{Queenadreena}} |
| 582 | * Music/QueenBee |
| 583 | * Music/QueensOfTheStoneAge |
| 584 | ** 2002 - ''Music/SongsForTheDeaf'' |
| 585 | * Music/{{REM}}: Widely considered the TropeMaker for the genre, though they would end up going their own way throughout their careers instead of trying to follow trends (for the most part). |
| 586 | ** 1983 - ''Music/{{Murmur}}'' |
| 587 | ** 1984 - ''Music/{{Reckoning}}'' |
| 588 | ** 1985 - ''Music/FablesOfTheReconstruction'' |
| 589 | ** 1986 - ''Music/LifesRichPageant'' |
| 590 | ** 1987 - ''Music/{{Document}}'' |
| 591 | ** 1988 - ''Music/{{Green}}'' |
| 592 | ** 1991 - ''Music/OutOfTime'' |
| 593 | ** 1992 - ''Music/AutomaticForThePeople'' |
| 594 | ** 1994 - ''Music/{{Monster|REMAlbum}}'' |
| 595 | ** 1996 - ''Music/NewAdventuresInHiFi'' |
| 596 | ** 1998 - ''Music/{{Up|REMAlbum}}'' |
| 597 | ** 2001 - ''Music/{{Reveal}}'' |
| 598 | ** 2004 - ''Music/AroundTheSun'' |
| 599 | ** 2008 - ''Music/{{Accelerate}}'' |
| 600 | ** 2011 - ''Music/CollapseIntoNow'' |
| 601 | * Music/{{Radiohead}} |
| 602 | ** 1993 - ''Music/PabloHoney'' |
| 603 | ** 1995 - ''Music/TheBends'' |
| 604 | ** 1997 - ''Music/OKComputer'' |
| 605 | ** 2000 - ''Music/KidA'' |
| 606 | ** 2001 - ''Music/{{Amnesiac}}'' |
| 607 | ** 2003 - ''Music/HailToTheThief'' |
| 608 | ** 2007 - ''Music/InRainbows'' |
| 609 | ** 2011 - ''Music/TheKingOfLimbs'' |
| 610 | ** 2016 - ''Music/AMoonShapedPool'' |
| 611 | * Music/{{RADWIMPS}} |
| 612 | * Music/TheRasmus |
| 613 | * Music/RedHook |
| 614 | * Music/RedHotChiliPeppers |
| 615 | ** 1991 - ''Music/BloodSugarSexMagik'' |
| 616 | ** 1999 - ''Music/{{Californication}}'' |
| 617 | ** 2006 - ''Music/StadiumArcadium'' |
| 618 | * Music/TheRedJumpsuitApparatus |
| 619 | * Music/RedVox |
| 620 | * Music/TheReignOfKindo |
| 621 | * Music/TheReplacements |
| 622 | * Music/{{Ride}} |
| 623 | * Music/RoyalBlood |
| 624 | * Music/{{Regurgitator}} |
| 625 | * Music/{{Sakanaction}} |
| 626 | * Music/XimenaSarinana |
| 627 | * Music/SaveFace |
| 628 | * Music/SayAnything |
| 629 | * Music/ScreamingFemales |
| 630 | * Music/TheScript |
| 631 | * Music/SeaPower |
| 632 | * Music/SeaWolf |
| 633 | * Music/{{SHAZNA}} |
| 634 | * Music/{{Shinedown}} |
| 635 | * Music/{{Showbread}} |
| 636 | * Music/{{Silverchair}} |
| 637 | * Music/SilversunPickups |
| 638 | * Music/SingaporeSling |
| 639 | * Music/SiouxsieAndTheBanshees |
| 640 | * Music/SixpenceNoneTheRicher |
| 641 | * Music/{{Skillet}} |
| 642 | * Music/SkunkAnansie |
| 643 | * Music/{{Sloan}} |
| 644 | * Music/{{Slint}}: a post-hardcore act who later went on to become a TropeMaker for PostRock alongside Music/TalkTalk. |
| 645 | ** 1991 - ''Music/{{Spiderland}}'' |
| 646 | * Music/SmashMouth |
| 647 | * Music/TheSmashingPumpkins |
| 648 | ** 1993 - ''Music/SiameseDream'' |
| 649 | ** 1995 - ''Music/MellonCollieAndTheInfiniteSadness'' |
| 650 | *** "Music/TonightTonight" |
| 651 | *** "Music/NineteenSeventyNine" |
| 652 | ** 1998 - ''Music/{{Adore}}'' |
| 653 | * Music/SmileEmptySoul |
| 654 | * Creator/WillowSmith |
| 655 | * Music/TheSmithereens |
| 656 | * Music/TheSmiths |
| 657 | ** 1986 - ''Music/TheQueenIsDead'' |
| 658 | * Music/SnowPatrol |
| 659 | * Music/SoccerMommy |
| 660 | ** 2016 - ''Music/ForYoungHearts'' |
| 661 | ** 2018 - ''{{Music/Clean}}'' |
| 662 | ** 2020 - ''Music/ColorTheory'' |
| 663 | * Music/SongsOhia |
| 664 | * Music/SonicYouth |
| 665 | * Music/SoulAsylum |
| 666 | * Music/SoulCoughing |
| 667 | * Music/{{Soulwax}}: Only their 90's albums; ''Leave the Story Untold'' and ''Much Against Everyone's Advice''. From the TurnOfTheMillennium they shifted to ElectronicMusic. |
| 668 | * Music/TheSound |
| 669 | * Music/{{Soundgarden}} |
| 670 | * Music/{{Space}} |
| 671 | ** 1996 - ''Music/{{Spiders|Album}}'' |
| 672 | ** 2004 - ''[[Music/SuburbanRockNRoll Suburban Rock 'n' Roll]]'' |
| 673 | * Music/{{Spacemen 3}} |
| 674 | * Music/{{Sponge}} |
| 675 | * Music/DeStaat |
| 676 | * Music/{{Starflyer 59}} |
| 677 | * Music/KinnieStarr |
| 678 | * Music/{{Stereophonics}} |
| 679 | * Music/TheStoneRoses |
| 680 | ** 1989 - ''Music/{{The Stone Roses|Album}}'' |
| 681 | * Music/StoneTemplePilots |
| 682 | * Music/TheStranglers |
| 683 | * Music/StrawberrySongOrchestra |
| 684 | * Music/StVincent |
| 685 | ** 2012 - ''Music/LoveThisGiant'' (with Music/DavidByrne) |
| 686 | * Music/TheSundays |
| 687 | * Music/SuperFurryAnimals |
| 688 | * Music/{{Supergrass}} |
| 689 | * Music/MatthewSweet |
| 690 | * Music/{{Switchfoot}} |
| 691 | * Music/DavidSylvian: the former frontman of GlamRock-turned-NewRomantic[=/=]PostPunk act Music/{{Japan}}, who would serve as a significant influence on other artsy alternative acts in the future. |
| 692 | * Music/TalkTalk: A SynthPop[=/=]NewWaveMusic band that quickly evolved into an art/alternative rock band after their first two albums, becoming the TropeMaker for PostRock alongside Music/{{Slint}} in the process. |
| 693 | ** 1988 - ''Music/SpiritOfEden'' |
| 694 | ** 1991 - ''Music/LaughingStock'' |
| 695 | ** 1998 - ''Music/{{Mark Hollis|Album}}'' |
| 696 | * Music/TalkingHeads: A major influence on the genre, they would later indulge in their own take(s) on it themselves in the late '80s. |
| 697 | ** 1985 - ''Music/LittleCreatures'' |
| 698 | ** 1986 - ''Music/TrueStories'' |
| 699 | ** 1988 - ''Music/{{Naked}}'' |
| 700 | * Music/TallyHall |
| 701 | * Music/SteveTaylor |
| 702 | * Music/TearsForFears |
| 703 | ** 1993 - ''Music/{{Elemental|Album}}'' |
| 704 | ** 1995 - ''Music/RaoulAndTheKingsOfSpain'' |
| 705 | ** 2004 - ''Music/EverybodyLovesAHappyEnding'' |
| 706 | * Music/TeenageFanclub |
| 707 | * Music/ThatHandsomeDevil |
| 708 | * Music/TheThe |
| 709 | * Music/ThemCrookedVultures |
| 710 | * Music/TheyMightBeGiants |
| 711 | ** 1986 - ''Music/{{They Might Be Giants|Album}}'' |
| 712 | ** 1988 - ''Music/{{Lincoln}}'' |
| 713 | ** 1990 - ''Music/{{Flood|TheyMightBeGiants}}'' |
| 714 | ** 1992 - ''Music/{{Apollo 18|Album}}'' |
| 715 | ** 1994 - ''Music/JohnHenry'' |
| 716 | ** 1996 - ''Music/FactoryShowroom'' |
| 717 | ** 1999 - ''Music/LongTallWeekend'' |
| 718 | ** 2001 - ''Music/MinkCar'' |
| 719 | ** 2004 - ''Music/TheSpine'' |
| 720 | ** 2007 - ''Music/TheElse'' |
| 721 | ** 2011 - ''Music/JoinUs'' |
| 722 | ** 2013 - ''Music/{{Nanobots}}'' |
| 723 | ** 2018 - ''Music/ILikeFun'' |
| 724 | * Music/ThirdEyeBlind |
| 725 | * Music/ThreeDaysGrace |
| 726 | * Music/{{Thrice}} |
| 727 | * Music/ThrowingMuses |
| 728 | * Music/{{TISM}} |
| 729 | * Music/ToadTheWetSprocket |
| 730 | * Music/{{Tocotronic}} |
| 731 | * Music/TheTragicallyHip |
| 732 | * Music/{{Train}} |
| 733 | * Music/{{Travis}} |
| 734 | * Music/TravisBarker |
| 735 | * Music/TubRing |
| 736 | * Music/TwentyOnePilots |
| 737 | * Music/{{U2}}: A PostPunk group who grew to embrace this genre as the 80's progressed, helping lead its emergence into the mainstream. |
| 738 | ** 1983 - ''Music/{{War|U2Album}}'' |
| 739 | ** 1984 - ''Music/TheUnforgettableFire'' |
| 740 | ** 1987 - ''Music/TheJoshuaTree'' |
| 741 | ** 1988 - ''Music/RattleAndHum'' |
| 742 | ** 1991 - ''Music/AchtungBaby'' |
| 743 | ** 1993 - ''Music/{{Zooropa}}'' |
| 744 | ** 1997 - ''Music/{{Pop|Album}}'' |
| 745 | ** 2000 - ''Music/AllThatYouCantLeaveBehind'' |
| 746 | ** 2004 - ''Music/HowToDismantleAnAtomicBomb'' |
| 747 | ** 2009 - ''Music/NoLineOnTheHorizon'' |
| 748 | ** 2014 - ''Music/SongsOfInnocence'' |
| 749 | ** 2017 - ''Music/SongsOfExperience'' |
| 750 | * Music/TheUsed |
| 751 | * Music/SuzanneVega |
| 752 | * Music/{{Verdena}} |
| 753 | * Music/VerticalHorizon |
| 754 | * Music/VerucaSalt |
| 755 | * Music/TheVines |
| 756 | * Music/TheVervePipe |
| 757 | * Music/TheVincentBlackShadow |
| 758 | * Music/VyletPony |
| 759 | ** 2023 - ''Music/CarouselAnExaminationOfTheShadowCreekflow'' |
| 760 | * Music/AndrewWK |
| 761 | * Music/WalkOffTheEarth |
| 762 | * Music/TheWallflowers |
| 763 | * Music/TheWarning |
| 764 | * Music/{{Waterparks}} |
| 765 | * Music/JasonWebley |
| 766 | * Music/{{Ween}} |
| 767 | ** 1990 - ''Music/GodWeenSatanTheOneness'' |
| 768 | ** 1991 - ''Music/ThePod'' |
| 769 | ** 1992 - ''Music/PureGuava'' |
| 770 | ** 1997 - ''Music/TheMollusk'' |
| 771 | ** 2001 - ''Music/WhitePepper'' |
| 772 | ** 2003 - ''Music/{{Quebec}}'' |
| 773 | * Music/{{Weezer}} |
| 774 | ** 1994 - ''Music/WeezerTheBlueAlbum'' |
| 775 | ** 1996 - ''Music/{{Pinkerton}}'' |
| 776 | ** 2001 - ''Music/WeezerTheGreenAlbum'' |
| 777 | ** 2002 - ''Music/{{Maladroit}}'' |
| 778 | ** 2005 - ''Music/MakeBelieve'' |
| 779 | ** 2008 - ''Music/WeezerTheRedAlbum'' |
| 780 | ** 2009 - ''Music/{{Raditude}}'' |
| 781 | ** 2010 - ''Music/{{Hurley}}'' |
| 782 | ** 2014 - ''Music/EverythingWillBeAlrightInTheEnd'' |
| 783 | * Music/WetLeg |
| 784 | * Music/{{Wheatus}} |
| 785 | * Creator/PersiaWhite |
| 786 | * Music/GinWigmore |
| 787 | * Music/{{Wilco}} |
| 788 | ** 2002 - ''Music/YankeeHotelFoxtrot'' |
| 789 | * Music/WirSindHelden |
| 790 | * Music/WolfAlice |
| 791 | * Music/{{Wussy}} |
| 792 | * Music/{{Yazoo}} (overlaps with SynthPop) |
| 793 | * Music/PeteYorn |
| 794 | * Music/{{YUNGBLUD}} (combined with PopPunk) |
| 795 | * Music/ZugIzland |
| 796 | [[/index]] |
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