Alternative rock (also called alternative music , alt-rock or just alternatives ) is a style of rock music emerging from underground independent music in the 1980s and became very popular in the 1990s. In this example, the word "alternative" refers to the genre difference from mainstream rock music. The original meaning of the term is broader, referring to a generation of musicians united by their collective debt either with a musical style or just an independent punk punk ethos, which in the late 1970s laid the groundwork for alternative music. Sometimes, "alternatives" have been used as a thorough description for music from underground rock artists who received mainstream recognition, or for any music, whether rock or not, seen coming from punk rock (including some of the punk instances themselves, as well as waves new, and post-punk).
Alternative rock is a broad umbrella term that consists of very different music in terms of sound, social context and its regional roots. By the late 1980s, magazines and zines, campus radio broadcasts, and word of mouth had enhanced excellence and highlighted the diversity of alternative rocks, helping to define a number of different styles (and music scene) such as pop sound, indie rock, grunge and shoegaze. Most of these subgenres have achieved small mainstream notices and several bands representing them, such as HÃÆ'¼sker DÃÆ'¼ and R.E.M., have even signed contracts with major labels. But much of the success of alternative commercial bands was limited compared to other rock and pop music genres at the time, and most of the action remained signed for independent labels and received relatively little attention from mainstream radio, television, or newspapers. With Nirvana's breakthroughs and the popularity of grunge and Britpop movements in the 1990s, alternative rock entered the mainstream of music and many alternative bands became successful.
By the end of the decade, the popularity of mainstream alternative rock declined due to a number of events that caused grunge and Britpop to fade and lead to the hiatus of the Lollapalooza festival.
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Before the term alternative rock came into common use around 1990, the type of music it referred to was known by various terms. In 1979, Terry Tolkin used the term Alternative Music to describe the group he wrote. In 1979 the Dallas KZEW radio station held a new late-night wave show titled "Rock and Roll Alternative". "Rock College" was used in the United States to describe music during the 1980s because of its relationship with college radio circuits and student tastes. 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 published a magazine chart based on a small record store called "Alternative Charts". The first national graph based on a distribution called Indie Chart was published in January 1980; it soon succeeded in its purpose to help these labels. At that time, the term indie was used literally to describe independently distributed recordings. In 1985, indie ' has been defined as a special genre, or subgenre group, not just distribution status.
The use of the term alternative to describe rock music originated in the mid-1980s; at the time, the term of the general music industry for cutting-edge music was new music and modern posts , each of which showed the freshness and inclination to contextualize the past sounds. Individuals who worked as DJs and promoters during the 1980s claimed this term came from American FM radio in the 1970s, which served as a progressive alternative to the top 40 radio format by featuring longer tunes and giving the DJ more freedom in song selection. According to one former DJ and promoter, "Somehow the term 'alternative' was rediscovered and healed by campus radio people during the 80s who applied it to new post-punk, indie or underground music-whatever." Initially this term refers to non-mainstream rock acts unaffected by "heavy metal ballads, newly clarified waves" and "high-energy dance songs". The use of the term will expand to include new waves, pop, punk rock, post-punk, and sometimes "college"/"indie" rock, all found on American "alternative" radio stations at times such as Los Angeles' KROQ- FM. Journalist Jim Gerr writes that Alternative also includes variants such as "rap, trash, metal and industry". In December 1991, Spin magazine noted: "This year, for the first time, it became very clear that what was previously considered to be an alternative rock - a college-based marketing group with potential is quite profitable, if limited, in fact has moved into the mainstream ". The first Lollapalooza bill, a North American festival hosted by frontman Jane's Addiction Perry Farrell, reunited "different elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails, Siouxsie and the Banshees. and Jane's addiction. That same year, Farrell coined the term "Alternative Nation . In the late 1990s, the definition of return became more specific. In 1997, Neil Strauss of The New York Times defined the alternative rock as "hard-edged rock distinguished by brittle, guitar riffing and singers who inspired their problems until they took epic proportions".
Defining music as an alternative is often difficult because of two conflicting word applications. Alternative can describe music that challenges the status quo and it is "iconoclastic, anticommercial, and antimainstream", but the term is also used in the music industry to show "the choices available to consumers through record stores, radio, television cable and Internet. "However, paradoxical alternative music becomes as commercial and can be marketed as mainstream rock, with record companies using the term" alternative "to market music to an audience that is not covered by mainstream rock. Using the broad definition of the genre, Dave Thompson in his book Alternative Rock cites the formation of Sex Pistols as well as the release of Huda's album by Patti Smith and Metal Machines Music by Lou Reed as three important events that gave birth to alternative rock. Until the last few years (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" are often used interchangeably; while there are aspects that both genres share, indie rock is considered a UK-based term, unlike other American alternative rocks.
Maps Alternative rock
Characteristics
The name "alternative rock" basically serves as an umbrella term for underground music that has appeared behind punk rock since the mid-1980s. Throughout much of its history, alternative rock has largely been defined by its rejection of mainstream cultural commercialism, although this is debatable since some of the major alternative artists have achieved mainstream success or co-opted with major labels from the 1990s. (especially since the new millennium and so on). Alternative bands during the 1980s generally played in small clubs, recorded for indie labels, and spread their popularity by word of mouth. Thus, no musical style was set for alternative rock as a whole, although the 1989 The New York Times asserted that the genre is "guitar music first of all, with a guitar that pulls out a power chord, select a riff chiming, buzz with fuzztone and squeal as feedback. "More often than any other rock style since mainstream rock music during the 1970s, alternative rock lyrics tend to address topics of social concern, such as drug use, depression, suicide, and environmentalism. This approach to the lyrics was developed as a reflection of social and economic tensions in the United States and Britain in the 1980s and early 1990s.
History
1980s
In 1984, the majority of groups that signed contracts with independent record labels were mined from rocks and especially the 1960s rock influence. This is a sharp penetration of the futuristic and hyper-rational post-punk years.
Throughout the 1980s, alternative rocks remained an underground phenomenon. While on occasion a song will be a hit or a commercial album will receive critical acclaim in mainstream publications such as Rolling Stone, alternative rock in the 1980s is primarily featured on independent record labels, fanzines, and college radio stations. Alternative bands build underground motions by constantly touring and regularly releasing low-budget albums. In the case of the United States, new bands will form behind the previous bands, which created a vast underground circuit in America, filled with different scenes in different parts of the country. Although American alternative artists in the 1980s never produced spectacular album sales, they exert considerable influence on later alternative musicians and laid the groundwork for their success. On September 10, 1988, the Alternative Song chart was created by Billboard , a list of 40 most played songs on alternative and modern rock radio stations in the US: the first being Siouxsie and the Banshees' "Ciluk ba". In 1989 the genre became quite popular so the tour package featuring the New Order, Public Image Limited and The Sugarcubes toured the arena of the United States.
In contrast, English alternative rock was distinguished from the United States initially by a more pop-oriented focus (marked by the same emphasis on albums and singles, as well as greater openness to incorporate elements of dance and club culture) and lyrical emphasis on UK specific concerns. As a result, several British alternative bands have achieved commercial success in the US. Since the 1980's alternative rock has been widely played on radio in the UK, especially by disc jockeys like John Peel (who championed alternative music on BBC Radio 1), Richard Skinner, and Annie Nightingale. Artists who have a cult in the United States receive greater exposure through UK national radio and the weekly music press, and many alternative bands have a successful chart there.
American Underground in the 1980s
Early American alternative bands such as The Dream Syndicate, R.E.M., The Feelies and Violent Femmes combine punk influences with folk music and mainstream musical influences. BRAKE. is the most successful; His debut album, Murmur (1983), went into the Top 40 and spawned a number of flashing pop followers. One of the many pop scenes of the early 1980s, Paisley Underground in Los Angeles revived the 1960s sound, combining psychedelia, rich vocal harmony and guitar interactions from folk rock and punk and underground influences like The Velvet Underground.
American recording label SST Records, Twin/Tone Records, Touch and Go Records, and Dischord Records led a shift from hardcore punk which then dominated the American underground scene to a more diverse style of alternative rock that emerged. Minneapolis bands, HÃÆ'¼sker DÃÆ'¼ and The Replacements, indicate this shift. Both started out as punk rock bands, but soon diversified their voices and became more melodious. Michael Azerrad confirms that HÃÆ'¼sker DÃÆ'¼ is the main link between the more melodic and diverse melodious punk rock and melodic rock music that appears. Azerrad writes, "HÃÆ'¼sker DÃÆ'¼ plays a big role in convincing underground that melodies and punk rock are not contradictory." The band also set an example by becoming the first group of the indie scene of America to sign a major record label, which helped set up rock college as an "active commercial enterprise." By focusing on songwriting and sincere play of words rather than political issues, The Replacements increased a number of underground scene conventions; Azerrad noted that "along with R.E.M. [The Replacements] is one of the few underground bands that mainstream people love."
In the late 1980s, the alternative American scene was dominated by styles ranging from unique alternative pop (They Might Be Giants and Camper Van Beethoven), to sound rock (Sonic Youth, Big Black, The Jesus Lizard) and rock industry (Ministry , Nine Nails Inch). These voices are in turn followed by the appearance of Boston Pixies and Los Angeles Jane's Addiction. Around the same time, the grunge subgenre appeared in Seattle, Washington, originally referred to as "The Seattle Sound" until the rise in popularity in the early 1990s. Grunge features a rough and bleak guitar sound that synthesize heavy metal and punk rock. Promoted largely by the Seattle Sub Pop indie label, grunge bands are famous for their thrift store fashion that likes flannel shirts and combat boots that match the local weather. Grunge's early band Soundgarden and Mudhoney found critical acclaim in the US and UK, respectively.
By the end of the decade, a number of alternative bands began signing contracts with major labels. While major early label players HÃÆ'¼sker DÃÆ'¼ and The Replacements had little success, acting signed with majors behind them like R.E.M. and Jane's addiction achieved gold and platinum records, setting the stage for alternative breakthroughs later. Some bands like Pixies are big success abroad while they are neglected in the country.
In the middle of the decade, the album HÃÆ'¼sker DÃÆ'¼ Zen Arcade affects other hardcore actions by addressing personal issues. Outside Washington's hardcore scenes, D.C. the so-called "emocore" or "emo" appears and is famous for its lyrics that investigate very personal personal issues (vocalists sometimes cry) and adds free association poetry and recognition tones. Rites of Spring has been described as the first "emo" band. Former singer Minor Threat, Ian MacKaye, founded Dischord Records which became the center of the city's emo scene.
Genre and English trend of the 1980s
Gothic rock developed from the late 1970s post-punk UK. With a reputation as "the darkest and most grim form of underground rock", gothic rock uses sound-based synthesizers and guitars taken from post-punk to build "hunches, sorrows, often epic soundscapes", and genre lyrics often discuss romantic literature, morbidity, religious symbolism, and supernatural mysticism. This genre is among the bands that took inspiration from the late 1970s British post-punk group, Joy Division and Siouxsie and Banshees. Bauhaus's single debut "Bela Lugosi's Dead", released in 1979, is considered to be the precise start of the genre of gothic rock. The Cure's "oppressive desperate" album including Pornography (1982) cemented the group's stature in that style and laid the foundations for the following great cults.
The alternative British alternative rock band that emerged during the 1980s was The Smiths of Manchester. Music journalist Simon Reynolds chose The Smiths and their contemporaries in America R.E.M. as "the two most important alt-rock bands today", commented that they were "eighties bands just in the sense of being against the eighties". Reynolds notes that "All of Smith's attitudes are based on their British audience as a lost generation, the outcasts in their own land." The Smiths' guitar hugs in the era of synthesizer-dominated music are seen as signals of a new wave-era end and the emergence of alternative rock in the United Kingdom. Despite the success and short career of the band, The Smiths' brief career affects British indie influence until the end of the decade, as the bands are drawn from topics raised by British-based Morrissey singer and jangly Johnny Marr's guitar playing style. The 1986 C86 premium tape, the premium of 1986 NME featuring Primal Scream, The Wedding Present and others, is a major influence on the development of indie pop and the whole UK indie scene..
Another form of alternative rock was developed in England during the 1980s. The voice of Jesus and Mary Chain combines the "melancholy sound" of Velvet Underground with the pop melodies of Beach Boys and Phil Spector's "Wall of Sound" production, while the New Order emerged from the destruction of the post-punk band Joy Division and experimented with techno and house music. The Maria Chain, along with Dinosaur Jr., C86 and the Cocteau Twins dream pop, was a formative influence for the shoegazing movement in the late 1980s. Named for the band members' tendency to stare at their feet and guitar pedal effects on stage rather than interacting with the audience, shoegazing actions like My Bloody Valentine and Slowdive create "very loud sounds" that obscure vocals and melodies with long, babbling riffs, distortions, and feedback. Shoegazing bands dominated the British music press at the end of the decade along with the Madchester scene. Performances for the most part at The HaÃÆ'§ienda, nightclubs in Manchester are owned by the New Order and Factory Records, Madchester bands like Happy Mondays and The Stone Roses blend the rhythmic dance home dance with melodic guitar pop.
Popularized in the 1990s
In the early 1990s, the music industry was captivated by the commercial possibilities of alternative rock and major labels actively seducing the band including Jane's Addiction, Red Hot Chili Peppers, Dinosaur Jr., Firehose, and Nirvana. In particular, the success of R.E.M. has been a blueprint for many alternative bands in the late 1980s and 1990s to follow; this group has survived longer than its contemporaries and in the 1990s has become one of the most popular bands in the world.
The breakthrough success of the Nirvana band led to the popular popularization of alternative rocks in the 1990s. The release of the band single Smells Like Teen Spirit from his second album Nevermind (1991) "marks the thrust of the grunge music phenomenon". Due to the continuous play of the MTV music video, Nevermind sold 400,000 copies per week on Christmas 1991. The success of Nevermind shocked the music industry. Nevermind not only popularized grunge, but also established the "cultural and commercial viability of alternative rock in general." Michael Azerrad asserted that Nevermind symbolizes "sea change in rock music" in which metal hair that dominates rock music at the time was disliked in the face of authentic and culturally relevant music..
The surprising success of Nirvana with Nevermind marks "new openness to alternative rock" among commercial radio stations, opens the door for heavier alternative bands in particular. In the wake of Nevermind, alternative rock "finds itself dragging-kicking and screaming... into the mainstream" and the record company, bewildered by the success of the genre but eager to capitalize on it, rushes to sign the band. The New York Times stated in 1993, "Alternative stones are no longer an alternative.Every big label has several guitar-driven bands in shapeless shirts and thin jeans, bands with bad and good posture. riffs that process oblique and evasive, which conceal interesting tones with voices and conceal the skill behind indifference. "However, many alternative rock artists deny success, as opposed to rebellion, the ethical DIY genre that adhered before the main exposure and their ideas about artistic authenticity.
During the mid-90s, Alanis Morissette and the band had great success with the Jagged Little Pill album released in 1995. During the same year No Doubt released Tragic Kingdom for wide acclaim and Skunk Anansie released the album Paranoid & Sunburnt was followed a year later by Stoosh.
Grunge
Another grunge band then imitated Nirvana's success. Pearl Jam has released its debut album Ten a month before Nevermind in 1991, but album sales only took a year later. In the second half of 1992, Ten became a success breakthrough, becoming certified gold and reaching number two on the Billboard album chart. in Chains' Stool and Stone Temple Pilots Core along with Dog Temple a collaborative album featuring members of Pearl Jam and Soundgarden, also among the 100 the best-selling album of 1992. The popular breakthrough of these grunge bands prompted Rolling Stone to be Seattle's nickname "New Liverpool." Big label labels signed most of the leading grunge bands in Seattle, while the band's second wave moved to the city in the hopes of success.
At the same time, critics assert that advertising co-opts grunge elements and turns them into a trend. Entertainment Weekly commented in a 1993 article, "There has been no such exploitation from a subculture since the media found hippies in the 60s." The New York Times compared the â € Å"grunging of Americaâ € with the mass marketing of punk rock, disco, and hip hop in previous years. As a result of the genre's popularity, a reaction to grunge was developed in Seattle. Nirvana's follow-up album In Utero (1993) is a deliberately abrasive album popularized by Nirvana Krist Novoselic's bassist as "wildly aggressive voice, a true alternative note." However, after it was released in September 1993, In Utero topped the Billboard charts. Pearl Jam also continues to perform well commercially with its second album, Vs. (1993), which topped the Billboard chart by selling a record 950,378 copies in its first week of release..
Britpop
With the decline of the Madchester scene and unglamorousness shoegazing, grunge waves from America dominated the alternative scene and the British music press in the early 1990s. In reaction, a group of British bands appeared who wanted to "get rid of grunge" and "declare war on America", taking public press and indigenous music. Dubbed the "Britpop" by the media, this movement is represented by Pulp, Blur, Suede, and Oasis are British equivalents with a grunge blast, in which artists push alternative rock to the top of the charts in their home country. Britpop bands were influenced by and displayed a tribute to British guitar music in the past, in particular movements and genres such as British Invasion, glam rock, and punk rock. In 1995, the Britpop phenomenon culminated in competition between its two main groups, Oasis and Blur, symbolized by their release from singles competing on the same day. Blur won "The Battle of Britpop", but Oasis soon outperformed the other band in popularity with their second album, What's the Story (Morning Glory)? (1995), which later became the third best-selling album in UK history.
Indie rock
Long synonymous with alternative rock as a whole in the US, indie rock became a different form following Nirvana's popular breakthrough. Indie rock was formulated as a rejection of the absorption of alternative rocks to the mainstream by artists who could not or refused to cross, and his macho "aesthetic" precautions. While indie rock artists share the punk rock beliefs of commercialism, the genre does not fully define itself against it, since "the general assumption is that it is almost impossible to make a variety of indie rock music approaches that are compatible with primary tastes in the first place".
Labels like Matador Records, Merge Records, and Dischord, and indie rockers like Pavement, Superchunk, Fugazi, and Sleater-Kinney dominated the American indie scene for much of the 1990s. One of the main movements of indie rock in the 1990s was the lo-fi. The movement, which focuses on the recording and distribution of music on low-quality cassette tapes, originally appeared in the 1980s. In 1992, Pavement, Guided by Voices and Sebadoh became popular lo-fi cult action in the United States, while artists such as Beck and Liz Phair brought aesthetics to mainstream audiences. This period also saw female singers-compositional alternative songwriters. In addition to Liz Phair mentioned above, PJ Harvey belongs to this subgroup.
Post-grunge
During the second half of the 1990s, grunge was replaced by post-grunge. Many post-grunge bands do not have underground roots of grunge and are largely influenced by what has become grunge, the "very wild form of inward-minded, minded-minded hard rock."; many post-grunge bands mimic the sound and style of grunge, "but not necessarily individual idiosyncracies from the original artist." Post-grunge is a more commercially viable genre that embodies a distorted guitar from grunge with polished radio production. Initially, post-grunge is a label used almost humbly on bands that appear when grunge is mainstream and mimics the sound of grunge. Labels indicate that bands labeled as post-grunge are just music derivatives, or cynical responses to the "original" rock movement. Bush, Candlebox and Collective Soul are labeled almost degradingly as post-grunge which, according to Tim Grierson of About.com, is "showing that instead of being a musical movement in their own right, they are just a calculated response, cynical about the style shift which is legitimate in rock music. "Post-grunge metamorphosed during the late 1990s as post-grunge bands like Foo Fighters, Creed and Nickelback appeared.
Post-rock
Post-rock was founded by Talk Talk's Laughing Stock and Slint's Spiderland album, both released in 1991. Post-rock drew influences from a number of genres, including Krautrock, progressive rock, and jazz. Genres subvert or reject rock conventions, and often incorporate electronic music. While the genre name was created by music journalist Simon Reynolds in 1994, the genre style was compacted by the release of Millions Now Life Will Never Die (1996) by the Chicago group, Tortoise. Post-rock became the dominant form of experimental rock music in the 1990s and bands of the genre were signed to labels such as Thrill Jockey, Kranky, Drag City, and Too Pure. The related genre, rock mathematics, culminated in the mid-1990s. Compared to post-rock, rock mathematics is more "rocky" and relies on complex time signatures and phrases intertwined. At the end of the decade reactions emerged against post-rock because of its "degrading intellect" and its predictions increased, but a new wave of post-rock bands like Godspeed You! Black Emperor and Sigur RÃÆ'³s appear that further extend the genre.
More trends
In 1993, the Smashing Pumpkins album Siamese Dream was a huge commercial success. The powerful 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 rock types played in the 1970s American Album Oriented Rock radio. In 1995 Smashing Pumpkins also released their double album Mellon Collie & amp; Unlimited sadness which then sold 10 million copies in the US alone, which stated it as a diamond note.
After nearly a decade underground, punk ska, a mixture of ska and punk of previous England action, became popular in the United States. Rancid was the first of the "Third Wave Ska Revival" acts to break. In 1996, Mighty Perkasa Bosstones, No Doubt, Sublime, Goldfinger, Big Fish Reel, Less Than Jake and Save Ferris mapped or received radio exposure.
Decrease in popularity
By the end of the decade, the mainstream alternative to alternative rocks declined due to a number of events, notably Nirvana's Kurt Cobain's death in 1994 and the Pearl Jam suit against Ticketmaster concert promoters, which essentially forbade the group from playing many major venues around the United States. In addition to the decline of grunge bands, Britpop faded as Oasis' third album, Be Here Now (1997), received poor reviews and Blur began to incorporate influences from alternative American rock. A marker of declining alternative rock popularity is the hiatus of the Lollapalooza festival after a failed attempt to find a headliner in 1998. Given the issue of the festival that year, Spin said, "Lollapalooza is like an alternative rock coma now".
Although the popularity of alternative rocks is declining, some artists retain major relevance. Post-grunge remained commercially viable early in the 21st century, when bands like Creed and Matchbox Twenty became one of the most popular rock bands in the United States. At the same time Britpop began to decline, Radiohead won critical acclaim with its third album OK Computer (1997), and its follow-up Kid A (2000) and Amnesiac (2001), which is very different from Britpop traditionalism. Radiohead, along with post-Britpop groups such as Travis and Coldplay, was a major force in British rocks in subsequent years.
In the mid-1990s, Sunny Day Real Estate defined the "emo" genre for many people. Weezer's Pinkerton album (1996) also had an effect. In 2000 and entering the new decade emo is one of the most popular rock genres. Popular acts include the successful sale of platinum Bleed American by Jimmy Eat World (2001) and Dashboard Confessional's Places You Come to Fear the Most (2003). The new Emo has a much more mainstream sound than it was in the 1990s and is a much bigger attraction among teenagers than the previous incarnations. At the same time, the use of the term "emo" extends beyond the music genre, becoming associated with any fashion, hairstyle and any music that expresses emotion. The term "emo" has been applied by critics and journalists to various artists, including multi-platinum acts like Fall Out Boy and My Chemical Romance and different groups like Paramore and Panic! in Disco, even when they rejected the label.
Revival in the 21st century
During the late 1990s and early 2000s, several alternative rock bands emerged, including The Strokes, Franz Ferdinand, Interpol and The Rapture which drew major inspiration from post-punk and new waves, establishing a post-punk revivalist movement. Preceded by the success of bands such as The Strokes and The White Stripes early in the decade, the inclusion of new alternative rock bands, including some post-punk revival artists and others such as The Killers, and Yeah Yeah Yeahs, found commercial success early and mid-2000s. Thanks to the success of these bands, Entertainment Weekly stated in 2004, "After nearly a decade of dominance by rap-rock and nu-metal bands, mainstream alt-rock is finally good again." Thirty Seconds to Mars experienced a marked increase in popularity during the second half of the 2000s. American rock band Red Hot Chili Peppers entered a newfound popularity in 1999 after the release of their album Californication (1999), with continued success throughout the 2000s.
Most of the references to alternative rock music in the United States in 2010 were indie rock genre, a term that had previously restricted use on alternative rock channels and media. Radio stations in 2010 have changed the format of Alternative Rock, but this is largely motivated by conglomeration efforts coupled with advertisers looking for more Top 40/Top 100 stations for sales. Despite contradictory opinions about the relevance of alternative rock to mainstream audiences beyond 2010, Dave Grohl commented on an article from the Nov. 29 2013 edition of the New York Daily News stating that the stone died: "Speak for yourself.. the stone seems to be alive enough for me. "
See also
- Alternative adult album (radio format)
- Independent music
- List of alternative rock artists
- Modern stone (radio format)
- Spin Alternative Note Notes
- Alternative rock timeline
Quote
Bibliography
- Azerrad, Michael. Come As You Are: Nirvana Story . Doubleday, 1994. ISBNÃ, 0-385-47199-8.
- Azerrad, Michael. Our Band Could Be Your Life: Scene from American Indie Underground, 1981-1991 . Little Brown and Company, 2001. ISBNÃ, 0-316-78753-1.
- Erlewine, Stephen Thomas. "Alternative American Rock/Post-Punk". All music. Retrieved 20 May 2006.
- Erlewine, Stephen Thomas. "British Alternative Rock". All music. Retrieved 20 May 2006.
- Harris, John. Britpop!: Cool Britannia and Spatial Fever from Rock UK . Da Capo Press, 2004. ISBNÃ, 0-306-81367-X.
- Lyons, James. Selling Seattle: Representing Contemporary American Urban . Wallflower, 2004. ISBNÃ, 1-903364-96-5.
- Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984 . Penguin, 2006. ISBNÃ, 0-14-303672-6.
- Fonarow, Wendy. Empire of Dirt: Aesthetics and Rituals of British Indie Music . Wesleyan, 2006. ISBNÃ, 0-8195-6811-2.
- Noise From Underground: A History of Alternative Rock , by Michael Lavine and Pat Blashill. Simon and Schuster Publishing, 1996. ISBNÃ, 0-684-81513-3.
External links
- AllMusic article for alternative rock
Source of the article : Wikipedia
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