English indie band: Best British Indie Bands – Top Ten List


The best indie rock bands of all time | London Evening Standard


hen it comes to rock music, the “indie” moniker is a confusing one. Originally used to refer to bands that operated with a DIY ethos, outside of the mainstream and away from the gaze of major labels, it has since come to refer to a certain sound – loosely defined by catchy lead guitars, energetic drum beats and wordy lyrics.

In our list of the very best bands from the indie rock spectrum, we’ve focused on the groups that define the sound rather than the mentality, though that’s not to say there aren’t some examples on our list who embody both.

We’ve charted indie rock titans, starting from the genre’s heyday in the 80s and early 90s through to its revival in the 2000s.

15. The Jesus & Mary Chain


East Kilbride’s Jim and William Reid became the prominent voices of Scottish indie after forming in 1983, releasing their debut album Psychocandy in 1987 and recording a handful of influential John Peel sessions. There’s a huge amount to discover across the band’s diverse and multi-faceted back catalogue, with seven studio albums, six EPs and plenty of compilations to get to grips with. Hilarious as it sounds, Jez from Peep Show summed the band’s appeal up perfectly when he compared them to his and Mark’s complicated new boiler: “It’s like the Jesus and Mary Chain of central heating control systems — difficult to get into initially, but then so much to explore.”

14. The Maccabees

The Maccabees are another defining band of their era – the lingering bass note that opens the band’s 2005 debut single X-Ray is enough to make the memories of skinny jeans and questionable haircuts come flooding back, and frontman Orlando Weeks had one of the most distinctive voices in the scene with its trembling vulnerability. As the years went on, the band’s sound matured, moving away from a frenetic post-punk energy towards more considered art rock.

13. Pavement

‘Angular’ has become a cliché when talking about indie rock but Pavement’s wonky melodies and cutting guitar lines embody the description more than most. The Californian band embodied a slacker spirit throughout the 90s but there was nothing lazy about their songwriting and knack for killer choruses. After they split in 1999, frontman Stephen Malkmus has furthered the band’s legacy with a series of brilliant solo albums but fans are still holding out hope for a Pavement reunion soon.

12. Echo and the Bunnymen

Ian McCulloch’s Echo and the Bunnymen established themselves as one of the truly alternative voices coming from Merseyside in the late 70s and early 80s. Their brand of indie pop saw them experiment with psychedelic influences on tracks like The Cutter, one of the highlights of their extensive back catalogue. The band are hardly lacking in self-belief either: McCulloch called their 1984 track The Killing Moon “the greatest song ever written” in an interview with the Guardian and claimed it “contains the answer to the meaning of life”. Modesty might not be their forte, but their impact on UK indie rock cannot be overstated.

11. Pixies

Boston’s finest Pixies were pioneers of the loud/quiet rock dynamic which came to have a huge influence the 90s alternative scene. The group also understood the importance of simplicity better than any of their contemporaries. Zero frills didn’t mean zero thrills though: the band carved their own lasting mark on the musical landscape and tracks like the haunting Where Is My Mind and the absurdist Monkey Gone To Heaven are some of the greatest anti-anthems of the era.

10. Neutral Milk Hotel

Few indie records capture raw, unfiltered emotion quite like Neutral Milk Hotel’s iconic record The Aeroplane Over The Sea. The Louisiana group etched their name in rock history with the album in 1998, which featured lo-fi productions with distorted acoustic guitars, heartbreaking lyrics and some of the most impassioned vocals in rock courtesy of frontman Jeff Mangum. The singer’s performances on tracks like Two Headed Boy are utterly captivating and seem incredibly direct — like he’s stripping away all distractions and addressing the listener directly. The group never released another album but the strength of The Aeroplane Over The Sea means they retain one of the biggest cult followings in indie to this day.

9. The Cribs

To put it plainly, any band that Johnny Marr wants to join has to be considered a very good band. The Smiths guitarist linked up with Wakefield’s finest to record an album, 2009’s Ignore the Ignorant, adding a sophistication to The Cribs’ jagged, punk-fuelled indie rock. Their earlier three albums were packed with hooks and scything guitar lines from Ryan Jarman, backed up by his brother Gary’s no-nonsense bass playing and the raucous drums of their cousin Ross. For a while they were the darlings of the indie rock world, but even as the scene began to lose its way the band’s cult following remained just as fervent.

8. Sonic Youth

New York noise rockers Sonic Youth, made up of Thurston Moore, Kim Gordon and Lee Ranaldo, first found a cult following amongst the ‘no wave’ art scene in the early 80s. They reached a new generation of fans after signing to major label DGC in 1990 but they never lost their edge. Despite achieving more mainstream success their constant experimentation saw them cover works by experimental composers like John Cage and Steve Reich, pushing boundaries of genre and come to redefine what it meant to be an indie rock band over the last four decades.

7. REM

REM were one of the leading alternative voices in US rock before finding mega stardom off the back of1992 album Automatic For The People. REM were one of the leading alternative voices in US rock. Their debut album Murmer in 1983 announced them as one of the most exciting talents in American indie years before they became stadium mainstays. Guitarist Peter Buck is arguably one of the most underappreciated musicians of his generation too — his shimmery, jangly style was the key component of the band’s sound alongside Michael Stipe’s unmistakeable vocals.

6. The Libertines

Deified by certain sectors of the British music press and no doubt magnified by the celebrity of frontman Pete Doherty, The Libertines are nevertheless one of the essential bands of the movement. Their music was sloppy and infectious with choruses that were as at home in rowdy, booze-soaked pub as they were in front of thousands at a festival. Can’t Stand Me Now, the first single off their second, eponymous album stormed to number 2 the UK Top 40 in 2004 – when the charts still meant something – and became the band’s ultimate singalong, electrified by the intraband tensions that would eventually come to derail them.

5. The Stone Roses

So much of what the Stone Roses did was iconic: the wiggling bassline on Fools Gold, the bold religious appropriation of I Am The Resurrection, even the first line of the first song on the band’s first album (“I don’t have to sell my soul, he’s already in me” remains one of Ian Brown’s most memorable lines). They epitomised the Madchester movement – an explosion of sound, fashion and substances – and popularised the psychedelia that would weave its way into the music of so many huge British bands in the 90s.

4. The Cure

The Cure’s sound is sprinkled with glitter and gloom, bridging euphoric pop highs with dark, gripping art rock. Listening to their back catalogue is like disappearing down the rabbit hole: there’s a wealth of musical ideas and forms to discover, from starker albums like Pornography to the technicolour indie pop of The Head On The Door and Kiss Me, Kiss Me, Kiss Me. Their magnum opus Disintegration remains one of the most revered double albums ever too, with Robert Smith representing one the true visionaries of UK indie.

3. Arctic Monkeys

Nothing less than a British phenomenon. Their swift ascent from an unknown four-piece to one of the biggest bands in the country in the mid-to-late 2000s was astounding. The debut album Whatever People Say I Am, That’s What I’m Not is the fastest selling in UK history and an indie-rock staple: audaciously clever lyrics, massive choruses and unforgettable hooks. They never stood still and were unafraid to risk alienating parts of their fan base for the sake of progression – the wholly unexpected sound and mood of 2009’s Humbug, their third album, was the first example of this. Alex Turner’s lyrics meanwhile have gone from Mike Skinner-ish observations to those concerned with galactic hotel reservations on their latest release. That said, each album they’ve released has more hits than most bands could hope for in a career.

2. The Strokes

“I just wanted to be one of The Strokes.” So goes the first line of Arctic Monkeys’ latest album, a clear indication of just how influential the New York five-piece has been. Their first album Is This It, released in 2001, was the earthquake that shook up the next decade of rock music on both sides of the Atlantic. Its chugging guitars, beguiling hooks and swaggering, observational lyrics laid down a blueprint that countless other bands would follow. The record that came after it, Room on Fire, was nearly just as brilliant. The rest of the band’s discography varies in quality, but the enduring appeal of Is This It cements The Strokes’ place as one of the very best.

1. The Smiths

The Smiths became arguably the most influential British band since the Beatles and the Rolling Stones when they emerged in the early 80s, influencing and inspiring entire generations of fans and musicians alike. Geoff Travis, head of iconic independent label Rough Trade, took a punt on the band after being handed a tape by a teenage Johnny Marr and signed the band in 1983. In the space of just four years the group released four of the most influential British albums of the decade and left an indelible mark on the musical zeitgeist. The unique vocal and guitar stylings of Morrissey and Marr respectively as well as backing from the underrated and underappreciated rhythm section of Andy Rourke and Mike Joyce made them one of the most compelling groups of the era. Marr remains an almost messianic figure for UK guitarists and while Morrissey’s history of controversial comments have caused some to question the band’s reputation, their musical legacy has never been in doubt.

15 bands you should listen to in 2020, from Porridge Radio to Odd Morris | The Independent

Somewhere down the line, guitar music lost its teeth. During the late Nineties and early Noughties, the image of the six-string became synonymous with bands such as Razorlight, The Fratellis and The Kooks in an era now dubbed “indie landfill”. Although these bands all achieved a level of commercial success, they predominantly consisted of nice, well-trimmed indie boys who never had anything particularly interesting to say, both on and off the stage.

The tradition of outspoken, politically minded musicians has been somewhat passed over to rap and hip hop, embodied by artists such Kendrick Lamar, Stormzy and Joey Bada$$. All the while rock ‘n’ roll staggered and swayed, directionless and empty of vigour, until Alex Turner destroyed what was left of its credibility with his infamous speech at the Brits awards in 2014.

It now seems however, that the rise of the DIY music scene in Britain colliding with Brexit and Donald Trump has resulted in guitar bands being gifted a new lease of life. Bands such as Shame and Idles were among the first to spear their way into the public consciousness, doing so with twisted guitars and angry, politically laden lyrics. In their wake have followed a whole host of groups who are finally saying something worthwhile, rather than singing blithely about wearing the same jeans for four consecutive days.

Whether it’s Fontaines DC, who confront issues such as a growing sense of nationalism and isolation in Ireland, or the Brighton-based band Squid – who dodge genre constrictions like Keanu Reeves would a bullet – there’s something exciting happening in the UK band scene right now.

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Click through the gallery to see our 15 bands you should follow in 2020:

15 bands you should listen to in 2020

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1/1515 bands you should listen to in 2020

15 bands you should listen to in 2020

Odd Morris

Established in 2017, Odd Morris are swelling the ranks of Ireland’s rapidly expanding post-punk scene with their own, grunge-influenced take on the abrasive sound. Pummelling drums and strong vocals are found alongside a certain nonchalance; a pleasing sight in a group so young.

15 bands you should listen to in 2020

Porridge Radio

This London/Brighton four-piece deal in thunderous guitar riffs and sardonic lyrics. Lead singer, guitarist and songwriter Dana Margolin has a Karen O snarl, especially on grunge-influenced tracks such as ‘Sweet’ – we’re hoping for an album in 2020.

15 bands you should listen to in 2020

Fontaines DC

Another brazen post-punk band that’s bursting out of Dublin, Fontaines DC’s lyrical impressionism is a gritty response to their discordant political surroundings. Debut album Dogrel, which was shortlisted for the Mercury prize, celebrated Ireland’s proud literary and cultural heritage and landed a spot on The Independent’s albums of the year (2019).

15 bands you should listen to in 2020

The Orielles

The Orielles fuse aspects of dream-pop and psychedelia to create pop songs that sound as though they’ve been sent to the stratosphere and back. Ethereal, hook-laden vocals from Esmé Dee Hand-Halford ricochet around their recordings among a whirl of reverb-drenched instrumentation.

15 bands you should listen to in 2020


UGLY are proving themselves as adept exponents of the eerie jazz-punk fusion that King Krule pioneered half a decade ago. Made up of fresh-faced students, the group have wound up on Holm Front Records (Sports Team’s label) and the handful of songs they have released are bristling with potential.

15 bands you should listen to in 2020


There’s an unnerving dissonance that pervades the output of Sorry, who are fellow members of London’s Brixton Windmill scene alongside acts such as Shame and Goat Girl. Their lyrics flirt with the realities of depression and feelings of awkwardness, carried along by waves of grunge-inspired guitar hooks.

15 bands you should listen to in 2020


Squid are a fantastically anarchic outfit who dabble musically in a little bit of everything. Really, everything – their debut EP Town Centre contains spoken word, some haunting cello, jittery synths and sinewy guitar lines, all atop a rhythm section which is prone to change pace like a skittish springbok evading a cheetah.

15 bands you should listen to in 2020

Just Mustard

Unlike their fellow compatriots The Murder Capital and Fontaines DC, Just Mustard’s music is more likely to slink through a back window, as opposed to battering down the front door. The Irish shoegazers employ screaming guitars atop a slow, enticing tempo, as vocalist Katie Ball’s eerie melodies dance between the speakers.

15 bands you should listen to in 2020


With the release of their debut album What’s Inside Is More Than Just Ham, Feet have cemented themselves at the vanguard of the post-punk revival. Melding psychedelia-infused guitar lines with elements of funk and a refreshing, quintessentially British sense of humour, the group’s future looks bright, having recently embarked on their first national headline tour.

15 bands you should listen to in 2020

Sports Team

This six-piece indie outfit from Cambridge have been on an upward spiral since the release of ‘Winter Nets’ in early 2018, and have already established themselves as the frontrunners of the burgeoning indie-revival. Frontman Alex Brice’s dry, self-aware lyricism is at the core of everything they do and provides the centre-piece for their chaotic, sometimes surreal live shows, where the refrain: ‘I wanna buy you a flip screen Motorola’ is screamed by the crowd.

15 bands you should listen to in 2020

Hotel Lux

Hotel Lux play a swaggering style of “pub rock”, evocative of acts such as the Blockheads and Dr Feelgood. Their lyrical content, however, is something far darker and more brooding than anything mainstream acts of that era produced. There’s a haunting way in which singer Lewis Duffin tackles subjects that most wouldn’t touch, such as execution and paedophilia.

15 bands you should listen to in 2020


Although still very much a band in its infancy, Junodream have already established a finely shaped sound. Nostalgia-inducing vocal melodies blended with otherworldly guitars are reminiscent of early Radiohead, helping these up-and-comers land a support slot on a national tour with indie peers Lazy Days.

15 bands you should listen to in 2020


At first, Kawala’s yearning harmonies might remind you of early Fleet Foxes or Bombay Bicycle Club. But there’s a deeper energy that lingers beneath their folk influences – perhaps it’s the surprising (in a good way) Afrobeats sound these London-based lads have injected into what could otherwise be your typical indie band.

15 bands you should listen to in 2020


The Peckham based five-piece have been steadily growing out of their post-punk beginnings into a fantastical musical realm that is purely their own. Dark, poetic lyrics delivered in an off-kilter fashion weave in and out of snarling guitar lines, making for an intriguing end product.

15 bands you should listen to in 2020

Pillow Queens

This Dublin four-piece trade in subversive songwriting that tackles everything from body image (on the punchy “HowDoILook”) to modern masculinity (the tender “Brothers”). Expect a debut album this year.

10 British Indie and Alternative Acts You Need to Listen to

Beyond all the famed British household names, if you dig a little deeper there are some great emerging and underrated acts that are currently rocking the local alternative and indie scene. Each have different styles and influences, mixing jazz, punk, indie rock, R&B, soul and rap to create their unique sounds, here are 10 current favorites that you should give a listen.


Star track: There’s A Reason Why (I Never Returned Your Calls)
Track to listen to: Charlemagne

The band are quickly establishing themselves as firm favorites in the U. K. scene, releasing their third album to acclaim from critics and fans this year. The band has a groovy sound, indie rock with an electro pop, disco feel. Now regulars on the top bills of many indie festivals around the nation, they pack each show with their stylish singalong floor-fillers.

Charlemagne is the bands breakthrough tune, from their self-titled breakthrough album. The opening synth riff will get you hooked straightaway and introduces you to their sharp lyrics. From their second album, Cool Like You, There’s A Reason Why (I Never Returned Your Calls) brings an 80s vibe, featuring groovy synths, a bassline that gets you dancing along and lyrics that get you signing along, bringing big festival energy with every listen.

The Magic Gang

Star track: Take Back The Track and Think
Track to listen to: How Can I Compete

An indie outfit that weaves thoughtful lyrics on relationships and heartbreaks and pretty melodies with cool guitar-pop. The band’s knack for writing relatable and catchy tunes is evident on their self-titled debut album. Exciting new singles for their up and coming second album however, have brought out the bands groovier side, without losing any of the charm.

The lead track on their debut album, How Can I Compete, features the band’s much-loved lyrics on romance, sunny harmonies and fun guitar parts. Think and Take Back The Track are the star singles for their upcoming second album, Death Of The Party, that are sure to get you on your feet. Different from their indie rock roots, both are soul-inspired, funkier tunes, with memorable choruses, but the melodies still serve up that same dose of charisma.


Star track: Heavenly Maybe and Icarus
Track to listen to: Heavenly Maybe

Gengahr is a psychedelic rock band out of Hackney, London who have nailed the subtle, gloomy, psychedelic rock vibe. Their name is a play on Gengar, one of the original Pokémon, because they were forced to rename after discovering an artist already using their previous name, RES, on iTunes. They released their latest album, “Sanctuary”, and recruited an old friend, Jack Steadman of Bombay Bicycle Club, as their producer.

Their single, Heavenly Maybe, is full of bright, groovy guitar and deep vocals. Within the first five seconds, the guitar illuminates the track and creates exciting energy for the first verse leading into the rest of the song.


Star track: Stop This Flame
Track to listen to: Strange and Lately

Celeste is the current rising star of British soul and R&B, garnering lots of attention for her voice as well as her versatility. Late 2019 she won both a Brit Award and a BBC Music Award as well as being voted by critics in a BBC poll as the 2020’s predicted breakthrough artist. She’s only released two EPs, with her self-titled debut album coming out later this year

Stop This Flame is her first single of the year, a jazzy, piano-driven R&B anthem that shows off her powerful voice. Strange is a tune that got her widespread attention, shows her other more tender side, a simple arrangement with a soft piano and string sections, her beautiful voice and lyrics capture the melancholic mood perfectly. On Lately, her soulful vocals sit perfectly on top of a well-layered jazz instrumental with a smooth bassline and drum work.

Sam Fender

Star track: Hypersonic Missiles
Track to listen to: Will We Talk and That Sound

The rising star of British indie rock at the moment, the singer-songwriter has burst into the scene, showing exceptional writing skills and a sound which is a new, invigorated take on the classic guitar rock recipe. He has particularly impressed because of his ability to fit themes such as inequality and toxic masculinity into some festival-ready indie anthems.

Hypersonic Missiles, the title track of his debut album, is a massive, gritty anthem that takes you by surprise. High energy guitar riffs and saxophone solos gets you up whilst it’s sharp lyrics which talk about wars and the kids in Gaza get you thinking. That Sound is another arena rocking effort, whilst Will We Talk talks about relatable relationship uncertainty.

Loyle Carner

Star track: Ottolenghi
Track to listen to: Damselfly and Ain’t Nothing Changed

A different voice in the U.K. rap game, the London rapper has poetic lyricism and flow that is usually delivered on jazzy, soulful instrumentals. his lyrics are sentimental and emotional, and you can hear it in his voice. He touches on relatable, personal topics on friends and family and about being broken and vulnerable. Wholesome and honest music at its purest.

Ottolenghi, from his second album Not Waving, But Drowning he is in his storytelling best, helped by the beautiful vocals of Jordan Rakei and moody pianos and keys. Damselfly, features vocals from Tom Misch, smooth guitar work and talks about love and loss. On Ain’t Nothing Changed gentle guitar riffs contrast with a saxophone riff and booming bass as he raps about the stagnancy of life. Both are from his highly praised debut Yesterday’s Gone.


Star track: Hell N Back
Track to listen to: Big Dreams

Another genre-bending London artist, his truly unique musical style combines indie rock, rap and punk. His energetic debut album Badkid was praised for being very experimental, even incorporating elements of alternative R&B, even a little bit of soul. His recent EP, Will You Be My Yellow? which features Dominic Fike, shows a more calm and cool side of his music.

Big Dreams is from his Badkid mixtape, and it is lively alternative indie rock with plenty of youthful energy, about trying to make it to the big time. Hell N Back, is chilled out, groovy R&B with elements of reggae. It’s a breezy tune that needs to be on any summer playlist. His music is thematically strong as well, fitting perfectly with the warm, yellow theme of the EP.


Star track: Doormank
Track to listen to: T N Biscuits

The rapper has captured the attention for his outspokenness and musical style. His critically acclaimed, highly political album, Nothing Great About Britain is a masterstroke. He has got a distinct flow with punk-rap vigor throughout yet still succeeds in getting the message in his lyrics across. A unique, alternative artist, he recently collaborated with experimental rock band Gorillaz and punk rock duo Slaves on a fun track called Momentary Bliss.

On Nothing Great About Britain, he talks about everything from drugs, poverty and the economy to class wars. On Doorman, a fast-paced, electro-punk collaboration with Mura Masa, the instrumental matches his explosive, high-energy flow. T N Biscuits sees him, full of attitude and swagger, lay down bold bars on a heavy, bouncy U.K. grime type beat.


Star track: LAIDBACKk
Track to listen to: SIGN ON and MOVE

The project of 24-year-old Jordan Cardy, who first released mixtapes through SoundCloud. Legendary Britpop band Blur’s Damon Albarn and Graham Coxon both contributed to his skate-punk styled debut album SCUM. Another one to watch, he is very versatile and creative, and this is apparent in his songs. Coxon plays lead guitar on star track LAIDBACK.

LAIDBACK is a memorable, catchy, easy-going indie rock love song. SIGN ON packs a punch, with plenty of youthful zing in its guitar riffs and clever lyrical word play. MOVE shows his range, opting for a heavy, bouncy techno rock instrumental in which he lays down a rap flow. His more recent work shows off his American 90s hip hop and punk-rock influences.


Star track: Heaven Up There
Track to listen to: Live Well and Bitter

This London band delivers soft, melodic sounds with pretty guitar parts. The band are two albums in already, and perhaps are not as popular compared to the other bands on the list, but give their own refreshing take to the genre. Their music is pure, with cool guitar work and breezy basslines, bringing brilliant storytelling and a feel-good indie vibe to every track.

Two tunes from debut album So Long Forever, Live Well and Bitter are examples of the band’s brilliance, with warm melodies and harmonies. They are both up-beat tracks with gently uplifting basslines. Heaven Up There, from their follow-up album, is an ethereal experience, a deeply reflective tune which showcases front man Leo Wyndham’s vocals.

The Best New British Bands of 2020

Here at Paste, we enjoy rounding up the acts we’re most excited about from across the pond. We did so for the past two years (here in 2018 and here in 2019), and have found favorites in artists like Shame, Yola, Nilüfer Yanya, black midi and Honey Lung. Now, we’re ready to gush about the next class of fresh-faced Brits whose ages, background and genres vary wildly, but that’s part of the fun. We were excited to see several of the artists listed here at Austin’s now-canceled SXSW, but even though we weren’t able to see them live, we’re still thrilled to introduce them to you. Some of these names, like Georgia and Beabadoobee, have been drawing headlines for a few years, but others, like caroline and Sault, will likely be new for many. Ranging from folk, jazz, punk, pop and more, here are 15 U.K. artists who’ve caught our eyes and ears as of late, listed in alphabetical order below.

Bea Kristi, the 19-year-old singer/songwriter behind Beabadoobee, signed with Dirty Hit (the label giant behind The 1975, Wolf Alice and others) two years ago and has been climbing the ranks ever since. Through her early singles and recent EPs (2018’s Patched Up and 2019’s Loveworm and Space Cadet), Beabadoobee has perfected her tender acoustic pop, floaty dream pop and distorted indie rock. Also a self-described ’90s obsessive, she’s won over hordes of Gen Z listeners, landed an opening slot for Clairo in the U.S. and became a BBC Sound of 2020 finalist.

Formed out of the ashes of another band Nervous Conditions, seven-piece Black Country, New Road are one of today’s definitive dark and jazzy post-punk bands. Having released just two singles for Dan Carey’s buzzy Speedy Wunderground label (black midi, Kate Tempest), their surreal sound has already drawn praise from outlets, including us here Paste and Stereogum, and they were due to storm SXSW this year. While their amusing, slightly gothic debut single “Athen’s, France” dropped Phoebe Bridgers and Ariana Grande references, their nine-minute follow-up “Sunglasses” built to a shrieking horn-laden climax for the ages.

Recent Rough Trade signing caroline are perhaps the most mystifying and gorgeous sounding group in this bunch. The London band started as a three-piece in 2017 as a result of regular improvisational jams, and they soon began adding members. Despite no name for the project yet, they spent a year and a half playing in secret before performing shows, which now include eight members. They’re currently working on their debut album, but all we have now is “the first half of a two-part video project” called “Dark blue,” a painfully beautiful, ever-unfolding composition that borders on slowcore, classical, emo and folk.

British-Jamaican singer/songwriter Celeste won this year’s prestigious BBC Sound of 2020 prize for her satiny soul pipes and refined instrumentals perfect for a rainy Sunday. She made a big impression at the British Music Embassy at SXSW 2019 and has already opened for the likes of Janelle Monáe, Michael Kiwanuka and Neneh Cherry. There’s no debut album yet, but last year she re-released her Lately EP with the addition of two new singles “Strange” and “Coco Blood” and repackaged it as Compilation 1. 1. It’s an elegant, minimal collection of songs with a yearning, jazzy romance and boundless grace.

Members of the U.K.’s preeminent hardcore bands (Gutter Knife, Violent Reaction, Arms Race) formed a new band called Chubby and the Gang, but instead of making another vicious hardcore album, they set out to make a breackneck, classic punk record. Their debut album, Speed Kills, released earlier this year, has the zippy pace you might expect, but what’s surprising is how well they pull off rhythm and blues, surf and pub rock influences. Frontman Charlie Manning-Walker still brims with hardcore attitude, but their super-charged riffs cop the best of the ’50s and ’60s, resulting in a punk-pop LP so infectious you’ll want your gang membership in no time.

Bristol singer/songwriter Fenne Lily recently announced her signing to Dead Oceans after several years worth of crushingly beautiful indie-folk. She self-released her debut album, On Hold, back in 2018, has previously opened for Lucy Dacus and Andy Shauf on tour in the States and was meant to return to the U.S. at this year’s SXSW. Lily arrived with her first new music since On Hold in the form of a new single “Hypochondriac,” and it’s blissfully cathartic to hear such an angelic, ribbon-like voice calmly sing the words “I’m freaking out.”

Garden Centre are both subtle and not-at-all subtle. Their sound is led by chief singer/songwriter Max Levy, whose voice sounds like Wand’s Cory Hanson if he inhaled a ton of helium and lived in a mushroom-shaped dwelling from a children’s book. Levy’s high-pitched vocals might be off-putting at first, but it doesn’t take long to warm up to them, especially when they pair so well with his fantastical lyrics and off-kilter instrumentals. Garden Centre released their latest album, A Moon for Digging, last year on Brooklyn’s Kanine Records, and its leisurely, oddball pop songs à la Daniel Johnston are heartwarming at the very least, and at most: an absolute emotional tidal wave.

Following her 2015 self-titled debut, London producer, multi-instrumentalist and singer/songwriter Georgia released her second album, Seeking Thrills, for Domino Records earlier this year. It’s a dance-pop triumph with club beats and house influences, and though its lyrics are hyper-focused on the exhilaration of late-night dancefloors, its pulse and spirit are so infectious that it would sound just as good in the car or on a morning run. Georgia performs live as a glorious one-woman show, and having been a session drummer for years, she stands while drumming and belting out transcendent, neon pop melodies.

Not much is known about this Bristol band, but Norman recently dropped a 10-minute mixtape called Songs from the basement, The Old England etc., and it’s wild enough to start turning heads. Their lyrics are a mouthful, often criss-crossing over each other with manic energy in lines like “It’s hard to play guitar in a dissociative episode.” Squawking horns, retro keyboards and baritone vocals culminate in a wash of experimental post-punk, jazz and noir-pop. They’re erratic and eccentric, so we don’t know what’s to come, but we do know it will be interesting.

Halifax quartet The Orielles followed up their 2018 debut, Silver Dollar Moment, with a pretty sublime sonic evolution. There were funky, loungey glimmers on their debut, of course, but their 2020 album Disco Volador embraces those aspects more dramatically. It largely trades in their distorted indie for disco, tropicalia, funk and avant-pop, and it sounds like whatever dancing in the clouds must feel like. Their spunky final track, “Space Samba (Disco Volador Theme),” might just be the grooviest thing to come out this year.

If your introduction to Porridge Radio came via their first two singles since signing to Secretly Canadian, this band probably felt like an avalanche. “Lilac” and “Sweet” are masterclasses in tension building, and Dana Margolin dished out two of the most unhinged, yet utterly perfect, rock vocal performances in years. But this Brighton band’s 2016 self-recorded debut album, Rice, Pasta And Other Fillers, would’ve told you all you need to know about their uniquely magnetic, dynamic guitar music. Four years later, they followed it up with Every Bad, which will more than likely turn out to be the most musically scintillating and emotionally stimulating indie rock release of 2020.

It’s been a long road for alternative-dance group Real Lies. The Londoners’ sole album came in 2015 with Real Life, which melded ravey electro-pop and dance music with the gritty, distinctly British realism of The Streets and the instantaneous pop melodies of Pet Shop Boys. According to the band, the five years since then have been rocky, ultimately resulting in the departure of co-lead vocalist Tom Watson. But other lead vocalist Kev Kharas and producer Patrick King have recently regrouped for two new singles—“You Were in Love” and “Boss Trick”—presumably from a forthcoming release due out later this year. Both songs possess the poetic depiction of love and alienation that made their debut so compelling.

These days, it’s hard to remain an anonymous musician, but no one seems to know who or how many people make up Sault. What we do know is that they released two albums last year—5 and 7—on the Forever Living Originals label, and critics can’t get enough of them. Both albums shared the number two slot on Bandcamp’s 100 best albums of 2019, and for good reason—their groovy, free-flowing arrangements are almost too good to be true. Simultaneously sounding like lost funk classics and modern mash-ups of bass-heavy soul, pop and post-punk, these records possess a rare exuberance.

There are quite a few peculiar characters on this list, but Sons of Raphael baffle in a way the others don’t. Releasing various singles and EPs on Because Music (Christine and the Queens, Justice) and Moshi Moshi (Bloc Party, Hot Chip), brothers Ronnel and Loral Raphael have built a reputation on their grand, religious-inspired, outsider pop. Their colorful personalities have already resulted in an interview interrupted by an agitated bookie and a music video titled “Eating People,” where they invaded a church service at their international boarding school. Their two latest singles, “He Who Makes the Morning Darkness” and “Siren Music,” have a bold vision we can only sit and try to parse through with awe.

Squid, another one of Speedy Wunderground’s most exciting alumni, blew us away at SXSW 2019, and their EP Town Centre, released later that year, definitely lived up to the hype—landing on our list of Best EPs of 2019 for its “nervy, dynamic art punk.” It all started with a pair of singles—“The Dial” and “Houseplants”—two pummeling, off-the-wall post-punk singles with various combinations of fuzzed-out keys, cowbell, horns and güiro. Then came their Town Centre highlight and best track to date, “The Cleaner,” a moving synth-punk tale of a janitor who dances “with DVDs and books” to “rocket pop.”

Lizzie Manno is an assistant music editor, Coldplay apologist, bread obsessive and lover of all things indie, punk and shoegaze at Paste. Follow her on Twitter @LizzieManno.

Top 10 UK 80s Indie Bands – the enduring cult acts

Debates still rage as to exactly when “independent” became “indie”, but what most people can agree on is that some brilliant bands hitched up to smaller labels (some of whom later signed to the majors and tussled with the Top 40) rocked our world during the 80s.  uDiscover’s Top 10 UK 80s Indie Bands applauds some of the most enduring cult acts of the decade.

The Primitives
Led by indie pin-up Tracy Cattell (aka Tracy Tracy) and guitarist/songwriter Paul Court, Coventry quartet The Primitives had their own Lazy imprint before signing to RCA. Featuring their signature hit ‘Crash’, most of their 1988 debut album Lovely still lives up to it name.

Happy Mondays
‘Madchester’-era indie-dance superstars at the turn of the 90s, Happy Mondays first hit their stride with 1988’s Martin Hannett-produced Bummed and the dancefloor remix ‘W.F.L’ in 89.

Spacemen 3
Critically-acclaimed and narcotically-challenged, Rugby-based psych-rockers Spacemen 3 made some superb records in the late 80s, not least 88’s The Perfect Prescription, featuring the glorious ‘Walkin’ With Jesus’.

Cocteau Twins
Forever associated with the 4AD imprint, Scottish outfit Cocteau Twins’ landmark 80s albums as 84’s Treasure and 86’s Victorialand remain among the most seductive and ethereal discs known to pop.

My Bloody Valentine
Led by sonic architect extraordinaire Kevin Shields, My Bloody Valentine’s staggering Creation debut Isn’t Anything (1988) remains a proto-shoegazing classic.

The House Of Love
The hip name to drop in 1988, The House Of Love’s self-titled debut for Creation included stunning indie hits such as ‘Christine’. A remixed version of their classic debut 45 ‘Shine On’ later yielded a Top 20 UK hit.

Jesus & Mary Chain
Sex Pistols-esque controversy, riot-strewn gigs lasting for 15 minutes, classic debut single (‘Upside Down’) and a stunning, feedback-ridden debut LP Psychocandy…The Jesus & Mary Chain’s early career is still the stuff of rock and roll legend.

The Fall
Mark E Smith’s cantankerous Mancs manufactured a skip load of essential vinyl during the 80s. 82’s Hex Enduction Hour is right up there, though 85’s more accessible This Nation’s Saving Grace gets our nod of approval.

The Smiths
Dour bedroom miserablists or the most exciting, literate and downright iconic indie guitar outfit of the 80s? We lean towards the latter point of view, not least on 1986’s stunning, era-defining The Queen Is Dead.

The beginning of something bigger …

Where and how the “British guitar” sounded

Everything was small: dream, wind, love and the ocean …

Starting with the label “underground art”, strange and British indie rock, which had just begun to “breathe” in 1960, was growing at a crazy pace – and for a reason, because he faced a difficult struggle with the already established British view of music for the right to be called “real art” that any listener can love and understand.English indie rock, like most other genres, got its inspiration from American musical records, and there is nothing wrong with that, this order is due to the wide national and historical diversity of American states, which is why many sketches of future musical vectors appeared there. The first rock ‘n’ roll records from the United States arrived in English ports through the wet hands of sailors. An example is Liverpool, in which, by the way, those who will be discussed in the future have appeared.British musicians, inspired by new genre trends that emerged in the United States, created truly extraordinary, and later legendary musical works. So, for example, inspired by the Texas group The Crickets, in 1960 the world was turned upside down by the already well-known cult British rock group The Beatles. At the same time, under the influence of seemingly just melodies in the heads tired of the horrors and hardships of the wars of the 20th century, a cultural revolution took place – hippies appeared …

Royal Underground Center

Legends of Britain

Two of the most important centers of musical life in England at the time were London and Liverpool.In the capital, for example, at the time of the spread of the African-American blues there appeared such groups as The Rolling Stones, led by Mick Jagger, which for centuries have become a symbol of artistry and sincerity of live performances; The Animals, who wrote songs that took first places in almost all European and North American charts every year; The Who, covers of which have been played for half a century by the most famous musicians of Britain and not only, and it is also worth noting that it was The Who who were the first to break the guitar on stage; and The Yardbirds, the most experimental of the aforementioned bands, honed the skills of some of the greatest guitarists in rock history – Eric Clapton, Jeff Beck and Jimmy Page (Eric Clapton and Jimmy Page were at the origins of the groups Cream and Led Zeppelin, respectively).

After British rock music began to monetize due to the crazy resonance among the world listeners, the most famous producer in England – George Martin, who led The Beatles to such a cultural resonance and demonic popularity, took over. They were the very first to go on tour in the USA. And after them The Who, The Kinks, The Rolling Stones and dozens of other bands went on a tour of the States. This was the start of “ British Invasion “.

“British Invasion” is a musical phenomenon of the mid-second half of the sixties, when British rock music began to dominate both national and international (mainly American) charts.The beginning of the phenomenon is considered to be the success of The Beatles’ single “I Want to Hold Your Hand” and the subsequent visit of the group to America. The end of the “British invasion” can be considered the growing popularity of psychedelic rock in 1966-1967, when the largest American psychedelic bands The Byrds, The Doors, Grateful Dead, Jefferson Airplane were able to become worthy competitors.

This is strange… But I want more!

Psychedelics and Art Directions

In the mid-1960s, psychedelic rock appears – a kind of musical symbolism, difficult to perceive music, which can be considered an example of early musical postmodernism. The Beatles were also the first in England to try to play in this direction. By the way, there is a version that in the States they tried LSD, to which they dedicated the song “ L ucy in the S ky with D iamonds”.

With the development of psychedelic rock, new bands emerge – Led Zeppelin, Pink Floyd, Soft Machine, Matching Mole, The Moody Blues – which are characterized by non-standard harmonies and unusual instruments, such as winds and strings.

Music becomes more complex, the authors have more room for creativity, and with it new genres: progressive rock and art rock.They are characterized by long compositions that are difficult for an ordinary listener to comprehend; in a sense, such genres even challenge academic music. Mathematical rock appears, which is now performed, for example, by the young but rapidly gaining popularity British band Marmozets. Also, the main representatives of classic progressive rock are often called King Crimson, Genesis, Yes, Emerson, Lake & Palmer, Gentle Giant. Among the same art rock legends are: Radiohead, David Bowie, Pure Reason Revolution, Kate Bush.

To this day, all over the world these genres are flourishing and developing – for example, fans of art rock are recommended to listen to the St. Petersburg team Shortparis.

Easier, bolder, meaner …


The 1970s in rock music began with the collapse of The Beatles, which made it clear that the world needed new discoveries.The basic techniques of art-rock and progressive rock are exhausting themselves, many famous bands are breaking up, others are finally commercialized. Therefore, by the end of the 1970s, the world was captured by punk – a protest against the established rock orders of that time, “plush” lyrics and monotony. The main priority of this genre is to find the energy that is required for listeners who are already tired of “naked” indie guitar rock. Of the English punk rock bands, the Sex Pistols and The Clash are worth noting and moving on.

Photo –

Sheila rock

More electric, more scary …

Punk Rock growing up

By the 80s, punk, electronics and scraps of classic rock create new wave, post-punk and alternative rock.In the UK, new wave was played, for example, by The Police, The Pretenders, Elvis Costello, Duran Duran, Dire Straits, Spandau Ballet, Culture Club, but it ceased to be rock music in its classical sense – the genre grew and bloomed: the synthesizer in their melodies are often replaced by all other instruments, the guitar becomes more and more “high”, and the “distortion” familiar to rock listeners is almost completely removed; shouts, claps and shrieks are getting less and less, and the lyrics are filled with romance … MTV appears, and with it begins “ Second British Invasion “.

Post-punk, on the other hand, is a “high” replacement of bright, loud, reckless punk with more mature and sensitive music, where the main place is occupied by cold melodies and strange, often very depressing and complex lyrics. British post-punk bands include Joy Division, Bauhaus, Echo & the Bunnymen, Gang of Four, The Cure, Throbbing Gristle, Cabaret Voltaire, The Fall.

Fans of the genre know that post-punk has become very popular in Russia. Such teams as the ironic and even, sorry, post-ironic show business project Buerak, cult Cinema, eccentric and lively ssshhhiiittt! Have gained fame and spread.

Alternative rock, which was difficult to classify, was mostly completely underground. Alternative rock bands did not accept the dominant “synth” sound and did not try to completely remove the heavy guitar rhythm, but, on the contrary, wanted to return to the classic structure of a rock band, organized around one or two guitars.In the UK, alternative rock was played, for example, The Jesus and Mary Chain and the more famous The Smiths. But in the future, this genre will become the basis of British indie rock and will be called “Britpop”.

Maybe … Sunset?

Britpop and the end of the British invasion

Britpop is an era of indie rock music on the UK guitar scene in the 1990s, with a major revival of the dominant guitar style of 1960s pop.The style is characterized by uncompromisingly British melodies and sounds and uses British traditions of both folk and rock and roll music. The most famous representatives of this trend are the groups Oasis, Blur, Pulp and Suede, they are also called the “big four Britpop”, in addition, The Stone Roses, The Verve, Travis can be noted. Interest around Britpop was fueled in the mid-1990s by the so-called “Britpop battle”, by which journalists in the press meant the rivalry between the Gallagher brothers from Oasis and Damon Albarn from Blur.So, thanks to Britpop, the country entered the so-called “Cool Britannia” period – a time of heightened pride in the cultural environment of Great Britain.


This ends the long history of the development of British indie rock and the formation of British music as we see it today – bright, talented, sincere and extraordinary, setting the vector for the development of all modern music.Born half a century ago with only one cheap guitar, indie rock has grown into one of the most unusual and crazy genre phenomena of modern music, while not forgetting about the “classical” traditions of its ancestors.

Listen to what?


Indie rock – Indie rock – qaz.wiki

Genre of alternative rock music

Indie Rock is a genre of rock music that originated in the United States and Great Britain in the 1970s. Originally used to describe independent record companies, the term came to be associated with the music they produced and was originally used synonymously with alternative rock or “guitar pop rock.” In the 1980s, the term “indie” (or “indie pop”) began to shift from record labels to describe the style of music produced on punk and post-punk labels.During the 1990s, grunge and punk revival groups in the US and Britpop groups in the UK became mainstream, and the term “alternative” lost its original countercultural meaning. The term “indie rock” came to be associated with bands and genres that remained committed to their independent status. By the late 1990s, several subgenres and related styles had emerged in indie rock, including lo-fi, noise-pop, emo, slow core, post-rock, and mathematical rock.In the 2000s, changes in the music industry and the growing importance of the Internet allowed a new wave of indie rock bands to achieve massive success, raising questions about the term’s significance.

In the early 2000s, a new group of bands entered the mainstream, playing a stripped-down, back-to-basics version of guitar rock. Commercial breakthroughs from these scenes were made by four bands: The Strokes, The White Stripes, The Hives, and The Vines. Emo also burst into mainstream culture in the early 2000s.Towards the end of the decade, the proliferation of indie bands came to be called the “indie dump” and the term “Landfill Indie” came to be used by some critics / websites in 2020 as a subgenre for a certain type of 2000s indie. a group, just like Britpop was used in 1990s British guitar music.


The term indie rock, which comes from the word “independent,” describes the small and relatively low-budget labels it is released on, as well as the arrogant attitude of the bands and artists involved.Although distribution deals are often done with large corporate companies, these labels and the groups they host have tried to maintain their autonomy by giving them the opportunity to explore sounds, emotions, and objects that have little appeal to a wide mainstream audience. The influences and styles of artists were extremely diverse, including punk, psychedelia, post-punk, and country. The terms “alternative rock” and “indie rock” were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, “indie rock” began to be used to describe these bands. working in various fields.styles that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized by a careful balance of pop accessibility with noise, experimentation with pop formulas, sensitive lyrics, disguised ironic posture, concern for “authenticity” and portrayal of a simple boy or girl.

Allmusic defines indie rock as encompassing a number of “different musical approaches [incompatible] with mainstream tastes.”Bound not so much by a musical approach as by the spirit of indie rock, the indie rock movement spanned a wide range of styles, from hardcore bands with grunge influences, experimental self-made bands like Pavement, to punk folk artists like Ani. Difranco. There is actually an endless list of indie rock genres and subgenres. Many countries have developed a large local indie scene, thriving in groups popular enough to survive in the respective country, but virtually unknown elsewhere.However, there are still indie bands that start out locally but end up attracting an international audience.

Indie rock is known for having a relatively high proportion of female artists compared to previous rock genres, and this trend is evident in the development of feminist riot grrrl music by bands such as Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. … However, Courtney Harding noted that this sense of equality is not reflected in the number of women running indie labels.


Post-punk and indie-pop

The BBC documentary “ Music for Losers: An Indie Story” points to the birth of indie as a self-published EP Spiral Scratch, released by Manchester’s Buzzcocks in 1977. Although Buzzcock is often classified as a punk band, the BBC and others have argued that the publication of Spiral Scratch independently of a major label gave rise to the name “indie” (“indie” is a short form for “indie”) independent “).

“Indie Pop” and “Indie” were originally synonymous. In the mid-1980s, the term “indie” came to be used to describe the music produced on post-punk labels rather than the labels themselves. Indie rock in the US was the prototype of college rock that dominated student radio playlists, including key bands such as REM from the US and The Smiths from the UK. These two groups rejected the dominant synth-pop of the early 1980s and helped inspire guitar jungle pop; other important bands in the genre included the 10,000 Maniacs and dB from the USA, and The Housemartins and The La’s from the UK.In the United States, the term has been especially associated with the abrasive, heavily distorted sounds of Pixies, Hüsker Dü, Minutemen, Meat Puppets, Dinosaur Jr. and The Replacements.

In the United Kingdom, cassette C86 , compilation NME 1986 featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the British indie scene. This gave its name to the subsequent indie pop scene, which had a major impact on the development of the British indie scene as a whole.The main predecessors of indie pop were Postcard Josef K and Orange Juice, while significant labels were Creation, Subway and Glass. The soundtrack Jesus and Mary Chain combined Velvet Underground’s melancholic noise with Beach Boys pop tunes and Phil Spector’s “Wall of Sound” production, while New Order emerged from the breakup of post-punk bands Joy Division and experimented with techno and house music.

Noise Rock & Shoegazing

The harshest and most controversial spawn of punk was noise rock, which emphasized loud, distorted electric guitars and powerful drums, and was first developed by bands such as Sonic Youth, Big Black and Butthole Surfers.

Swans, an influential New York City band, is considered part of the No Wave scene, which included Lydia Lunch and James Chance and The Contortions. These bands were documented by Brian Eno on the seminal compilation album No New York. A number of well-known indie rock labels were founded in the 1980s. These include Washington DC’s Dischord Records in 1980, Seattle’s Sub Pop Records in 1986 and New York’s Matador Records and Durham, North Carolina’s Combine Records in 1989’s Chicago’s Click and Go records was founded as a fanzine in 1979 and began releasing records during the 1980s.

Jesus and Mary Chain, along with Dinosaur Jr, the indie pop and pop dream of the Cocteau Twins, were formative influences on the shoegazing movement of the late 1980s. Named for the band members’ tendency to look at their feet and guitar effect pedals on stage rather than interacting with the audience, acts like My Bloody Valentine and later Slowdive and Ride created a loud “wave of sound” that overshadowed vocals and melodies with long. droning riffs, distortion and feedback.Another major movement in the late 1980s was the Madchester scene, fueled by drugs. Based on The Haçienda, a Manchester nightclub owned by New Order and Factory Records, Madchester bands like Happy Mondays and The Stone Roses have mixed acid house dance rhythms, northern soul and funk with melodic guitar pop.

Development: 1990s

Alternative enters the mainstream

The 1990s brought major changes to the alternative rock scene.Grunge bands such as Nirvana, Pearl Jam, Soundgarden and Alice in Chains have exploded into the mainstream with commercial success and widespread notoriety. Punk revival bands such as Green Day and The Offspring also became popular and were grouped under an “alternative” umbrella. Likewise, in the UK, Britpop saw bands like Blur and Oasis go mainstream, abandoning the regional, small and political elements of the 1980s indie scene.Bands like Hüsker Dü and Violent Femmes were equally prominent during this period, but they remained iconoclasts and are not bands often cited as inspiring the current generation of indie rockers.

As alternative rock bands became mainstream, the term alternative lost its original countercultural meaning to a new, more commercially lighter form of music that was now gaining massive success.It has been argued that even the term “sellout” has lost its meaning as grunge has allowed the niche movement, no matter how radical, to be absorbed into the mainstream, cementing the formation of an individualistic, fragmented culture. It is argued that maintaining independence has become a career choice for groups involved in industry functions rather than an ideal, as market resistance has evaporated in favor of a more synergistic culture.

Lo-fi and slacker rock

The term “indie rock” came to be associated with bands and genres that remained committed to their independent status.Even grunge bands, after a hiatus from success, began to create music with a more independent sound, further blurring the boundaries. Ryan Moore argued that after the corporate music industry took over alternative rock, what became known as indie rock was increasingly drawn back into the past, creating forms of “retro” rock based on garage rock, surf rock and rockabilly. , blues, country and swing.

Other bands have used Lo-Fi sound, which has abandoned polished recording techniques in favor of a do-it-yourself ideal.It was led by Beck, Sebadoh and Pavement, joined by eclectic folk and rock bands from the Elephant 6 collective, including Neutral Milk Hotel, Elf Power and Montreal.

In the United States, the 1990s indie rock scene, closely associated with the aforementioned lo-fi movement, included bands such as Pavement, Sebadoh, Guided by Voices, Built to Spill, and Modest Mouse. The 1992 album Slanted and Enchanted is considered one of the most striking albums of this era, combining characteristics of indie rock, lo-fi and “slacker”. Rolling Stone called Slanted and Enchanted “your typical indie rock album” and placed it on the magazine’s 500 Greatest Albums of All Time. There were other notable lo-fi releases during this period, such as Guided by Voice Bee Thousand, which was recorded on four-track machines or other home recording devices. In the second half of the decade, Washington-based band Modest Mouse continued the abrasive tradition of lo-fi with the release of The Lonesome Crowded West in 1997.

Other regional scenes existed from the early to mid-1990s. Spin published an essay on North Carolina’s Triangle (Raleigh, Durham and Chapel Hill) in 1992, describing the burgeoning scene of indie rock bands influenced by hardcore punk and post-punk. The Chapel Hill campus, once dubbed “The Next Seattle” by industry scouts, has performed bands such as the Archers of Loaf, Superchunk and Polvo. Superchunk’s single “Slack Motherfucker” also popularized the “slacker” stereotype and was named the defining anthem of 90s indie rock.

In Chicago, the 1990s DIY scene has been described as a cross-pollination of indie rock, post-punk and jazz.

While this style of music gained popularity early, by the end of the decade, interest from both the industry and the public waned. Critics have pointed to a shift in musical tastes, as evidenced by the dominance of other pop and rock genres, as a key factor in the demise of the scene.

Indie Electronics

“Indietronica” is redirected here.For a more complete overview of electronic fusion and rock styles, see Electronic Rock.

Indie electronics cover versions of rock artists who enjoy electronic music, using samplers, synthesizers, drum machines and computer programs. Less in style and more broadly categorized, it describes a trend in the early 1990s where members followed the traditions of early electronic music (composers from the BBC Radiophonic Workshop), krautrock and synthpop. The progenitors of the genre were the English bands Disco Inferno and Stereolab.Most of the musicians in this genre can be found on independent labels such as Warp, Morr Music, Sub Pop, or Ghostly International. Examples include MGMT, LCD Soundsystem, and Animal Collective.


By the late 1990s, several subgenres and related styles had emerged in indie rock. After indie pop, it was lo-fi, noise-pop, sadcore, post-rock, space rock and mathematical rock. Talk Talk and Slint’s work helped inspire post-rock (an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and adopted by artists such as Tortoise, Stereolab, and Laika), and also led to a denser and more complex guitar-based mathematical rock developed by artists such as Polvo and Chavez.Built to Spill’s 1999 “Keep It Like a Secret” helped shape the early 2000s indie rock sound.

Space rock goes back to progressive roots, with heavy drones and minimalist bands like Spacemen 3 in the 1980s, Spectrum and Spiritualized, and more recent bands including Flying Saucer Attack, Godspeed You! Black Emperor and Quickspace. In contrast, sadcor emphasized pain and suffering through the melodic use of acoustic and electronic instruments in the music of bands such as the American Music Club and Red House Painters.

The Baroque pop revival has responded to lo-fi and experimental music with an emphasis on melody and classical instruments, with artists such as Arcade Fire, Belle and Sebastian, Rufus Wainwright, Beirut and The Decemberists.

Weezer’s Pinkerton (1996) introduced the emo genre to a wider and wider audience.

Distribution: 2000s

Commercial interest and growth

In the 2000s, a changing music industry, falling record sales, the rise of new digital technologies and the increased use of the Internet as a tool to promote music allowed a new wave of indie rock bands to achieve massive success.Existing indie bands that have now entered the mainstream have included more musically and emotionally sophisticated bands, including Modest Mouse (whose 2004 album Good News for People Who Love Bad News hit the US Top 40 and was nominated for Grammy Awards), Bright Eyes (who had two top singles on the Billboard Hot 100 Single Sales in 2004) and Death Cab for Cutie (whose 2005 album plans debuted at number four in the United States, staying on the Billboard charts for almost a year and reaching platinum status and a Grammy nomination).This new commercial breakthrough and the widespread use of the term “indie” in relation to other forms of popular culture have led a number of commentators to suggest that the term “indie rock” has ceased to be meaningful.

In 2010, Canadian band Arcade Fire ‘s album The Suburbs peaked at number one on the Billboard charts in the United States and on the official United Kingdom charts, receiving a Grammy Award for Album of the Year.

Post-punk revival

In the early 2000s, a new group of bands entered the mainstream, playing a stripped-down and back-to-basics version of guitar rock in what some called a post-punk renaissance, but as bands came from all over the world, citing different influences (from the traditional blues, through the new wave before grunge) and adopted different styles of clothing, their unity as a genre was disputed.

Indy Landfill

By the late 2000s, the emergence of mostly British indie bands following the success of The Strokes and The Libertines was dubbed an “indie junkyard,” as coined by Andrew Harrison of The Word . Several bands have achieved rapid but intermittent success such as The Pigeon Detectives, Joe Lean & The Jing Jang Jong, and The Paddingtons.

Since the 1980s indie idea (meaning a group of self-funded record companies created by a bunch of “ individualists ” and groups they liked) was devalued throughout the Britpop era, so indie eventually described the form modern guitar.Based on pop music, a number of new artists began to associate with the old term “post-punk”, although by then these revivalists were “post-post-Britpop.” Deeds falling into this category include editors and Maxïmo Park.

Continued to have commercial success such as Kasabian’s West Ryder Pauper Lunatic Asylum (2009), which took first place in the UK.


Main article: Emo

During the 1990s, a number of bands such as Sunny Day Real Estate and Weezer diversified the emo genre from its hardcore punk roots.In the mid-1990s, a number of Midwest emo bands began to form, including The Promise Ring, The Get Up Kids, and American Football. Emo also burst into mainstream culture in the early 2000s, thanks to the platinum selling success of Jimmy Eat World’s Bleed American (2001) and Dashboard Confessional Places You Feared Most (2001). The new emo had a more sophisticated sound than in the 1990s, and much more attractive to teenagers than its earlier incarnations.At the same time, the term emo has expanded beyond the musical genre and has come to be associated with fashion, hair, and any music that expresses emotion. In the mid to late 2000s, multi-platinum bands such as Fall Out Boy, My Chemical Romance, Paramore and Panic played emo! at the disco .

See also


90,000 Top-10 young and little-known groups (July)

I decided to make a sort of top-10 upstart groups that have left behind an exceptionally pleasant and vivid impression over the last month.The article is intended to acquaint you with the most interesting young teams that, perhaps, passed your attention or, if you are our regular reader, remind you of some previously forgotten guys.

Well, refresh your memory, get acquainted with new music, leave your comments about these groups, and of course about your personal discoveries. Enjoy listening.

(Indie Pop, New Wave, Canada)

Their debut EP hit me like a bomb.This 5-track Ipishka made such a strong and vivid impression on me. Indeed, as if a breath of fresh wind.

(Folk, Indie Pop, Australia)

Forgive me Bon Iver with The Middle East, The Sand Band, Other Lives and Real Ones (forgot anyone?), But so far it’s the best I’ve heard from folk rock this year.

(Experimental, Indie Pop, UK)

Sometimes it seems, God, how many lovely lyrical songs that touch the soul that seem so easy and understandable, as if you heard them a long time ago? That’s why I never cease to be amazed by bands like The Rifle Volunteer .And what surprises me even more is that these musicians are practically unknown even in their native England.

(Britpop, Indie Rock, UK)

Already now the guys are called almost “new Oazis” and “future Brit-rock” . Well, let’s see, their potential is just wonderful …

(Indie, Folk, UK)

Most critics immediately note the similarity with the well-known Mumford & Sons , here you can also attribute the work of Justin Vernon (aka Bon Iver ) and from me, in some places Midlake .Although even in the most mournful and lyrical songs of these Londoners there is no such melancholy as in Midlake. Perhaps this is for the best.

(Electro Rock, Blues, Indie Rock, UK)

DSC is a mixture of almost everything that attracts me in English music: imagine blues tunes in the spirit of 22-20s (especially in early works), Kasabian electronic inserts and melody, add indifference and relaxedness here Oasis , and a bunch of everything else.It was like they took a little bit of everything from all the best representatives of the British scene – and it’s pretty damn cool.

(Indie Rock, UK)

After the breakup of the wonderful (and one of my favorite English indie rock bands) – Milburn , its former members founded as many as 3 different groups: The Backhanded Compliments, The Book Club , led by the lead singer Joe Carnall , and of course Dead Sons with former Milbourne guitarist – Tom Rowley .It is worth paying close attention to them, because in my humble opinion, they seem to me the most interesting musically from this trio.

(Indie, Folk, Blues, Americana, UK)

I, frankly, have not heard for a long time that such things would be played in our time. Well that is of course, if you take it all apart into separate parts, then this is not at all rare in our time, but like this, so that all at once all together and at the same time is really cool.In the influence-list, the guys will have a dozen well-known and sincerely respectful bands: Neil Young, The Band, Bon Iver, Fleet Foxes, Built to Spill, Beirut, Yeasayer, The Shins, Band of Horses, Tom Waits, The Black Keys , you can go on and on.

(Post-Punk, Electro, New Wave, USA)

Today we will talk about a young and … yes, yes, of course, a little-known duo from the American city of Nashville. Do you have any thoughts yet? Okay.Their music is the insanely stylish gloom of another great post-punk band Mother / Father , coupled with the graceful electronic charm of Hurts . And in some compositions, all this beauty is flavored with a solid portion of soul. Objects for imitation, or rather inspiration, were also chosen very correct and arousing only respect: here you will find The Field Mice , and Sad Lovers and Giants , as well as The Doors . Well, isn’t it a miracle?

(Electro Rock, Darkwave, UK)

I don’t know when this London trio was formed or if they have any official releases.(most likely not) But you can appreciate the melodic (one might even say dramatic) indie electro-rock with energetic synths, and vocals, for some reason reminded me of something in between the voices of the vocalists from Delays and The Draymin … Most of the songs are dominated by an energetic dark sound, supported by a muffled guitar sound somewhere behind you. A kind of dark electro-rock with dance elements.

Guide to Post-Punk Britain • Arzamas

Where did you record your first New Order cassette? In which city was The Human League invented? What club was Ozzy Osbourne not allowed in, but Duran Duran was allowed to rehearse for free? We tell about Leeds, Birmingham, Sheffield and five other cities where the most interesting musical events took place in the late 1970s and 1980s

  • Manchester
  • Sheffield
  • Leeds
  • London
  • Liverpool
  • Bristol
  • Glasgow
  • Birmingham


Groups: Joy Division, New Order, The Smiths, Happy Mondays


Joy Division.1979 © Chris Mills / Redferns / Getty Images


New Order. 1985 © Lisa Haun / Michael Ochs Archives / Getty Images


The Smiths. 1985 © Ross Marino / Getty Images


Happy Mondays.1990 © Stuart Mostyn / Redferns / Getty Images

In the late 1970s and 1980s, few points on the world map could compete with Manchester for the number of outstanding artists. At first, the Manchester sound was determined by the group Joy Division, masters of dark, passionate, utopian post-punk, – later, after the death of frontman Ian Curtis, they were reborn as New Order and started playing electropop. In the 1980s, the city finally became the epicenter of British music, and early post-punk gave way to a motley amalgam of styles.The Smiths have become a model for new indie rock, combining sparkling melodies with melancholic, introverted lyrics. At the same time, the Happy Mondays, with their passion for partying (and for illegal drugs), came up with a new type of guitar music suitable for dance floors and became the headliner of the movement known as madchester (from mad) – thus Manchester has remained at the forefront of musical innovation throughout the decade.

Label: Factory Records

The Factory Records label came into being after Tony Wilson, a TV presenter from Manchester, inherited a certain amount of money and decided to spend it on the release of a record with the music of groups that he liked.By this time, he had already been organizing club concerts under the banner of Factory for some time; hence the name of both the label and its first release – the compilation “A Factory Sample”. On the record, the address of the office was accidentally indicated – in reality it was just the apartment of the co-founder of Factory Records Alan Erasmus – and demos began to arrive in the mail one after another. In the end, what started as a one-day label conceived for a single LP has morphed into the venture that defined the musical image of post-punk Manchester.It was here that the records of Joy Division, New Order, The Durutti Column and Happy Mondays were released. Among other things, Peter Savill’s recognizable and innovative design style has made Factory Records one of the most influential and beloved independent record labels in the UK.

Space: The Haçienda

The Haçienda. 1989 © PYMCA / Universal Images Group via Getty Images

Factory Records and New Order opened The Haçienda in 1982.Its historical role turned out to be twofold: on the one hand, it became one of the most legendary clubs of all time, on the other, it nearly bankrupted New Order musicians. Conceptual and stylistic considerations have always worried Tony Wilson much more than financial matters, and since becoming director of The Haçienda, he has not considered changing his habits. At first, the club was just a venue for local and touring musicians, but during the heyday of acid house and rave culture, it became a real club Mecca, and DJs became the new superstars.However, since this audience did not drink alcohol, preferring ecstasy, The Haçienda suffered losses – it was only kept afloat by the commercial success of its sponsors, the New Order group. Ultimately, gun gophers seeking to cash in on drug trafficking undermined the club’s reputation, and after audience tastes also began to change, The Haçienda closed in 1997.



Groups: Cabaret Voltaire, The Human League, Artery, Clock DVA


Cabaret Voltaire.1982 © David Corio / Michael Ochs Archives / Getty Images


The Human League. 1981 © Michael Putland / Getty Images


Artery. 1984 alchetron.com


Clock DVA.1983 © Steve Pyke / Getty Images

In the late 1970s, many bands emerged in Sheffield, England, who were to influence the future of pop music. For many artists of this time, the punk message was “Let’s start the history of music from scratch!” – became an incentive for the further development of the capabilities of the electric guitar, but there were also those who perceived this liberating pathos differently: now, they reasoned, it was possible to do literally anything.Cabaret Voltaire, for example, brought together industrial grinding, tape manipulation, distorted clarinet sounds and sibilant electronics to produce something unparalleled. The Human League weaved pop melodies into their electronic punk, Artery scared listeners with a dark new wave in the spirit of Joy Division, and Clock DVA produced a series of industrial electronic explosions.

Space: Western Works

The industry in Sheffield was having a hard time in the late 1970s.Because of this, many old factory and factory premises were vacated, which their owners were only happy to hand over to musical groups for rehearsal bases and studios. One of the most popular sites was the former Western Works knife factory, which was run by Cabaret Voltaire members. This not only allowed the group itself to compose, record music and rehearse around the clock, but also positively affected the fate of other local artists, who now had somewhere to come and make a demo – this happened, for example, with the wonderful post-punk band I’m So Hollow.Moreover, it was at Western Works that they recorded their first demo tape, New Order, in 1980 – it turns out that the first songs that got on tape after the breakup of Joy Division were played in Sheffield, not in Manchester.

Release: the collection “Bouquet of Steel”

Collection “Bouquet of Steel”. 1980 © Simon Lee Ellis / Aardvark

“Bouquet of Steel” is a collection of Sheffield band songs that was compiled in 1980 from demos sent to a local newspaper.A true cast of the post-punk era – the members included Artery, The Comsat Angels and I’m So Hollow. Another young group, Pulp, tried to get into the compilation, but was eliminated at the track selection stage. Nevertheless, “Bouquet of Steel” came out with an insert listing all the artists who submitted their compositions, and this allowed Pulp – future Britpop stars – to agree on their first club gig.

Recording studio: Fon

In 1985, the band Chakk, playing a kind of industrial punk-funk, signed a contract with the major label MCA Records.The musicians persuaded the label to let them build their own studio in Sheffield, instead of constantly traveling to record in expensive London studios. This played a huge role in the development of the Sheffield scene: Studio Fon became the second home for a mass of musicians – from electronic to pop stars. However, indie bands like Treebound Story, the first project of Richard Hawley, benefited most from its appearance. English singer, guitarist and songwriter, member of the Longpigs and Pulp bands, who released eight solo albums, and multiple Mercury Prize nominees., which he founded as a teenager. According to legend (which Hawley himself is distributing), Treebound Story did not make it to the legendary compilation “C86” “C86” (from English Cassette 86) – cassette, which was sent by mail with New Musical Express magazine in 1986. The cassette contained a collection of new songs from little-known bands. Unexpectedly, the collection became so popular that NME released a limited edition “C86” for radio stations, and so indie rock hit the radio. only due to the fact that the coin fell on the wrong side, but the group, which, on the contrary, had luck, were the Scots Primal Scream, now already in the status of legends.



Groups: Gang of Four, Soft Cell, The Sisters of Mercy, Mekons, Delta 5


Gang of Four. 1981 © David Corio / Redferns / Getty Images


Soft Cell.1981 © Fin Costello / Redferns / Getty Images


The Sisters of Mercy frontman Andrew Eldrich. 1993 © Ian Dickson / Redferns / Getty Images


Mekons. 1979 © David Corio / Redferns / Getty Images


Delta 5.1979 © David Corio / Redferns / Getty Images

Of all the local bands, the owners of perhaps the most characteristic post-punk sound is the Gang of Four, who remain the most important heroes of the Leeds rock scene today. Their sound is based on harsh, rough, high-speed guitar parts, on inconsistent, now accelerating, then slowing down rhythmic patterns and on minimalist arrangements. However, Leeds has always been distinguished by its musical diversity, which is why post-punk took the most unexpected forms here.Soft Cell combined sensual pop with contemporary electronics, The Sisters of Mercy anticipated the entire British gothic rock scene, which was destined to replace post-punk, and the Mekons masterfully managed noise and chaos, never staying within the same style. The most exciting groove was the Delta 5’s music, in which the left-feminist message was combined with unconventional rhythmic patterns.

Space: Leeds Polytechnic and University

These two universities were catalysts for the flourishing of the local music scene of the end
1970s – early
1980s.A particularly fertile ground for the emergence of young talent has turned out to be at the Faculty of Art History at the University of Leeds – it became the cradle of Soft Cell, Mekons and the Gang of Four. But, for example, the Scritti Politti group was formed by immigrants from the Polytechnic. It was an era of maximum openness and creative freedom, and university teachers in Leeds also had a reputation as radicals – one of them, for example, once belonged to the circle of situationists Situationism is a philosophical, cultural and political movement of the second half of the 20th century. one of the goals of which was resistance to the “society of the spectacle.”In the terminology of one of the ideologists of Situationism, Guy Debord, it meant virtually the entire modern society, in which the direct experience of reality was replaced by the consumption of goods (in the latter, according to Debord, including the images of culture) ..

Media: Leeds Other Paper

Leeds Other Paper was founded in 1974 with the motto “We support all groups, wherever they are created, to make it easier for them to gain more control over their lives.”It published city news – from the rise of extreme right-wing youth groups (the newspaper also documented their attacks on musicians) to exhibitions, concerts and performances. Leeds Other Paper has become one of the main sources of information on emerging musical talent and an important player in the city’s cultural landscape.



Groups: Wire, Siouxsie & The Banshees, Public Image Ltd., The Raincoats, The Slits


Wire.1980 © Michael Putland / Getty Image


Siouxsie & The Banshees. 1979 © Fin Costello / Redferns / Getty Images


Public Image Ltd. 1981 © Mirrorpix via Getty Images


The Raincoats.1995 © Patrick Ford / Redferns / Getty Images


The Slits. 1977 © Julian Yewdall / Getty Images

A curious feature of British post-punk is its strong regional character. Punk rock revealed a simple truth to the whole country: there is nothing easier than putting together a rock group and independently recording and releasing several records.Therefore, the following years in the history of British music were significantly less London-centric than before. But this, of course, does not mean that nothing interesting happened in the capital. Wire’s minimalist music evoked associations not so much with the pop scene as with conceptual art, although this did not stop them from creating several affectionate hits. Siouxsie & The Banshees infused typical new wave melodies and powerful punk rhythms with a dark, gothic atmosphere. Public Image Ltd. weaved dub elements into their futuristic sound, dub is also in the jumpy rhythms of The Slits.And The Raincoats experimented with artisanal low-fi sound.

Event: parties in the Blitz club

At the Blitz club. 1980 © Mike Lloyd / Mirrorpix / Getty Images

The Blitz parties lasted only two years – from 1979 to 1980 – but it was on them that the so-called neo-romantic movement took shape. It was a separate bright scene, exploring the latest synthpop sounds and catchy visual style – with an abundance of makeup and colorful, challenging costumes.Through the mediation of new romantics, electronic music made a breakthrough from the underground to the pop mainstream, and, for example, the Spandau Ballet project launched its career here, becoming an important resident of the Blitz club.

Labels: Creation, 4AD, Rough Trade, Mute

In the post-punk era, several labels emerged at once, which were to largely determine the musical landscape of Great Britain for the next decades. 1978 is the year of the founding of Rough Trade and Mute, the record companies that harbored many of the key bands of this time.Rough Trade has mostly gravitated towards the post-punk guitar flank, focusing on artists such as The Fall, Swell Maps and The Raincoats – eventually signing with The Smiths to become one of the largest indie labels in the world. Mute was more interested in artists with electronic sound – for example, Depeche Mode, The Normal and Erasure.

4AD and Creation Records appeared somewhat later, but both of these firms had to record changes in the British cultural landscape
1980s.4AD initially had a reputation as a gothic label (thanks to early recordings of Bauhaus and The Birthday Party), but later the company found its niche in the emerging dream-pop – this style was brighter than others reflected in their best Cocteau Twins records. As for Creation, this company, of course, achieved its greatest successes already in the 1990s, after it signed a contract with the Oasis group. However, in the 1980s, she was already a notable independent label, releasing albums The Jesus & Mary Chain, The Pastels, Primal Scream and Felt.At the end of the decade, Creation, among other things, caught a wave of shoegaze: it was here that Ride, My Bloody Valentine and Slowdive were released.

Event: Carnival Against Racism

Participants of the procession. London, 1978 © PA Images via Getty Images

In the wake of the Rock Against Racism movement, London saw a grand anti-racist carnival in 1978: 100,000 people marched through the city streets to protest against racial tensions in society – it ended up big a unifying concert.Among the artists who took part in the carnival were punks, post-punk bands, ska ensembles, and pop singers – for example, The Clash, X-Ray Spex, Steel considered it possible to join forces in the struggle for a common cause. Pulse and Jimmy Purcy from Sham 69. This carnival is very important for understanding the political views prevalent in the post-punk environment, with its orientation towards equality and progress.



Groups: Echo & The Bunnymen, The Teardrop Explodes, Orchestral Manoeuvres in the Dark


Echo & The Bunnymen.Around 1980 © Lisa Haun / Michael Ochs Archives / Getty Images


The Teardrop Explodes. 1981 © Ebet Roberts / Redferns / Getty Images


Orchestral Manoeuvres in the Dark. 1980 © Virginia Turbett / Redferns / Getty Images

Liverpool is a city with a rich history of melodic pop music, so it should come as no surprise that a significant portion of the post-punk area here was not as harsh, cold and depressing in sound as in some other cities.In the early songs of the group Echo & The Bunnymen, you can hear both sharp guitar passages and athletic rhythms, but bright, tenacious melodies are always found under them. The further, the more noticeable: perhaps the most successful composition of the ensemble is the unhurried chamber pop composition “The Killing Moon”. Other Liverpool heroes, The Teardrop Explodes, led by the young Julian Cope, a future influential writer and music critic, similarly combined elements of new wave, pop, psychedelic and experimental rock, going far beyond the standard post-punk format.And the Orchestral Manoevres in the Dark group, although it was founded in 1978, that is, in the golden year of post-punk, nevertheless, from the first days, chose rather an electronic path, approaching the aesthetics of the most advanced artists in this niche – for example, Gary Newman and group The Human League.

Label: Zoo Records

Bill Drummond and David Balfe formed Zoo Records in 1978 to release records from local band Big in Japan. Soon, however, more important artists were added to the label’s client list, including Echo & The Bunnymen and The Teardrop Explodes.Interestingly, the company focused its attention on singles – over the four years of its existence, Zoo Records has released only two LPs: a collection of tracks already released on forty-fives Singles, or forty-fives, – 7-inch records, on each side of which, like usually one song was placed. They were supposed to be played at 45 rpm – hence the colloquial name., And – somewhat unexpectedly – a compilation of the best songs of the little-known singer Scott Walker, who was at that time in the deep underground.This latest release played an important role in the development of the British scene – many of its figures became fans of Walker’s work, just listening to this disc. One of them was a young Sheffield musician Jarvis Cocker, in the future – the founder and leader of the Pulp group.

Space: Eric’s

Eric’s club membership cards. 1978 Wiikimedia Commons

Of course, the most famous concert venue in Liverpool has always been and remains the Cavern Club, which hosted the early concerts of The Beatles.However, there were other important places – for example, Eric’s right across the road. It is a notable spot on the Liverpool post-punk map: opening in 1976, the club has hosted concerts by both local and touring artists such as The Slits, Buzzcocks, Wire, XTC and New Order. The club had membership cards that allowed their holders to buy tickets at a discount, and concerts were periodically held here not only in the evenings, but also during the day. The latter allowed audiences under the age of 18, so in December 1979, for example, Liverpool teenagers had the opportunity to attend the Joy Division show at 17:00.For the musicians, these “extra” concerts brought additional income – as a result, thanks to Eric’s politics, Liverpool became a key stop in the touring tours of British artists of that time.



Groups: The Pop Group, Maximum Joy


The Pop Group.1980 © David Corio / Redferns / Getty Images


Maximum Joy theransomnote.com

Port Bristol has always been a very racially and nationally colorful city, which has influenced its music scene as well. Perhaps the most important local post-punk ensemble was The Pop Group, whose members were seriously interested in dub and avant-garde: their music offers us a stylistic mix that most contemporaries did not think of, accompanied by aggressively politicized lyrics – the discography of the ensemble contains songs “Rob a Bank and Forces of Oppression, as well as an entire album For How Much Longer Do We Tolerate Mass Murder.References to dub and reggae are also heard in the music of another Bristol group, Maximum Joy, but there is no political fervor like The Pop Group has: only a clean groove, pumping bass lines and a smooth funky rhythm guitar.

Labels: Heartbeat, Fried Egg Records

Bristol didn’t have a single label for every occasion like Zoo Records in Liverpool, Factory Records in Manchester or Postcard Records in Glasgow. But here was

a few small independent companies like Fried Egg Records, dedicated to publishing underground post-punk and new wave.Records by artists such as Electric Guitars, The Fans, Exploding Seagulls, Art Object and The Stingrays have been released here. Another small local label, Heartbeat, founded in 1978, gave us recordings from Europeans and Glaxo Babies. And it was he who in 1979 released the important compilation “Avon Calling”, which included tracks from most of the interesting Bristol post-punk bands.

Party: The Wild Bunch Soundsystem Crew

The Wild Bunch Crew.1985

Bristol’s eclectic approach to musical styles and genres made it one of the few cultural centers in the post-punk era where new guitar rock constantly interacted with African tradition. The Wild Bunch was a mobile sound system, a collective of DJs and musicians, whose all-night party gained legendary status. Their foundation, of course, was the ideology of sound systems dating back to the 1970s, but at the same time new experimental music sounded on them.As a result, the Wild Bunch events made an important contribution to Bristol music.
1980s, and some of the people who took an active part in them – notably Andrew Voles and Robert Del Naya – would later form Massive Attack, which would become Bristol’s most successful and original musical export in the city’s history.



Bands: Orange Juice, Josef K, Simple Minds, Fire Engines, The Vaselines, The Pastels, Primal Scream


Orange Juice.London 1981 © David Corio / Redferns / Getty Images


Paul Haig during a Josef K. concert. 1980 © David Corio / Redferns / Getty Images


Simple Minds. 1981 © Virginia Turbett / Redferns / Getty Images


Fire Engines.1980s © Peter Anderson / Domino Recording Co.


The Vaselines. 1987 © 53rd & 3rd


The Pastels in Tokyo. Early 1990s Masao Nakagami / CC-BY-SA


Primal Scream vocalist Bobby Gillespie.1986 © Suzie Gibbons / Redferns / Getty Images

Glasgow – a city in which it is especially noticeable how exactly guitar rock music has evolved from the end
1970s and over the next decade. The early representatives of the Scottish independent scene – Fire Engines, Josef K, Orange Juice – played classic post-punk, and even Simple Minds at the beginning of their career can be attributed to this category. Soon, however, artists with slightly different stylistic orientations began to appear in Glasgow: angular rhythms and torn guitar plays began to be replaced by melodious melodies and gentle vocals – however, the guitars were still mostly overloaded.This charming, but chaotic and disheveled music was often referred to as “twi-pop”, and its main representatives were The Vaselines and The Pastels – the key artists of the movement from which the collection “C86” crystallized. Both were named among his favorite artists by Kurt Cobain, which increased their authority over the next decade. Primal Scream also briefly captured twi-pop aesthetics, however, even then they seemed to exist in their own world –
the group really got on its feet and decided on its own style already in the 1990s.

Label: Postcard Records

The first notable post-punk label in Scotland was Fast Product under the direction of Bob Last, which released in 1978 several excellent singles from bands like The Human League, Mekons or Gang of Four. However, Postcard Records, founded a year later, was more focused on finding and promoting local talent – the slogan “Sound of Young Scotland” became the label’s motto. The music released by the company, as a rule, was distinguished by more vivid melodism – for example, the ringing indie ensemble Orange Juice clearly absorbed the influence of both soul and soft ballad tracks from The Velvet Underground.The same was true for other Postcard Records residents, the Josef K project, and in general the label’s catalog vividly demonstrates the transition from the hard post-punk sound to the airy twi and indie pop sound, immortalized in the compilation “C86”.

Release: compilation “C81”

Cover of the collection “C81”. 1981 © NME / Rough Trade

Undoubtedly the most famous compilation of cassettes – the supplement to the NME magazine in the 1980s – is the more than once mentioned “C86”, published in 1986 and became an exhibition of the achievements of indie music, with invariably bright melodies, sonorous guitars and typical twi-pop naivety.However, five years earlier, through the efforts of the same NME and the Rough Trade label, another, more heterogeneous compilation was released, which included many groups from Glasgow, for example, Orange Juice, Josef K and Aztec Camera. Along with them, the playlist featured Cabaret Voltaire, The Raincoats and similar-minded artists from other countries: the Germans DAF Deutsch Amerikanische Freundschaft., The Americans Pere Ubu, the Irish Virgin Prunes. The release became iconic, reflecting the diversity of post-punk and anticipating the more melodic sound that independent artists would gravitate towards in the 1980s.



Groups: The Specials, Swell Maps, Pigbag, Au Pairs, Dexy’s Midnight Runners, Duran Duran


The Specials in New York. 1980s © Allan Tannenbaum / Images press / Getty Images


Swell Maps peel.fandom.com


Pigbag. 1982 © David Corio / Redferns / Getty Images


Au Pairs. 1981 © Andy Linden


Dexy’s Midnight Runners. 1980 © David Corio / Redferns / Getty Images


Duran Duran in California.Around 1980 © Brad Elterman / FilmMagic / Getty Images

In the post-punk era, the Birmingham scene looked rather peculiar. Bands like The Specials (formed in Coventry, 20 miles from Birmingham) or The Beat, with their non-standard rhythms, are more often referred to as ska-revival, although in reality the politicized bias in the lyrics and the impulse inherited from punk-rock – there are no boundaries anymore, you can do whatever you want – makes them akin to post-punk: in fact, these are no less important figures of the era than Joy Division or Gang of Four.Of the more strictly post-punk artists, perhaps the most expressive music was played by Swell Maps – the authors of the noisy songs loved by the famous DJ John Peel John Peel – the famous British radio host, through which several generations of prominent musicians have passed on the BBC – from performers of psychedelic rock and folk music in the 1960s through future post-punk classics in the late 1970s all the way to musicians who recorded grunge, hip-hop or electronic music in the 1990s…. At the same time in Birmingham there were such projects as Pigbag – pioneers of an extreme stylistic mix: post-punk, free jazz, ska and soul! – and also Au Pairs, masters of hypnotic even rhythms. The colorful picture was complemented by the Dexy’s Midnight Runners, who were engaged in a new wave with a touch of soul, and Duran Duran, one of the most successful bands of the neo-romantic direction. It is probably because of the eclectic fragmentation of the local scene that the city is often bypassed when talking about post-punk, but in reality, he undoubtedly had something to brag about.

Space: Rum Runner

A key concert venue in post-punk Birmingham, the Rum Runner played an important role in the history of the second wave of ska and the history of the neo-romantic movement. The establishment provided free rehearsal time for local artists, which was used by both Duran Duran (who later became its main residents), UB40, and Dexys Midnight Runners. It was here that the video for The Beat’s most famous song, “Mirror in the Bathroom”, was filmed.Having traveled to New York and visited the legendary Studio 54 club there, the founders of Rum Runner decided to turn it into a club for those who like to dress beautifully: it got to the point that Ozzy Osbourne, the icon of heavy metal, according to stories, was once put out the door behind the fact that he looked too sloppy. Several members of the Duran Duran band worked at Rum Runner before becoming famous – for example, Nick Rhodes was the DJ here. In 2006, he released a compilation of music that was frequently played at the club – it included tracks from Kraftwerk, Iggy Pop, Grace Jones, Wire, Brian Ferry and The Human League.

Release: compilation “A Night at the Flicks”

A Night at the Flicks Collection © N.R.O. Records

In 1985 John Buxton, Terry Boseman and Paul Panick, members of the local band The Accused, released a collection of the most interesting, in their opinion, representatives of the Birmingham music scene. Given its eclecticism, as well as the year of publication, it is not surprising that the compilation turned out to be very uneven, touching several different genres tangentially.Inside – and sonorous indie band Mighty Mighty (which was to appear on the compilation “C86”), and straightforward punk rock project Drongos for Europe, which appeared here under the pseudonym Slaughterhouse 5. There is also new wave, synthpop and reggae; all compositions were recorded at the local Flick Studios, which did not last long, but managed to provide shelter for artists of all kinds – from the ferocious metallers Napalm Death to the quiet and melodic band Felt.


90,000 why is it worth listening to young Ufa musicians?

Indie-rock from Melony Rockids

“Pioneers” of indie blues and a new word in the sound of garage music – this is how they say about the Ufa band Melony Rockids.

In 2014, four musicians began performing in styles unique to Ufa – blues-rock, garage-rock and indie-rock. As the guys themselves like to say, they catch a wave of drive from the classic rock and roll of the 60-70s of the last century.

The direction chosen by the group is unusual for modern Ufa trends and trends, therefore the band stands out favorably with its sound against the background of other bands playing familiar punk or metal.

– Melony Rockids – combed by Babyshambles (English indie rock band – approx.ed.), replaced alcohol for coffee and outrageous for musical expression. This is a qualitatively new level in the sound of such music! – the musicians of the group think.

The repertoire also includes songs with a more old-school sound using piano and choir. In addition, the band can delight listeners with covers of famous indie Britpop bands.

By the way, last year Melony Rockids became a finalist of the Ufa Wave competition.

Photo: vk.com/mel_rock

Folklore group “Uzoritsa”

If someone thinks that Russian folk songs and instruments have not been of interest to anyone for a long time, then he will be mistaken.Recently, the folklore group “Uzoritsa” is gaining great popularity, performing with folk songs under a modern arrangement.

The team has existed for 35 years, just what do we know about it? Almost nothing. One even gets the impression that the group, which managed to make itself known in St. Petersburg, Finland and Austria, remains in the shadows in Bashkiria.

Now the team consists of seven beautiful girls: Ekaterina Kolovangina, Olesya Khavetskaya, Polina Kobets, Maria Dultseva (Kobets), Fidaliya Razyapova, Elena Shirybyrova and Ekaterina Yamatina.

They usually perform in traditional Russian sundresses. The usual accessories in their outfits are large colored scarves, stylized handbags and beads. However, despite the “old” clothes, their music is far from the same.

The main feature of the group is polyphonic singing with simultaneous sounding of several melodies in a vocal or instrumental piece. In the arsenal of musical instruments of the collective: a pity, a rattle, a pipe, a horn, a whistle, a violin and many other instruments of different peoples of the world.

Photo: valet.ru

– About a year ago I got the idea to make the ensemble more popular and modern. And with the approval of the leaders, I gathered the best soloists. Our task is to change the perception of folklore as something outdated, to make the sound relevant and interesting. We continue to use authentic samples of folk music, preserving the traditions of performance and dialect. Only now we perform it in combination with electronic music, experiment and do not adhere strictly to the national costume, – said the soloist of the group Polina Kobets.

By the way, “Uzoritsa” has recently declared itself all over Russia, having taken part in the “Songs” show on the TNT channel. The jury appreciated them very highly, but they could not let all the girls into the next round. Therefore, they nominated the leader of the group, Polina Kobets, for a separate audition. In the next round, Polina performed with five more contestants. She performed her own song “Me and You”. Unfortunately, Timati didn’t miss Ufa any further.

But “Uzoritsa” is not going to be satisfied with what has already been achieved and tries its hand at other genres and competitions.And they have accumulated enough creative “baggage” to record their own album.

By the way, musicians Felix Aksyonov and Vladimir Anoshkin recently joined the girls.

Cover band Light again

One of the most stylish bands in Ufa – well-thought-out images, music and songs. These are young and professional musicians playing both their own tracks and cover versions of the latest hits. Their repertoire includes Modern Talking and Los Del Rio songs from the 80s and 90s, Russian retro, modern songs by Justin Timberlake and Beyonce.

The musical project started in 2013 on the stage of the Ufa Rock`s Café. During its existence, the group managed to give a huge number of concerts in clubs, outdoor venues and city events.

The composition of the cover band has changed several times. If before that the team was purely male, today they are diluted with the red-haired vocalist Daria Balyavina, who is one of the sexiest Ice Girls “Salavat Yulaev” (member of the ice support group – approx.ed.). The leader of the group is Rustam Khakimov, a participant in the second season of the television project “Voice” and a member of the KVN team “Ufa”. Sergei Shalaev is responsible for string instruments, Anton Mrezhin is responsible for drums.

Photo: vk.com/lightagain

– We are storming the stage, we have a rather interesting view of music and language, – Rustam Khakimov likes to say.

Last year, ambitious guys reached a whole new level. On the basis of the Light again group, they created the author’s project Timur (in honor of , the director of the team Timur Shaikhutdinov – approx.ed.) , which expanded the scope of national music. Musicians performing only in foreign and Russian languages ​​sang in Bashkir!

The guys themselves say that they play in the pop noir genre. Their peculiarity is gloomy lyrical music accompanied by multi-layered sound of drums, guitar and violin. So far two songs have been released: “Onotmayim” (from bash .: “I will not forget – ed.) and “pkulәmә” (from bash .: “Do not be offended – approx.ed.).

The clips of Timur were shot in the best traditions of the American crime drama Sin City. There has never been such a format in the Bashkir stage. Therefore, many believe that the collective will set a new rhythm for Bashkir music. Moreover, in December 2017, the group won in the category “Breakthrough of the Year” of the first musical youth award “Altyn”.

– We knew absolutely no rules. We just decided to dream up on this topic, – says Rustam Khakimov.- We are still in search, probing the Bashkir industry. Let’s see what you might like. But in any case, its own style is already emerging. Even if you move in different directions, you still have your own handwriting. There is no getting away from this. The third [song] will be from a completely different story, and of course, every time we take risks. But we have already managed to set a certain tempo with the first song “Үpkәlәmә”, and it seems that the bar should not be lowered.

The team plans to deal only with the Timur project.

Acoustic-art-rock collective “Tavern Band”

A young Russian musical group founded in 2015 in Ufa by Kirill Bard and Igor Barkhatov.Then a group playing with a violin and a solo guitar could be seen at various city holidays and apartment buildings.

On November 12, 2016, the first album of the Amalgam group was released, the name of which is explained by the multi-genre of songs and the diversity of musical motives. All songs on this album were written between 2015 and mid-2016.

After that, another album was released with an equally interesting title – “The Legend of the Prince of Sleep”. Now “Tavern Band” is closely engaged in its third album – “Puzzles”.

– The band’s music combines the mood of the Middle Ages and the energy of the Present. Despite the fact that we are always on the side of new products, we always try to reflect the musical avant-garde and the aesthetics of acoustic sound, – said the leader of the group Kirill Bard.

Photo: vk.com/tavernband

At the moment, the musical group plays in the genres of acoustic art rock and folk rock. However, the collective is always open to new things and over time acquires all fresh colors in the sound.

Today flutist Artyom Sytin, cellist Amir Galeev and founder of the group, who is also vocalist and guitarist Kirill Brad, are performing in the group. The guys perform only their own songs, so writing music takes almost all of their time. But they still manage to perform at musical events in Ufa, participate in festivals and share footage from rehearsals on social networks.

Ethno-rock group “Argymak”

You can often hear that remixes and covers only spoil the music.The Bashkir group “Argymak” is trying to prove that this is not so. Their repertoire consists of Bashkir folk and author’s songs, melodies and tunes, kubaiirs, epics and legends in different styles and directions. The trick of the group is not only to sing the song, but also to give the Bashkir motives a new sound.

Guys are never a poet under veneer. Perhaps this is one of the few bands that uses throat singing. The unique live sound of the Bashkir folk instruments kurai, dumbira, kubyz, kyl-kubyz, along with ethnic and modern musical instruments of different peoples of the world, does not leave anyone indifferent.

The group often performs at major concert venues in Russia, Europe and Asia, as well as at government-level events with the participation of the President of the Russian Federation and the head of the Republic of Bashkortostan.

Read also

90,000 Indie and folk artists from South Korea – Music on TJ

K-Pop will not work!

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I invite readers to meet newcomers (and not so much) Korean indie and folk scene, little known outside the country of morning freshness.Let’s do without sugary faces and pop motives.

We watch and listen to LIVE versions from 온 스테이지 or official channels of performers.

Korean indie.

Acoustic indie with pleasant vocals.

A young group with interesting lyrics and big round glasses.

If we exclude the incoherent singing in English, so beloved by Korean performers, it is quite a good turkey meat. (No N-words in the chorus)

Euphonious sad indie rock from the guys in leather jackets.

Melancholic indie with a touch of shoegaze.

Sing along: Pi-Poo-Pi-Poo (삐뿌 삐뿌).

I’m a big fan of low-pitched singers, yes.

By the way, the soloist is already 26 years old, and not 11, as it might seem (be heard) at first glance (hearing)

Another representative of the new wave of Korean turkey, where can you go without your favorite English phrases?

Finally, some Korean post-rock.

Korean folk.

Korean traditional music can be very peculiar, but that’s why it is interesting.

A modern look at the “Korean folk”. Surprisingly cheerful and not bad. For the second day I have been humming this crap all the time.

In ancient times, such performances were held in the form of a kind of musical – in such tunes, some kind of heartfelt or not very story was told.

5 minutes of playing a traditional Sino-Korean wind instrument (senhwang).

Yangum is a traditional Korean cymbal instrument.

Eight more minutes of furious hammering on the cymbal.

And here both komungo (string instrument) and tegeum (wind instrument) are played in conjunction with electric guitar and traditional Korean percussion – janggu.

At the end of the collection there will be the most familiar folk of European listeners with the addition of violin and piano.

Kasabian – For Crying Out Loud: the sixth album by an English band

An English rock band from Lester Kasabian has existed since 1997.Since then, they have released six albums, won numerous awards (including a Brit Award) and wrote the famous single Club Foot. Music critics and Kasabian fans alike consider the band to be indie rock music. However, guitarist Sergio Pizzorno has repeatedly said: “I hate indie bands. I don’t understand how we even get into this category.”

On May 5, the band’s sixth studio album, For Crying Out Loud, was released. In an interview with The Independent, Sergio said: “I wanted a great 70s-inspired guitar project.Sometimes you do something different, which is great. But this time everything is exactly as I wanted. “ And vocalist Tom Meighan generally thanks For Crying Out Loud for“ saving his life. ”Tom was left by his wife, and he was not going through a better year. the records lifted him out of his depression, the band set themselves the task of writing an album in six weeks. Thanks to the involvement in the process, 12 songs were recorded in a month.

It may have been possible to achieve engagement, but critics and fans alike received a mixed reception for the sixth disc.NME and Independent praise and rate the album at 4/5. Whereas Clash gave 4/10, and The Guardian only 3 stars. It’s even more difficult with fans.

But the British are still on their way to success. According to The Independent, Kasabian may finally kick Ed Sheeran off the charts. For half a week, about 20,000 equivalent sales were made, which is more than Sheeranovsky ÷ [Divide], which lasted No.1 for 9 whole weeks.

Link to iTunes.

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