alternative rock

File:Live Chili Cookoff 2008.jpg, an alternative rock band from York, Pennsylvania, performing in May 2008]]

In the past, popular music tastes were largely dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, and therefore who could generate the most sales. These bands were able to record their songs in expensive studios, and their works were then offered for sale through record store chains that were owned by the entertainment corporations, along with eventually selling the merchandise into big box retailers. Record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, and those bands who were not making the expected sales figures were then excluded from this system.{{cite book|last1=Kallen|first1=Stuart A.|title=The History of Alternative Rock|publisher=Lucent Books|year=2012|pages=6–7|isbn=978-1-4205-0738-6|url={{Google books|plainurl=yes|id=-IhmDwAAQBAJ|page=6}}}}

Before the term alternative rock came into common usage around 1990, the sorts of music to which it refers were known by a variety of terms.{{sfn|Azerrad|2001|p=446}} In 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about.{{sfn|Azerrad|2001}}{{page needed|date=December 2023}} In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative".{{cite book|url=https://archive.org/details/arewenotnewwavem0000cate/page/n5/mode/2up |title=Are We Not New Wave? Modern Pop at the Turn of the 1980s |first=Theo |last=Cateforis |publisher=University of Michigan Press |year=2011 |page=38 |isbn=978-0-472-11555-6}} "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.{{sfn|Reynolds|2006|p=391}} In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts". The first national chart based on distribution called the Indie Chart was published in January 1980; it immediately succeeded in its aim to help these labels. At the time, the term indie was used literally to describe independently distributed records.{{cite web|last=Stanley |first=Bob |url=https://www.theguardian.com/music/2009/jul/31/indie-chart-rise-again |title=Will the indie chart rise again? |archive-url=https://web.archive.org/web/20191223082406/https://www.theguardian.com/music/2009/jul/31/indie-chart-rise-again |archive-date=December 23, 2019 |work=The Guardian |date=July 31, 2009 |access-date=July 20, 2012}} By 1985, indie had come to mean a particular genre, or group of subgenres, rather than simply distribution status.{{sfn|Reynolds|2006|p=391}}

The use of the term alternative to describe rock music originated around the mid-1980s;Thompson, Dave. "Introduction". Third Ear: Alternative Rock. San Francisco: Miller Freeman, 2000. p. viii. at the time, the common music industry terms for cutting-edge music were new music and postmodern, respectively indicating freshness and a tendency to recontextualize sounds of the past.{{sfn|Reynolds|2006|p=338}} A similar term, alternative pop, emerged around 1985.{{cite web |title=alternative pop |url=https://www.merriam-webster.com/dictionary/alternative%20pop |website=Merriam-Webster |access-date=May 22, 2021 |archive-date=May 22, 2021 |archive-url=https://web.archive.org/web/20210522224355/https://www.merriam-webster.com/dictionary/alternative%20pop |url-status=live }}

In 1987, Spin magazine categorized college rock band Camper Van Beethoven as "alternative/indie", saying that their 1985 song "Where the Hell Is Bill" (from Telephone Free Landslide Victory) "called out the alternative/independent scene and dryly tore it apart."{{cite magazine |url=https://books.google.com/books?id=dNSW1RIkidsC&pg=RA1-PA24 |page=24 |last=Leland |first=John |author-link=John Leland (journalist) |date=May 1987 |title=Campers |magazine=Spin |volume=3 |number=2 |issn=0886-3032}} David Lowery, then frontman of Camper Van Beethoven, later recalled: "I remember first seeing that word applied to us... The nearest I could figure is that we seemed like a punk band, but we were playing pop music, so they made up this word alternative for those of us who do that."{{cite magazine |last=Puterbaugh |first=Parke |date=April 7, 1994 |title=Crackers with Attitude |url=https://www.rollingstone.com/music/music-features/crackers-with-attitude-56959/ |url-status=live |archive-url=https://web.archive.org/web/20210128070306/https://www.rollingstone.com/music/music-features/crackers-with-attitude-56959/ |archive-date=January 28, 2021 |access-date=August 26, 2020 |magazine=Rolling Stone}} DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term 'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music."Mullen, Brendan. [https://books.google.com/books?id=RXE0biSWhGIC&pg=PA19 Whores: An Oral Biography of Perry Farrell and Jane's Addiction]. Cambridge: Da Capo, 2005. p. 19. {{ISBN|978-0-306-81347-4}}.

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".{{cite web|author-link=Neil Strauss |last=Strauss |first=Neil |url=https://www.nytimes.com/1997/03/02/arts/forget-pearl-jam-alternative-rock-lives.html |title=Forget Pearl Jam. Alternative Rock Lives |archive-url=https://web.archive.org/web/20170331075028/http://www.nytimes.com/1997/03/02/arts/forget-pearl-jam-alternative-rock-lives.html |archive-date=March 31, 2017 |url-status=live |work=The New York Times |date=March 2, 1997 |access-date=July 20, 2012}} Usage of the term would broaden to include new wave, pop, punk rock, post-punk, and occasionally "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative also encompassed variants such as "rap, trash, metal and industrial". The bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails, Siouxsie and the Banshees (as second headliners) and Jane's Addiction (as the headlining act). Covering for MTV the opening date of Lollapalooza in Phoenix in July 1991, Dave Kendall introduced the report saying the festival presented the "most diverse lineups of alternative rock".Kendall, Dave. [https://www.youtube.com/watch?v=1DGJd77uzjw&t=30s "MTV Week in Rock – Lollapalooza"] {{Webarchive|url=https://web.archive.org/web/20200831065008/https://www.youtube.com/watch?v=1DGJd77uzjw&t=30s |date=August 31, 2020 }}. youtube. July 1991. November 2, 2019. That summer, Farrell had coined the term Alternative Nation.{{cite book|first=Jake |last=Brown|title=Jane's Addiction: In the Studio |publisher=Black Market Publishing |year=2011 |isbn=978-0-9726142-7-6 |url=https://books.google.com/books?id=dpFdelxBFWsC}}{{page needed|date=December 2023}}

In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has formerly been considered alternative rock—a college-centered marketing group with fairly lucrative, if limited, potential—has in fact moved into the mainstream."{{citation |last=Gerr|first=Jim |title=Artist of the Year: Perry Farrell of Jane's Addiction |work=Spin (magazine)|date=December 1991}}

In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle, '70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions."

Defining music as alternative is often difficult because of two conflicting applications of the word. Alternative can describe music that challenges the status quo and that is "fiercely iconoclastic, anticommercial, and antimainstream", and the term is also used in the music industry to denote "the choices available to consumers via record stores, radio, cable television, and the Internet."Starr, Larry; Waterman, Christopher. American Popular Music: From Minstrelsy to MTV. New York: Oxford University Press, 2003. p. 430. {{ISBN|978-0-19-510854-5}}. However alternative music has paradoxically become just as commercial and marketable as the mainstream rock, with record companies using the term "alternative" to market music to an audience that mainstream rock does not reach.{{cite journal|last1=Dolan|first1=Emily|title='...This little ukulele tells the truth':indie pop and kitsch authenticity|journal=Popular Music|date=2010|volume=29/3|issue=3|pages=457–469|doi=10.1017/s0261143010000437|s2cid=194113672}} 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.{{cite book|url=https://archive.org/details/alternativerock0000thom/mode/2up |title=Alternative Rock|first=Dave|last=Thompson|date=2000|publisher=Miller Freeman Books|isbn=978-0-87930-607-6}} Additionally, Rhys Wiliams of Loudersound observed, "musical genres collided more in the 90s than in any other decade, making 'alternative' rock ever harder to define."{{Cite web |last=updated |first=Rhys Wiliams last |date=2018-09-26 |title=The alternative 90s: A guide to the best albums |url=https://www.loudersound.com/features/the-alternative-90s-a-guide-to-the-best-albums |access-date=2025-03-12 |website=louder |language=en}} Until the early 2000s, when indie rock became the most common term in the US to describe modern pop and rock, the terms "indie rock" and "alternative rock" were often used interchangeably;{{cite web|author-link=Wendy Fonarow |last=Fonarow |first=Wendy |date=July 28, 2011 |url=https://www.theguardian.com/music/musicblog/2011/jul/28/indie-professor |title=Ask the indie professor: why do Americans think they invented indie? |archive-url=https://web.archive.org/web/20170312043529/https://www.theguardian.com/music/musicblog/2011/jul/28/indie-professor |archive-date=March 12, 2017 |work=The Guardian |url-status=live}} while there are aspects which both genres have in common, "indie rock" was regarded as a British-based term, unlike the more American "alternative rock".{{cite web|last=Carew |first=Anthony |url=https://www.liveabout.com/are-alternative-music-indie-the-same-94033 |title=Distinction Between the Alternative and Indie Genres |archive-url=https://web.archive.org/web/20190815102108/https://www.liveabout.com/are-alternative-music-indie-the-same-94033 |archive-date=August 15, 2019 |website=liveabout.com |access-date=December 29, 2023 |date=September 20, 2018}}

The name "alternative rock" essentially serves as an umbrella term for underground music that has emerged in the wake of punk rock since the mid-1980s.Erlewine, Stephen Thomas. [https://web.archive.org/web/20101025110738/https://www.allmusic.com/explore/essay/american-alternative-rock--post-punk-t578 "American Alternative Rock/Post-Punk"]. AllMusic. Retrieved May 20, 2006. Throughout much of its history, alternative rock has been largely defined by its rejection of the commercialism of mainstream culture, although this could be contested since some of the major alternative artists have eventually achieved mainstream success or co-opted with the major labels from the 1990s onward (especially into the 2000s, and beyond). In the 1980s, alternative bands generally played in small clubs, recorded for indie labels, and spread their popularity through word of mouth."Rock Music". Microsoft Encarta 2006 [CD]. Redmond, WA: Microsoft Corporation, 2005. As such, there is no set musical style for alternative rock as a whole, although in 1989 The New York Times asserted that the genre is "guitar music first of all, with guitars that blast out power chords, pick out chiming riffs, buzz with fuzztone and squeal in feedback."{{cite web|last=Pareles |first=Jon |url=https://www.nytimes.com/1989/03/05/arts/home-entertainment-recordings-soundings-a-new-kind-of-rock.html |title=A New Kind of Rock |archive-url=https://web.archive.org/web/20191222035709/https://www.nytimes.com/1989/03/05/arts/home-entertainment-recordings-soundings-a-new-kind-of-rock.html |archive-date=December 22, 2019 |url-status=live |work=The New York Times |date=March 5, 1989 |access-date=July 19, 2009}} More often than in other rock styles since the mainstreaming of rock music, alternative rock lyrics tend to address topics of social concern, such as drug use, depression, suicide, and environmentalism. This approach to lyrics developed as a reflection of the social and economic strains in the United States and United Kingdom of the 1980s and early 1990s.{{cite book|last=Charlton |first=Katherine |url=https://archive.org/details/rockmusicstylesh00char |title=Rock Music Styles: A History |publisher=McGraw Hill |year=2003 |pages=346–347 |isbn=978-0-07-249555-3}}

Precursors to alternative rock existed in the 1960s with proto-punk.{{cite news| url=https://www.spin.com/2013/03/best-100-albums-1960s-sixties-alternative-list/| title=The Top 100 Alternative Albums of the 1960s| newspaper=Spin| date=March 28, 2013| access-date=October 11, 2018| archive-date=February 1, 2020| archive-url=https://web.archive.org/web/20200201052430/https://www.spin.com/2013/03/best-100-albums-1960s-sixties-alternative-list/| url-status=live}} The origins of alternative rock can be traced back to The Velvet Underground & Nico (1967) by the Velvet Underground,{{Cite web |url=http://www.bbc.com/culture/story/20131125-do-the-velvets-beat-the-beatles |title=BBC Culture "The Velvet Underground: As influential as The Beatles?" |date=October 21, 2014 |access-date=April 26, 2019 |archive-date=February 9, 2020 |archive-url=https://web.archive.org/web/20200209150444/http://www.bbc.com/culture/story/20131125-do-the-velvets-beat-the-beatles |url-status=live }} which influenced many alternative rock bands that would come after it.{{Cite web |url=https://www.britannica.com/topic/the-Velvet-Underground |title=Britannica.com |access-date=April 26, 2019 |archive-date=December 25, 2019 |archive-url=https://web.archive.org/web/20191225065248/https://www.britannica.com/topic/the-Velvet-Underground |url-status=live }} Eccentric and quirky figures of the 1960s, such as Syd Barrett have influence on alternative rock in general.{{cite web|first1=John|last1=Harris|title=Barrett's influence|url=https://www.theguardian.com/music/2006/jul/12/popandrock.sydbarrett2|website=The Guardian|date=July 12, 2006|access-date=July 27, 2019|archive-date=February 7, 2020|archive-url=https://web.archive.org/web/20200207050154/https://www.theguardian.com/music/2006/jul/12/popandrock.sydbarrett2|url-status=live}}

The Dead Kennedys formed the independent record label Alternative Tentacles in 1979, releasing influential underground music such as the 1983 self-titled EP from the Butthole Surfers. By 1984, a majority of groups that were signed to indie labels drew from a variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper-rational post-punk years.{{sfn|Reynolds|2006|pp=392–393}}

{{quotebox|quote=The phrase "alternative rock" generally makes people think of the '90s, but it's been well documented that Nevermind was the culmination of something that had been bubbling up since the '80s, not the genre's birthplace. It's never really possible to pinpoint an exact time or place that a genre was born, but for alternative rock–especially the kind that was born out of the American punk underground–1984 might have been the first year that multiple pivotal, widely-influential albums came out at once.|source=Andrew Sacher of Brooklyn Vegan (April 29, 2024) [https://www.brooklynvegan.com/10-albums-that-helped-birth-alt-rock-post-hardcore-40-years-ago/]|width=25%|align=left}}

File:Padova REM concert July 22 2003 blue.jpg, one of the first alternative rock bands, relied on college-radio airplay, constant touring, and a grassroots fanbase to break into the mainstream.]]{{quote box|quote="Alternative music is music that hasn't yet achieved a mainstream audience, Alternative isn't new wave any more, it's a disposition of mind. Alternative music is any kind of music that has the potential to reach a wider audience. It also has real strength, real quality, real excitement, and it has to be socially significant, as opposed to Whitney Houston, which is pablum."|source=—Mark Josephson, Executive Director of the New Music Seminar speaking in 1988

"POP/JAZZ; Rock by Any Other Name Is 'Alternative' ". The New York Times. July 15, 1988.

|width=24%|style=padding:8px;}}

Throughout the 1980s, alternative rock remained mainly an underground phenomenon. While on occasion a song would become a commercial hit, or albums would receive critical praise in mainstream publications like Rolling Stone, alternative rock in the 1980s was primarily featured on independent record labels, fanzines and college radio stations. Alternative bands built underground followings by touring constantly and by regularly releasing low-budget albums. In the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit filled with different scenes in various parts of the country. College radio formed an essential part of breaking new alternative music. In the mid-1980s, college station KCPR in San Luis Obispo, California, described in a DJ handbook the tension between popular and "cutting edge" songs as played on "alternative radio".{{cite magazine |url=https://books.google.com/books?id=xdLsQBjl0-IC&pg=PA108 |page=108 |last='Enthal |first=Andrea |date=April 1986 |title=College Radio |magazine=Spin |volume=2 |number=1 |issn=0886-3032 |access-date=August 26, 2020 |archive-date=August 22, 2021 |archive-url=https://web.archive.org/web/20210822135821/https://books.google.com/books?id=xdLsQBjl0-IC&pg=PA108 |url-status=live }}

Although American alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence on later alternative musicians and laid the groundwork for their success.{{sfn|Azerrad|2001|pp=3–5}} On September 10, 1988, an Alternative Songs chart was created by Billboard, listing the 40 most-played songs on alternative and modern rock radio stations in the US: the first number one was "Peek-a-Boo" by Siouxsie and the Banshees.{{citation |title=Top 10 Billboard Chart Milestones |work=Billboard magazine |page=17 |date=November 27, 2004}} By 1989, the genre had become popular enough that a package tour featuring New Order, Public Image Limited and the Sugarcubes toured the US arena circuit."Review/Rock; Arena-Size Bill of Alternative Rock". The New York Times. July 21, 1989. "It was the final show on a package tour that brought what used to be post-punk alternative rock, the province of clubs and cult audiences, to the arena circuit across the United States."

Early on, British alternative rock was distinguished from that of the US by a more pop-oriented focus (marked by an equal emphasis on albums and singles, as well as greater openness to incorporating elements of dance and club culture) and a lyrical emphasis on specifically British concerns. As a result, few British alternative bands have achieved commercial success in the US.{{cite web|url=https://www.allmusic.com/explore/essay/british-alternative-rock-t579 |title=British Alternative Rock |author=Stephen Thomas Erlewine |work=AllMusic |url-status=dead |archive-url=https://web.archive.org/web/20101028135054/http://www.allmusic.com/explore/essay/british-alternative-rock-t579 |archive-date=October 28, 2010 }} Since the 1980s, alternative rock has been played extensively on the radio in the UK, particularly by disc jockeys such as John Peel (who championed alternative music on BBC Radio 1), Richard Skinner, and Annie Nightingale. Artists with cult followings in the US received greater exposure through British national radio and the weekly music press, and many alternative bands had chart success there.Charlton, p. 349 such as the Smiths and the Cure.

File:SonicYouth.JPG and Thurston Moore of Sonic Youth performing in July 2005]]

Early American alternative bands such as the Dream Syndicate, the Bongos, 10,000 Maniacs, R.E.M., the Feelies and Violent Femmes combined punk influences with folk music and mainstream music influences. R.E.M. was the most immediately successful; their debut album, Murmur (1983), entered the Top 40 and spawned a number of jangle pop followers.{{cite web|title=REM Biography|url=http://www.sing365.com/music/lyric.nsf/R-E-M-Biography/9B195AA5AA60344A482568940015EB16|publisher=Sing 365|access-date=June 20, 2013|url-status=dead|archive-url=https://web.archive.org/web/20120702122250/http://www.sing365.com/music/lyric.nsf/R-E-M-Biography/9B195AA5AA60344A482568940015EB16|archive-date=July 2, 2012}} 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.

American indie record labels SST Records, Twin/Tone Records, Touch and Go Records, and Dischord Records presided over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging.{{sfn|Reynolds|2006|p=390}} 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. Michael Azerrad asserted that Hüsker Dü was the key link between hardcore punk and the more melodic, diverse music of college rock that emerged. Azerrad wrote, "Hüsker Dü played a huge role in convincing the underground that melody and punk rock weren't antithetical."{{cite news|title=Indie music pioneer returns with a little help from his admirershis|url=https://www.smh.com.au/entertainment/music/indie-music-pioneer-returns-with-a-little-help-from-his-admirers-20130305-2fivn.html|access-date=June 20, 2013|newspaper=Sydney Morning Herald|archive-date=May 11, 2013|archive-url=https://web.archive.org/web/20130511082649/http://www.smh.com.au/entertainment/music/indie-music-pioneer-returns-with-a-little-help-from-his-admirers-20130305-2fivn.html|url-status=live}} The band also set an example by being the first group from the American indie scene to sign to a major record label, which helped establish college rock as "a viable commercial enterprise".{{sfn|Azerrad|2001|p=159}} By focusing on heartfelt songwriting and wordplay instead of political concerns, the Replacements upended a number of underground scene conventions; Azerrad noted that "along with R.E.M., they were one of the few underground bands that mainstream people liked."{{sfn|Azerrad|2001|p=196}}

By the late 1980s, the American alternative scene was dominated by styles ranging from quirky alternative pop (They Might Be Giants and Camper Van Beethoven), to noise rock (Sonic Youth, Big Black, the Jesus LizardErlewine, Stephen Thomas. [{{AllMusic|class=artist|id=the-jesus-lizard-mn0000089305|pure_url=yes}} "The Jesus Lizard Biography"]. AllMusic. Retrieved August 25, 2008.) and industrial rock (Ministry, Nine Inch Nails). These sounds were in turn followed by the advent of Boston's Pixies and Los Angeles' Jane's Addiction. Around the same time, the grunge subgenre emerged in Seattle, Washington, initially referred to as "The Seattle Sound" until its rise to popularity in the early 1990s.{{cite news | url=http://rock.about.com/od/top10lists/tp/Most-Influential-Seattle-Bands.htm | title=Here's a List of the Top Most Influential Grunge Bands from Seattle | newspaper=Liveabout | access-date=May 20, 2015 | archive-date=June 27, 2015 | archive-url=https://web.archive.org/web/20150627194514/http://rock.about.com/od/top10lists/tp/Most-Influential-Seattle-Bands.htm | url-status=live }} Grunge featured a sludgy, murky guitar sound that syncretized heavy metal and punk rock. Promoted largely by Seattle indie label Sub Pop, grunge bands were noted for their thrift store fashion which favored flannel shirts and combat boots suited to the local weather.Marin, Rick. "Grunge: A Success Story". The New York Times. November 15, 1992. Early grunge bands Soundgarden and Mudhoney found critical acclaim in the U.S. and UK, respectively.

By the end of the decade, a number of alternative bands began to sign to major labels. While early major label signings Hüsker Dü and the Replacements had little success, acts who signed with majors in their wake such as R.E.M. and Jane's Addiction achieved gold and platinum records, setting the stage for alternative's later breakthrough.{{sfn|Azerrad|1994|p=160}}{{sfn|Azerrad|1994|p=4}} Some bands such as Pixies had massive success overseas while they were ignored domestically.

In the middle of the decade, Hüsker Dü's album Zen Arcade influenced other hardcore acts by tackling personal issues. Out of Washington, D.C.'s hardcore scene what was called "emocore" or, later, "emo" emerged and was noted for its lyrics which delved into emotional, very personal subject matter (vocalists sometimes cried) and added free association poetry and a confessional tone. Rites of Spring has been described as the first "emo" band. Former Minor Threat singer Ian MacKaye founded Dischord Records which became the center for the city's emo scene.{{cite web|url=https://www.allmusic.com/style/emo-ma0000004447|title=Emo Music Genre Overview|website=AllMusic|access-date=December 31, 2018|archive-date=May 14, 2020|archive-url=https://web.archive.org/web/20200514163729/https://www.allmusic.com/style/emo-ma0000004447|url-status=live}}

File:Robertsmith.jpg of the Cure performing in June 2004]]

Gothic rock developed out of late-1970s British post-punk. With a reputation as the "darkest and gloomiest form of underground rock", gothic rock uses a synthesizer-and-guitar based sound drawn from post-punk to construct "foreboding, sorrowful, often epic soundscapes", and the subgenre's lyrics often address literary romanticism, morbidity, religious symbolism, and supernatural mysticism.{{cite web|title=Genre – Goth Rock|website=AllMusic |url={{AllMusic|class=style|id=goth-rock-ma0000002623|pure_url=yes}}|access-date=October 6, 2007}} Bands of this subgenre took inspiration from two British post-punk groups, Siouxsie and the Banshees,{{cite news |first=Alexis |last=Petridis|url=https://www.theguardian.com/music/2012/apr/26/goth-life-fields-nephilim|title=Goth for life |newspaper=The Guardian|date=April 26, 2012 |access-date=September 2, 2017|quote="A lot of musical signifiers [...] – scything, effects-laden guitar, pounding tribal drums – are audible, on [...] Join Hands"}} and Joy Division.{{sfn|Reynolds|2006|p=352}} Bauhaus' debut single "Bela Lugosi's Dead", released in 1979, is considered to be the proper beginning of the gothic rock subgenre.{{sfn|Reynolds|2006|p=359}} The Cure's "oppressively dispirited" albums including Pornography (1982) cemented that group's stature in that style and laid the foundation for its large cult following.{{sfn|Reynolds|2006|pp=357–358}}

The key British alternative rock band to emerge during the 1980s was Manchester's the Smiths. Music journalist Simon Reynolds singled out the Smiths and their American contemporaries R.E.M. as "the two most important alt-rock bands of the day", commenting that they "were eighties bands only in the sense of being against the eighties".{{sfn|Reynolds|2006|p=392}} 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. The C86 cassette, a 1986 NME premium featuring Primal Scream, the Wedding Present and others, was a major influence on the development of indie pop and the British indie scene as a whole.{{cite news | author=Hann, Michael | date=October 13, 2004 | title=Fey City Rollers | work=The Guardian | url=https://www.theguardian.com/music/2004/oct/13/popandrock | access-date=July 19, 2009 | location=London | archive-date=June 5, 2011 | archive-url=https://web.archive.org/web/20110605002754/http://www.guardian.co.uk/music/2004/oct/13/popandrock | url-status=live }}{{cite news | author=Hasted, Nick | date=October 27, 2006 | title=How an NME cassette launched indie music | work=The Independent | url=https://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html | access-date=July 19, 2009 | location=London | archive-date=July 27, 2012 | archive-url=https://web.archive.org/web/20120727024017/http://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html | url-status=live }}

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,{{cite magazine|url=https://www.rollingstone.com/music/artists/the-jesus-and-mary-chain/biography|title=The Jesus and Mary Chain Biography|magazine=Rolling Stone|access-date=July 20, 2012|archive-url=https://web.archive.org/web/20120829125745/http://www.rollingstone.com/music/artists/the-jesus-and-mary-chain/biography|archive-date=August 29, 2012|url-status=dead}}{{cite web|url=https://www.britannica.com/EBchecked/topic/303087/the-Jesus-and-Mary-Chain?anchor=ref666600|title=Encyclopædia Britannica: the Jesus and Mary Chain|access-date=July 20, 2012|archive-date=December 2, 2011|archive-url=https://web.archive.org/web/20111202161103/https://www.britannica.com/EBchecked/topic/303087/the-Jesus-and-Mary-Chain?anchor=ref666600|url-status=live}} while New Order emerged from the demise of post-punk band Joy Division and experimented with disco and dance music. The Mary Chain, along with Dinosaur Jr., C86 and the dream pop of Cocteau Twins, were the formative influences for the shoegazing movement of the late 1980s. Named for the band members' tendency to stare at their feet and guitar effects pedals{{cite news|url=https://www.theguardian.com/music/2007/jul/27/popandrock|title=Diamond gazers|location=London|work=The Guardian|first=Jude|last=Rogers|date=July 27, 2007|access-date=December 13, 2016|archive-date=March 7, 2017|archive-url=https://web.archive.org/web/20170307045900/https://www.theguardian.com/music/2007/jul/27/popandrock|url-status=live}} onstage rather than interact with the audience, shoegazing acts like My Bloody Valentine and Slowdive created an overwhelmingly loud "wash of sound" that obscured vocals and melodies with long, droning riffs, distortion, and feedback.{{cite web|title=Genre – Shoegaze|website=AllMusic|url={{AllMusic|class=style|id=shoegaze-ma0000004454|pure_url=yes}}|access-date=October 6, 2007}} Shoegazing bands dominated the British music press at the end of the decade along with the Madchester scene. Performing for the most part in the Haçienda, a nightclub in Manchester owned by New Order and Factory Records, Madchester bands such as Happy Mondays and the Stone Roses mixed acid house dance rhythms with melodic guitar pop.{{cite web|title=Genre – Madchester|website=AllMusic|url={{AllMusic|class=style|id=madchester-ma0000005017|pure_url=yes}}|access-date=October 12, 2007}}

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| quote = In the 1990s, a great deal of music which had been considered underground, punk, or just plain weird in the 1980s could suddenly be found in the mainstream; playing on commercial television, on the radio, in shopping centres and sporting arenas. By the decade's end, alternative music was both triumphant and meaningless. Its stars played to massive crowds and its music was used to sell cars on television. It had integrated itself completely into the media spectacle, and could no longer reasonably claim to be offering an alternative to it.

| source = Craig Schuftan of ABC Online (November 13, 2014) [https://www.abc.net.au/listen/radionational/archived/intothemusic/nineties-rock-an-alternative-history/5888302]

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File:Nirvana_around_1992.jpg's Kurt Cobain (right) and Krist Novoselic (left) performing at the MTV Video Music Awards in 1992]]

File:Dolores O'Riordan, The Cranberries, Bospop, 2016.jpeg, lead singer of the Cranberries, performing in 2016]]

By the start of the 1990s, the music industry was enticed by alternative rock's commercial possibilities and major labels had already signed Jane's Addiction, Red Hot Chili Peppers and Dinosaur Jr.{{sfn|Azerrad|1994|p=160}} In early 1991, R.E.M. went mainstream worldwide with Out of Time while becoming a blueprint for many alternative bands.

The first edition of the Lollapalooza festival became the most successful tour in North America in July and August 1991. For Dave Grohl of Nirvana who attended the festival at an open-air amphitheater in Southern California, "it felt like something was happening, that was the beginning of it all". The tour helped change the mentalities in the music industry: "by that fall, radio and MTV and music had changed. I really think that if it weren't for Perry [Farrell], if it weren't for Lollapalooza, you and I wouldn't be having this conversation right now".{{cite web|first=Brent|last=DiCrescenzo|url=https://www.timeout.com/chicago/music/dave-grohl-of-foo-fighters-extended-interview-lollapalooza-2011|title=Dave Grohl of Foo Fighters Extended interview Lollapalooza 2011|work=Time Out|date=July 28, 2011|access-date=July 3, 2018|archive-date=December 20, 2019|archive-url=https://web.archive.org/web/20191220063927/https://www.timeout.com/chicago/music/dave-grohl-of-foo-fighters-extended-interview-lollapalooza-2011|url-status=live}}

{{quote box

| quote = The Amerindie of the early '80s became known as alternative or alt-rock, ascendant from Nirvana until 1996 or so but currently very unfashionable, never mind that the music is still there.

| source = — Christgau's Consumer Guide: Albums of the '90s (2000) {{cite web|last=Christgau|first=Robert|author-link=Robert Christgau|year=2000|url=https://www.robertchristgau.com/xg/bk-cg90/intro.php|title=CG 90s: Introduction|website=robertchristgau.com|access-date=April 13, 2019|archive-date=April 13, 2019|archive-url=https://web.archive.org/web/20190413155756/https://www.robertchristgau.com/xg/bk-cg90/intro.php|url-status=live}}

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The release of Nirvana's single "Smells Like Teen Spirit" in September 1991 "marked the instigation of the grunge music phenomenon". Helped by constant airplay of the song's music video on MTV, their album Nevermind was selling 400,000 copies a week by Christmas 1991.{{sfn|Lyons|2004|p=120}} Its success surprised the music industry. Nevermind not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general."{{cite web | author=Olsen, Eric | title=10 years later, Cobain lives on in his music | publisher=Today.com.com | url=https://www.today.com/popculture/10-years-later-cobain-lives-his-music-wbna4652653 | date=April 9, 2004 | access-date=July 25, 2007 | archive-date=March 23, 2017 | archive-url=https://web.archive.org/web/20170323224116/http://www.today.com/popculture/10-years-later-cobain-lives-his-music-wbna4652653 | url-status=live }} Michael Azerrad asserted that Nevermind symbolized "a sea-change in rock music" in which the hair metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant.{{sfn|Azerrad|1994|pp=229–230}} The breakthrough success of Nirvana led to the widespread popularization of alternative rock in the 1990s. It heralded a "new openness to alternative rock" among commercial radio stations, opening doors for heavier alternative bands in particular.Rosen, Craig. "Some See 'New Openness' Following Nirvana Success". Billboard. January 25, 1992. 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.{{cite magazine|author=Browne, David |date=August 21, 1992 |title=Turn That @#!% Down! |magazine=EW.com |url=https://www.ew.com/ew/article/0,,311492,00.html |access-date=April 17, 2007 |archive-url=https://web.archive.org/web/20070516121917/http://www.ew.com/ew/article/0%2C%2C311492%2C00.html |archive-date=May 16, 2007 |url-status=dead }} 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."{{cite news | author=Pareles, Jon | date=February 28, 1993 | title=Great Riffs. Big Bucks. New Hopes? | newspaper=NYTimes.com | url=https://www.nytimes.com/1993/02/28/arts/pop-view-great-riffs-big-bucks-new-hopes.html | access-date=July 19, 2009 | archive-date=May 10, 2013 | archive-url=https://web.archive.org/web/20130510101732/http://www.nytimes.com/1993/02/28/arts/pop-view-great-riffs-big-bucks-new-hopes.html | url-status=live }} 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.Considine, J.D. "The Decade of Living Dangerously". Guitar World. March 1999 Craig Schuftan of ABC Online assessed, "On the one hand, [alternative rock's entry into the mainstream] gave rise to a resilient and resourceful underground, and on the other, to a hunger for pop justice, for a future world where good music could be popular, and popular music could be good. Thus, when underground music finally broke through to the mainstream in 1991, the event was either denounced as a gigantic sellout or celebrated as a revolution, sometimes both at the same time. It was an intellectual balancing act that could only pulled off with the help of that staple of '90s pop life—postmodern irony."{{Cite web |date=2014-11-13 |title=An alternative history of ‘90s rock |url=https://www.abc.net.au/listen/radionational/archived/intothemusic/nineties-rock-an-alternative-history/5888302 |access-date=2025-03-12 |website=ABC Radio National |language=en-AU}}

{{Main|Grunge}}

File:Oasis Noel and Liam WF.jpg and Noel Gallagher of Oasis performing in September 2005]]

File:Billy Corgan with The Smashing Pumpkins 2008-02-18.jpg of the Smashing Pumpkins performing in February 2008]]

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.{{cite web|title=Smackdown: Pearl Jam vs. Nirvana|url=http://soundcheck.wnyc.org/2011/sep/20/smackdown-grunge-turns-20/|publisher=Soundcheck|access-date=June 20, 2013|url-status=dead|archive-url=https://web.archive.org/web/20130223053056/http://soundcheck.wnyc.org/2011/sep/20/smackdown-grunge-turns-20/|archive-date=February 23, 2013}} By the second half of 1992 Ten became a breakthrough success, being certified gold and reaching number two on the Billboard 200 album chart.Pearlman, Nina. "Black Days". Guitar World. December 2002. Soundgarden's album Badmotorfinger, Alice in Chains' Dirt and Stone Temple Pilots' Core along with the Temple of the Dog album collaboration featuring members of Pearl Jam and Soundgarden, were also among the 100 top-selling albums of 1992.{{sfn|Lyons|2004|p=136}} The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool". Major record labels signed most of the prominent grunge bands in Seattle, while a second influx of bands moved to the city in hopes of success.{{sfn|Azerrad|2001|pp=452–453}} 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."{{cite magazine | date=April 2, 1993 | title=Smells Like Big Bucks | magazine=Entertainment Weekly | url=https://ew.com/article/1993/04/02/smells-big-bucks/ | access-date=July 25, 2007 | author=Kobel, Peter | archive-date=October 14, 2007 | archive-url=https://web.archive.org/web/20071014023338/http://www.ew.com/ew/article/0,,306055,00.html | url-status=live }} 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.

Nirvana's follow-up album In Utero (1993) was an intentionally abrasive album that Nirvana bassist Krist Novoselic described as a "wild aggressive sound, a true alternative record."DeRogatis, Jim. Milk It!: Collected Musings on the Alternative Music Explosion of the 90's. Cambridge: Da Capo, 2003. p. 18. {{ISBN|978-0-306-81271-2}}. Nevertheless, upon its release in September 1993 In Utero topped the Billboard charts.{{cite magazine|date=October 8, 1993 |title=In Numero Uno |magazine=Entertainment Weekly |url=https://www.ew.com/ew/article/0,,308282,00.html |access-date=September 8, 2007 |archive-url=https://web.archive.org/web/20071004211114/http://www.ew.com/ew/article/0%2C%2C308282%2C00.html |archive-date=October 4, 2007 |url-status=dead }} 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.{{cite magazine | url=https://ew.com/article/1993/11/19/pearls-jam/ | title=Pearl's Jam | magazine=Entertainment Weekly | date=November 19, 1993 | access-date=August 29, 2007 | author=Hajari, Nisid | archive-date=October 14, 2007 | archive-url=https://web.archive.org/web/20071014195855/http://www.ew.com/ew/article/0,,308749,00.html | url-status=live }} In 1993, the Smashing Pumpkins released their major breakthrough album, Siamese Dream—which debuted at number 10 on the Billboard 200 and sold over 4 million copies by 1996, receiving multi-platinum certification by the RIAA. The strong influence of heavy metal and progressive rock on the album helped to legitimize alternative rock to mainstream radio programmers and close the gap between alternative rock and the type of rock played on American 1970s Album Oriented Rock radio.{{cite web|url=https://www.allmusic.com/artist/smashing-pumpkins-mn0000036521|title=The Smashing Pumpkins – Biography, Albums, Streaming Links|website=AllMusic|access-date=December 31, 2018|archive-date=December 14, 2018|archive-url=https://web.archive.org/web/20181214123920/https://www.allmusic.com/artist/smashing-pumpkins-mn0000036521|url-status=live}} In 1995, the band released their double album, Mellon Collie & the Infinite Sadness—which went on to sell 10 million copies in the US alone, certifying it as a Diamond record.

{{Main|Britpop}}

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. As a reaction, a flurry of British bands emerged that wished to "get rid of grunge" and "declare war on America", taking the public and native music press by storm.{{cite web|last=Youngs |first=Ian |url=http://news.bbc.co.uk/2/hi/entertainment/4144458.stm |title=Looking back at the birth of Britpop |archive-url=https://web.archive.org/web/20180322180006/http://news.bbc.co.uk/2/hi/entertainment/4144458.stm |archive-date=March 22, 2018 |url-status=live |website=BBC News |date=August 15, 2005|access-date=July 19, 2009}} Dubbed "Britpop" by the media, and represented by Pulp, Blur, Suede, and Oasis, this movement was the British equivalent of the grunge explosion, in that the artists propelled alternative rock to the top of the charts in their home country.

Britpop bands were influenced by and displayed reverence for British guitar music of the past, particularly movements and genres such as the British Invasion, glam rock, and punk rock.{{sfn|Harris|2004|p=202}} In 1995, the Britpop phenomenon culminated in a rivalry between its two chief groups, Oasis and Blur, symbolized by their release of competing singles "Roll With It" and "Country House" on the same day on 14 August 1995. Blur won "The Battle of Britpop", but they were soon eclipsed in popularity by Oasis, whose second album, (What's the Story) Morning Glory? (1995),{{sfn|Harris|2004|p=xvii}} went on to become the third best-selling album in the UK's history.{{cite news | date=November 16, 2006 | title=Queen head all-time sales chart | work=BBC News | url=http://news.bbc.co.uk/2/hi/entertainment/6151050.stm | access-date=January 3, 2007 | archive-url=https://web.archive.org/web/20070204064437/http://news.bbc.co.uk/2/hi/entertainment/6151050.stm | archive-date=February 4, 2007 | url-status=live}}

File:Pavement, the band, in Tokyo.jpg band Pavement in 1993]]

{{Main|Indie rock}}

Long synonymous with alternative rock as a whole in the U.S., indie rock became a distinct form following the popular breakthrough of Nirvana. Indie rock was formulated as a rejection of alternative rock's absorption into the mainstream by artists who could not or refused to cross over, and a wariness of its "macho" aesthetic. While indie rock artists share the punk rock distrust of commercialism, the genre does not entirely define itself against that, as "the general assumption is that it's virtually impossible to make indie rock's varying musical approaches compatible with mainstream tastes in the first place".{{cite web | url={{AllMusic|class=style|id=indie-rock-ma0000004453|pure_url=yes}} | title=Indie Rock | access-date=August 2, 2009 | website=AllMusic}}

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.{{sfn|Azerrad|2001|pp=495–497}} One of the main indie rock movements of the 1990s was lo-fi. The movement, which focused on the recording and distribution of music on low-quality cassette tapes, initially emerged in the 1980s. By 1992, Pavement, Guided by Voices and Sebadoh became popular lo-fi cult acts in the United States, while subsequently artists like Beck and Liz Phair brought the aesthetic to mainstream audiences.{{cite web | url={{AllMusic|class=style|id=lo-fi-ma0000002701|pure_url=yes}} | title=Lo-Fi | access-date=August 2, 2009 | website=AllMusic}} The period also saw alternative confessional female singer-songwriters. Besides the aforementioned Liz Phair, PJ Harvey fit into this sub group.Erlewine, Stephen Thomas. [{{BillboardURLbyName|artist=pj harvey|bio=true}} "PJ Harvey Biography"]. Billboard.com. Retrieved July 20, 2012.

In the mid-1990s, Sunny Day Real Estate defined the emo genre. Weezer's album Pinkerton (1996) was also influential.

{{Main|Post-rock}}

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 referring to Hex by the London group Bark Psychosis,{{cite magazine|url=http://www.rocksbackpages.com/article.html?ArticleID=5803|title=Bark Psychosis: Hex|first=Simon|last=Reynolds|date=March 1994|access-date=July 8, 2008|magazine=Mojo|archive-date=September 16, 2012|archive-url=https://web.archive.org/web/20120916165517/http://www.rocksbackpages.com/article.html?ArticleID=5803|url-status=live}} the style of the genre was solidified by the release of Millions Now Living Will Never Die (1996) by the Chicago group Tortoise. Post-rock was the dominant form of experimental rock music in the 1990s and bands from the genre signed to such labels as Thrill Jockey, Kranky, Drag City, and Too Pure.{{cite web | url={{AllMusic|class=style|id=post-rock-ma0000002790|pure_url=yes}} | title=Post-Rock | access-date=July 28, 2009 | website=AllMusic}}

A related genre, math rock, peaked in the mid-1990s. In comparison to post-rock, math rock relies on more complex time signatures and intertwining phrases.{{cite web | url={{AllMusic|class=style|id=math-rock-ma0000012250|pure_url=yes}} | title=Math Rock | access-date=August 6, 2009 | website=AllMusic}} By the end of the decade a backlash had emerged against post-rock due to its "dispassionate intellectuality" and its perceived increasing predictability, but a new wave of post-rock bands such as Godspeed You! Black Emperor and Sigur Rós emerged who further expanded the genre.

File:FoosLollBerlin190917-74 (cropped).jpg, who helped fill a power vacuum in alternative rock in the late 1990s by establishing post-grunge]]

File:Creed (band) in 2002.jpg in November 2002]]

In the early 21st century, many alternative rock bands that experienced mainstream success struggled following the suicide of Nirvana's Kurt Cobain in April 1994, Pearl Jam's failed lawsuit against concert venue promoter Ticketmaster, Soundgarden's break-up in 1997, the Smashing Pumpkins losing its original members in 2000, L7's hiatus in 2001, the death of Layne Staley and the subsequent disbanding of Alice in Chains in 2002, and the disbanding of both the Cranberries and Stone Temple Pilots in 2003. Britpop also began fading after Oasis' third album, Be Here Now (1997), was met with lackluster reviews.{{sfn|Harris|2004|p=xix}}

A signifier of alternative rock's changes was the hiatus of the Lollapalooza festival after an unsuccessful attempt to find a headliner in 1998. In light of the festival's troubles that year, Spin said, "Lollapalooza is as comatose as alternative rock right now".Weisbard, Eric. "This Monkey's Gone to Heaven". Spin. July 1998. Despite these changes in style however, alternative rock remained commercially viable into the start of the 21st century.

{{Main|Post-grunge}}

During the latter half of the 1990s, grunge was supplanted by post-grunge. Many post-grunge bands lacked the underground roots of grunge and were largely influenced by what grunge had become, namely "a wildly popular form of inward-looking, serious-minded hard rock."; many post-grunge bands emulated the sound and style of grunge, "but not necessarily the individual idiosyncracies of its original artists."{{cite web |title=Post-Grunge |url={{AllMusic|class=style|id=post-grunge-ma0000005020|pure_url=yes}} |access-date=August 28, 2007 |website=AllMusic}} Post-grunge was a more commercially viable genre that tempered the distorted guitars of grunge with polished, radio-ready production.

Originally, post-grunge was a label used almost pejoratively on bands that emerged when grunge was mainstream and emulated the grunge sound. The label suggested that bands labelled as post-grunge were simply musically derivative, or a cynical response to an "authentic" rock movement.{{cite web |author=Grierson, Tim |title=Post-Grunge. A History of Post-Grunge Rock |url=http://rock.about.com/od/rockmusic101/a/PostGrunge.htm |url-status=live |archive-url=https://web.archive.org/web/20160530111043/http://rock.about.com/od/rockmusic101/a/PostGrunge.htm |archive-date=May 30, 2016 |access-date=March 19, 2016 |publisher=About.com}} Bush, Candlebox and Collective Soul were labelled almost pejoratively as post-grunge which, according to Tim Grierson of About.com, is "suggesting that rather than being a musical movement in their own right, they were just a calculated, cynical response to a legitimate stylistic shift in rock music." Post-grunge morphed during the late 1990s and 2000s as newer bands such as Foo Fighters, Matchbox Twenty, Creed and Nickelback emerged, becoming among the most popular rock bands in the United States.

At the same time Britpop began to decline, Radiohead achieved critical acclaim with its third album OK Computer (1997), and its follow-ups Kid A (2000) and Amnesiac (2001), which were in marked contrast with the traditionalism of Britpop. Radiohead, along with post-Britpop groups like Travis, Stereophonics and Coldplay, were major forces in British rock in subsequent years.{{sfn|Harris|2004|pp=369–370}}

File:Reel Big Fish live in Santa Cruz.jpg performing in 2008]]

After almost a decade in the underground, ska punk, a mixture of earlier British ska and punk acts, became popular in the United States. Rancid was the first of the "third-wave ska revival" acts to break. From the mid-1990s to early 2000s, the Mighty Mighty Bosstones, No Doubt, Sublime, Goldfinger, Reel Big Fish, Less Than Jake and Save Ferris charted or received radio exposure.Thompson 2000, p. 112.{{cite web |title=Third Wave Ska Revival Music Genre Overview |url=https://www.allmusic.com/style/third-wave-ska-revival-ma0000012129 |url-status=live |archive-url=https://web.archive.org/web/20181013021247/https://www.allmusic.com/style/third-wave-ska-revival-ma0000012129 |archive-date=October 13, 2018 |access-date=December 31, 2018 |website=AllMusic}}

{{Main|Post-punk revival|Garage rock revival}}

During the late 1990s and early 2000s, several alternative rock bands emerged, including the Strokes, Franz Ferdinand, Interpol, and the Rapture that drew primary inspiration from post-punk and new wave, establishing the post-punk revival movement.{{cite web |title=New Wave/Post-Punk Revival |url={{AllMusic|class=style|id=new-wave-post-punk-revival-ma0000012020|pure_url=yes}} |access-date=August 6, 2009 |website=AllMusic}} Preceded by the success of bands such as the Strokes and the White Stripes earlier in the decade, an influx of new alternative rock bands, including several post-punk revival artists and others such as the Killers, and Yeah Yeah Yeahs, found commercial success in the early and mid 2000s. Owing to the success of these bands, Entertainment Weekly declared in 2004, "After almost a decade of domination by rap-rock and nu-metal bands, mainstream alt-rock is finally good again."{{Cite magazine |last1=Hiatt |first1=Brian |last2=Endelman |first2=Michael |date=2004-07-01 |title=Meet the bands bringing the buzz back to alt-rock |url=https://ew.com/article/2004/07/01/meet-bands-bringing-buzz-back-alt-rock/ |access-date=2024-11-13 |magazine=Entertainment Weekly |language=en}} Arctic Monkeys were a prominent act to owe their initial commercial success to the use of Internet social networking,A. Goetchius, Career Building Through Social Networking (The Rosen Publishing Group, 2007), {{ISBN|978-1-4042-1943-4}}, pp. 21–22. with two UK No. 1 singles and Whatever People Say I Am, That's What I'm Not (2006), which became the fastest-selling debut album in British chart history.{{Cite news |last=Kumi |first=Alex |date=2006-01-30 |title=Arctic Monkeys make UK chart history |url=https://www.theguardian.com/uk/2006/jan/30/arts.artsnews |access-date=2024-11-13 |work=The Guardian |language=en-GB |issn=0261-3077}}

{{Main|Emo}}

File:Jimmy Eat World Reading.jpg performing in 2007]]

By 2000 and on into the new decade, emo was one of the most popular rock music genres. Popular acts included the sales success of Bleed American by Jimmy Eat World (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003).{{Cite journal |last=J. DeRogatis |date=October 3, 2003 |title=True Confessional? |url=http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |url-status=live |journal=Chicago Sun Times |archive-url=https://web.archive.org/web/20110501150556/http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |archive-date=May 1, 2011}}. The new emo had a much more mainstream sound than in the 1990s and a far greater appeal among adolescents than its earlier incarnations. At the same time, the use of the term "emo" expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.{{Cite journal |last=H. A. S. Popkin |date=March 26, 2006 |title=What exactly is 'emo,' anyway? |url=https://www.today.com/popculture/what-exactly-emo-anyway-wbna11720603 |url-status=live |archive-url=https://web.archive.org/web/20170807164925/http://www.today.com/popculture/what-exactly-emo-anyway-wbna11720603 |archive-date=August 7, 2017 |access-date=November 11, 2019 |website=MSNBC.com}}. Emo's mainstream success continued with bands emerging in the 2000s, including multi-platinum acts such as Fall Out Boy{{Cite journal |last=F. McAlpine |date=June 14, 2007 |title=Paramore: Misery Business |url=https://www.bbc.co.uk/blogs/chartblog/2007/06/paramore_misery_business.shtml |url-status=live |archive-url=https://web.archive.org/web/20110209092430/http://www.bbc.co.uk/blogs/chartblog/2007/06/paramore_misery_business.shtml |archive-date=February 9, 2011 |website=MSNBC.com}}. and My Chemical Romance{{Cite magazine |last=J. Hoard |title=My Chemical Romance |url=https://www.rollingstone.com/music/artists/my-chemical-romance/biography |url-status=live |magazine=Rolling Stone |archive-url=https://web.archive.org/web/20110321175802/http://www.rollingstone.com/music/artists/my-chemical-romance/biography |archive-date=March 21, 2011}}. and mainstream groups such as Paramore and Panic! at the Disco.{{Cite journal |last=F. McAlpine |date=December 18, 2006 |title=Paramore "Misery Business" |url=https://www.nme.com/news/nme/24758 |url-status=live |journal=NME |archive-url=https://web.archive.org/web/20101228145612/http://www.nme.com/news/nme/24758 |archive-date=December 28, 2010}}.

File:Muse (4309212538).jpg performing in Melbourne, Australia, in January 2010]]

American rock band Red Hot Chili Peppers entered a new-found popularity in 1999 after the release of their album Californication (1999), with continued success throughout the 2000s. Thirty Seconds to Mars experienced a notable rise in popularity during the latter half of the 2000s.{{cite web |last1=Leahey |first1=Andrew |title=Thirty Seconds to Mars |url=https://www.allmusic.com/artist/thirty-seconds-to-mars-mn0000485365/biography |url-status=live |archive-url=https://web.archive.org/web/20181003112427/https://www.allmusic.com/artist/thirty-seconds-to-mars-mn0000485365/biography |archive-date=October 3, 2018 |access-date=October 20, 2014 |website=AllMusic |publisher=All Media Network}}

Most references to alternative rock music in the United States in the 2010s are to the indie rock genre, a term that previously had limited usage on alternative rock channels and media. Some radio stations in the 2010s had changed formats outside of alternative rock music, but this is mostly motivated by conglomeration efforts coupled with advertisers seeking more Top 40/Top 100 stations for sales.{{cite web |last1=Grubbs |first1=Eric |date=November 17, 2016 |title=Josh Venable on the Edge's Demise: 'Today Cheerleaders and Indie Kids Love Band of Horses' |url=http://www.dallasobserver.com/music/josh-venable-on-the-edges-demise-today-cheerleaders-and-indie-kids-love-band-of-horses-8914145 |url-status=live |archive-url=https://web.archive.org/web/20180407184116/http://www.dallasobserver.com/music/josh-venable-on-the-edges-demise-today-cheerleaders-and-indie-kids-love-band-of-horses-8914145 |archive-date=April 7, 2018 |access-date=April 7, 2018 |website=dallasobserver.com |publisher=Dallas Observer, LP.}} While there have been conflicting opinions on the relevance of alternative rock to mainstream audiences beyond 2010,{{cite magazine |last=Catalano |first=Michele |title=Don't Believe The Billboard Charts; Rock Isn't Dead |url=https://www.forbes.com/sites/michelecatalano/2012/11/26/rock-is-dead-is-dead/ |url-status=live |magazine=Forbes |archive-url=https://web.archive.org/web/20131231001651/http://www.forbes.com/sites/michelecatalano/2012/11/26/rock-is-dead-is-dead/ |archive-date=December 31, 2013 |access-date=December 29, 2013}}{{cite magazine |last=Pawlak |first=Christine |date=November 15, 2011 |title=Alternative rock radio: The sad, unwarranted decline of FM Rock Stations. |url=http://www.slate.com/articles/arts/culturebox/2011/11/alternative_rock_radio_the_sad_unwarranted_decline_of_fm_rock_stations_.html |url-status=live |magazine=Slate |archive-url=https://web.archive.org/web/20140528024859/http://www.slate.com/articles/arts/culturebox/2011/11/alternative_rock_radio_the_sad_unwarranted_decline_of_fm_rock_stations_.html |archive-date=May 28, 2014 |access-date=December 29, 2013}} Dave Grohl commented on an article from the New York Daily News about the 2013 MTV Video Music Awards in August 2013, stating that rock is dead:{{cite news |last=Farber |first=Jim |title=VMAs 2013: Rock is dead, One Direction and Justin Timberlake's brands of Top 40 are king at MTV Awards |newspaper=NY Daily News |url=http://www.nydailynews.com/entertainment/tv-movies/rock-dead-mtv-vmas-concerned-article-1.1437419 |url-status=live |access-date=December 29, 2013 |archive-url=https://web.archive.org/web/20140107023041/http://www.nydailynews.com/entertainment/tv-movies/rock-dead-mtv-vmas-concerned-article-1.1437419 |archive-date=January 7, 2014}} "speak for yourself... rock seems pretty alive to me."{{cite tweet |last=Grohl |first=Dave |title=Hey @NYDailyNews – speak for yourself … Rock seems pretty alive to me |user=foofighters |number=372099778470879232 |url-status=live |archive-url=https://web.archive.org/web/20140110041916/https://twitter.com/foofighters/statuses/372099778470879232 |archive-date=January 10, 2014 |access-date=December 29, 2013}}

File:Twenty one pilots - 27.02.2019 - Resorts World Arena, Birmingham - 48775120537.jpg performing at Resorts World Arena in Birmingham, 2019]]

Contemporary mainstream alternative rock bands tend to fuse musical elements of hard rock, electronica, hip hop, indie, and punk while placing emphasis on keyboards and guitar. In the 2010s, British rock band Muse gained a worldwide recognition with their album The Resistance and Drones which won Grammy Awards.{{cite web| url=http://www.mtv.com/news/articles/1657891/muse-grammy-awards.jhtml| title=Muse Bask in First Grammy Win, Make Plans for Kid-Friendly Album| website=MTV| access-date=October 5, 2018| archive-date=December 25, 2013| archive-url=https://web.archive.org/web/20131225121955/http://www.mtv.com/news/articles/1657891/muse-grammy-awards.jhtml| url-status=dead}}{{cite web| url=http://www.grammy.com/nominees?genre=31| title=Awards| date=April 30, 2017| access-date=October 5, 2018| archive-date=November 9, 2016| archive-url=https://web.archive.org/web/20161109175725/http://www.grammy.com/nominees?genre=31| url-status=live}}

American alternative duo Twenty One Pilots blurs between the lines of multiple genres including hip-hop, emo, rock, indie pop and reggae and has managed to break numerous records.{{cite web|url=https://www.forbes.com/sites/hughmcintyre/2016/08/31/twenty-one-pilots-match-a-charting-feat-that-only-the-beatles-and-elvis-have-managed/|title=Twenty One Pilots Match A Charting Feat That Only The Beatles And Elvis Have Managed|first=Hugh|last=McIntyre|work=Forbes|date=August 31, 2016|access-date=September 1, 2016|archive-date=November 29, 2020|archive-url=https://web.archive.org/web/20201129021803/https://www.forbes.com/sites/hughmcintyre/2016/08/31/twenty-one-pilots-match-a-charting-feat-that-only-the-beatles-and-elvis-have-managed/|url-status=live}} They became the first alternative act to have two concurrent top five singles in the United States while their fourth studio album Blurryface (2015) was the first album in history to have every song receive at least a Gold certification from the Recording Industry Association of America.{{cite web|url=https://www.forbes.com/sites/hughmcintyre/2016/08/29/shawn-mendes-nabs-another-top-ten-hit-while-the-chainsmokers-remain-at-no-1/#1b88801e7cb2|title=Shawn Mendes Nabs Another Top 10 Hit While The Chainsmokers Remain At No. 1|first=Hugh|last=McIntyre|work=Forbes|date=August 29, 2016|access-date=September 1, 2016|archive-date=August 30, 2016|archive-url=https://web.archive.org/web/20160830155436/http://www.forbes.com/sites/hughmcintyre/2016/08/29/shawn-mendes-nabs-another-top-ten-hit-while-the-chainsmokers-remain-at-no-1/#1b88801e7cb2|url-status=live}}{{cite magazine|last1=Payne|first1=Chris|title=Twenty One Pilots' 'Blurryface' Becomes First Album With Every Song RIAA-Certified Gold|url=https://www.billboard.com/articles/columns/rock/8223671/twenty-one-pilots-blurryface-every-song-riaa-gold|access-date=March 1, 2018|magazine=Billboard|date=March 1, 2018|archive-date=November 20, 2020|archive-url=https://web.archive.org/web/20201120212125/https://www.billboard.com/articles/columns/rock/8223671/twenty-one-pilots-blurryface-every-song-riaa-gold/|url-status=live}}{{cite news|title=Twenty One Pilots' "Blurryface" Earns Unrivaled Gold & Platinum Achievement: First Album In Digital Era With Every Song RIAA Certified|url=https://www.riaa.com/twenty-one-pilots-blurryface-earns-unrivaled-gold-platinum-achievement-first-album-digital-era-every-song-riaa-certified/|access-date=March 1, 2018|work=Recording Industry Association of America|date=March 1, 2018|archive-date=December 28, 2020|archive-url=https://web.archive.org/web/20201228140854/https://www.riaa.com/twenty-one-pilots-blurryface-earns-unrivaled-gold-platinum-achievement-first-album-digital-era-every-song-riaa-certified/|url-status=live}} Twenty One Pilots also became the first rock act to have a song reach a billion streams on Spotify. Their breakout hit single "Stressed Out" was the twenty-fifth song to achieve the rare feat of at least one billion plays on the streaming platform. The milestone comes at a time when music genres represented on streaming platforms like Spotify are fairly homogeneous, being dominated by genres such as hip hop, EDM, and adult contemporary-styled pop.{{cite magazine|author=McIntyre, Hugh|title=Twenty One Pilots Become The First Rock Act To See A Song Reach One Billion Plays On Spotify|url=https://www.forbes.com/sites/hughmcintyre/2019/03/30/twenty-one-pilots-become-the-first-rock-act-to-see-a-song-reach-one-billion-plays-on-spotify|magazine=Forbes|access-date=March 30, 2019|archive-date=March 30, 2019|archive-url=https://web.archive.org/web/20190330211117/https://www.forbes.com/sites/hughmcintyre/2019/03/30/twenty-one-pilots-become-the-first-rock-act-to-see-a-song-reach-one-billion-plays-on-spotify/|url-status=live}}

{{Infobox music genre

| name = Alternative pop

| other_names = Alt-pop

| stylistic_origins = {{hlist|Pop|alternative rock|R&B|electronic|dream pop}}

| cultural_origins = 1980s–2000s, United Kingdom

| instruments = {{hlist|Singing vocals|electric guitar|electric bass guitar|drum kit|synthesizer|electronic keyboard|DJing}}

| derivatives =

| subgenres =

}}

Alternative pop (also known as alt-pop) is pop music with broad commercial appeal that is made by figures outside the mainstream, or which is considered more original, challenging, or eclectic than traditional pop music.{{Cite web |url=https://www.merriam-webster.com/dictionary/alternative%20pop#h1 |title=Alternative Pop | Definition of Alternative Pop by Merriam-Webster |access-date=May 22, 2021 |archive-date=May 22, 2021 |archive-url=https://web.archive.org/web/20210522224355/https://www.merriam-webster.com/dictionary/alternative%20pop#h1 |url-status=live }} The Independent described alt-pop as "a home-made, personalized imitation of the mainstream that speaks far closer to actual teenage experience", and which is commonly characterized by a dark or downbeat emotional tone with lyrics about insecurity, regret, drugs, and anxiety.

According to AllMusic, the alternative scene's "left-of-center pop" failed to experience mainstream success during the 1980s,{{Cite web|url = https://www.allmusic.com/style/alternative-pop-rock-ma0000002422|title = Alternative Pop/Rock Music Genre Overview|website = AllMusic|access-date = October 22, 2021|archive-date = October 22, 2021|archive-url = https://web.archive.org/web/20211022185645/https://www.allmusic.com/style/alternative-pop-rock-ma0000002422|url-status = live}} although the UK alternative pop band Siouxsie and the Banshees saw success in that decade.{{cite book |author=Goddard, Simon |title=Mozipedia: The Encyclopedia of Morrissey and the Smiths |entry=Sioux, Siouxsie |publisher=Ebury Press |page=[https://archive.org/details/mozipediaencyclo00godd_0/page/393 393] |year=2010 |isbn=978-0-452-29667-1 |url=https://archive.org/details/mozipediaencyclo00godd_0/page/393 }} Canadian singer Avril Lavigne's success in the early 2000s, including her hit single "Sk8er Boi", helped set the stage for a subsequent generation of female alt-pop singers.{{cite web |last1=Eloise |first1=Marianne |title=From Avril Lavigne to Billie Eilish: a recent history of pop's alt-girls |url=https://thefortyfive.com/opinion/from-avril-lavigne-to-billie-eilish-a-recent-history-of-pops-alt-girls/ |website=The Forty-Five |date=October 5, 2020 |access-date=October 24, 2022}} In the late 2000s, American singer Santigold established herself as an "alternative pop hero" due to her apparent artistic conviction.{{cite web |last1=Pelly |first1=Jenn |title=Confronting Music's Mental Health Crisis |url=https://pitchfork.com/features/article/music-and-mental-health/ |website=Pitchfork |date=December 20, 2022 |access-date=December 27, 2022}}

In the early 2010s, American singer Lana Del Rey developed a "cult-like following" with her "cinematic, beat-heavy alt-pop", which was characterized by an "alluring sadness and melodrama".{{cite magazine |date=November 21, 2019 |last1=Shouneyia |first1=Alexa |title=Songs That Defined the Decade: Lana Del Rey's 'Born to Die' |url=https://www.billboard.com/music/music-news/lana-del-rey-born-to-die-songs-that-defined-the-decade-8544101/ |magazine=Billboard |access-date=23 October 2022}} New Zealand alt-pop singer Lorde achieved global success in 2013 and 2014, topping charts and winning awards.{{cite journal |last1=Mitchell |first1=Tony |title=Lorde's Auckland: Stepping Out of "the Bubble" |journal=Made in Australia and Aotearoa/New Zealand Studies in Popular Music |date=2018 |page=Ch. 3}} In 2022, American singer Billie Eilish was credited with marking the "ascendence" of alternative pop in the mainstream with her dark, downbeat pop.{{cite web |last1=Beaumont |first1=Mark |title=Billie Eilish review, Glastonbury 2022: History-making set is 90 minutes of noir-pop catharsis |url=https://www.independent.co.uk/arts-entertainment/music/reviews/billie-eilish-review-glastonbury-2022-b2109771.html |website=The Independent |date=June 26, 2022 |access-date=October 24, 2022}}

{{Portal|Rock music}}

• List of alternative rock artists
• Spin Alternative Record Guide

Radio formats

• Adult album alternative
• Classic alternative
• Modern rock

{{Reflist}}

• {{cite book|last=Azerrad |first=Michael |author-link=Michael Azerrad |title=Come As You Are: The Story of Nirvana |publisher=Doubleday |year=1994 |isbn=978-0-385-47199-2 }}
• {{cite book|last=Azerrad |first=Michael |title=Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991 |publisher=Little Brown and Company |year=2001 |isbn=978-0-316-78753-6 }}
• Erlewine, Stephen Thomas. [{{AllMusic|class=explore|id=essay/|pure_url=yes}} "American Alternative Rock/Post-Punk"]. AllMusic. Retrieved May 20, 2006.
• Erlewine, Stephen Thomas. [{{AllMusic|class=explore|id=essay/|pure_url=yes}} "British Alternative Rock"]. AllMusic. Retrieved May 20, 2006.
• {{cite book|last=Harris |first=John |author-link=John Harris (critic) |title=Britpop!: Cool Britannia and the Spectacular Demise of English Rock |publisher=Da Capo Press |year=2004 |isbn=978-0-306-81367-2 }}
• {{cite book|last=Lyons |first=James |title=Selling Seattle: Representing Contemporary Urban America |publisher=Wallflower |year=2004 |isbn=978-1-903364-96-3 }}
• {{cite book|last=Reynolds |first=Simon |author-link=Simon Reynolds |title=Rip It Up and Start Again: Postpunk 1978–1984 |publisher=Faber and Faber |year=2006 |isbn=978-0-14-303672-2 }}
• {{cite book|last=Fonarow |first=Wendy |author-link=Wendy Fonarow |title=Empire of Dirt: The Aesthetics and Rituals of British Indie Music |publisher=Wesleyan |year=2006 |isbn=978-0-8195-6811-3 }}
• {{cite book|last1=Lavine |first1=Michael |last2=Blashill |first2=Pat |title=Noise From The Underground : A History of Alternative Rock |publisher=Simon & Schuster |year=1996 |isbn=978-0-684-81513-8 }}

{{wikiquote}}

• [{{AllMusic|class=style|id=alternative-indie-rock-ma0000012230|pure_url=yes}} Alternative rock] at AllMusic

{{Alternative rock}}

{{Rock}}

{{Authority control}}

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