 | | Death Cab for Cutie's rise from small-time solo project to Grammy-nominated rock band is one of indie rock's greatest success stories. |
 | | Named for the courier service that allowed them to trade song ideas while living in different locales, the Postal Service were a short-lived supergroup featuring Jimmy Tamborello (leader of the electronica bands Dntel and Figurine) and Death Cab for Cutie's Ben Gibbard. |
 | | A classic guitar pop group almost nine years in the making, Albuquerque, New Mexico's the Shins began in 1997 as the side project of singer/songwriter and guitarist James Mercer's primary band, Flake. |
 | | Modest Mouse were one of the most surprising commercial success stories of the new millennium -- while their music was by turns taut and elliptical, and the lyrics sometimes cryptic and introspective, the band broke through to the mainstream audience with the platinum-selling Good News for People Who Love Bad News, and they became genuine rock stars at a time when their musical peers remained cult figures. |
 | | Led by Montana native Colin Meloy, the Decemberists craft theatrical, hyper-literate pop songs that draw heavily from late-'60s British folk acts like Fairport Convention and Pentangle and the early-'80s college rock grandeur of the Waterboys and R. |
 | | Singer/songwriter Samuel Beam, who rose to prominence with a blend of whispered vocals and softly homespun indie folk, chose the moniker Iron & Wine after coming across a dietary supplement named "Beef Iron & Wine" while working on a film. |
 | | Emerging in 2004 with a blend of woodsy midtempo rock and reverb-laden vocals, Band of Horses gained an audience in their native Northwest before Everything All the Time made them indie rock darlings. |
 | | A combination of indie rock muscle and theatrical, unapologetic bombast turned Arcade Fire into indie royalty in the early 2000s. |
 | | Finding an unlikely middle point between Suicide's hostile, proto-electro punk art noise and the sardonic, pop-friendly sound of the Flaming Lips, MGMT started as electroclash musical terrorists but quickly grew into an eclectic, brainy pop group with psychedelic overtones. |
 | | Describing their sound as "Upper West Side Soweto," New York City's Vampire Weekend mix preppy, well-read indie rock with joyful, Afro-pop-inspired melodies and rhythms. |
 | | Justin Vernon began recording under the nom de band Bon Iver following the breakup of DeYarmond Edison, an indie folk group similar in tone and manner to Iron & Wine, Little Wings, and -- to a certain extent -- Bonnie "Prince" Billy. |
 | | Discovered in the wake of the Strokes' popularity and the subsequent garage rock revival, New York's art punk trio the Yeah Yeah Yeahs are comprised of singer Karen O, guitarist Nicolas Zinner, and drummer Brian Chase. |
 | | Radiohead were one of the few alternative bands of the early '90s to draw heavily from the grandiose arena rock that characterized U2's early albums. |
 | | Long Beach, California's Cold War Kids make music with roots that go deep and wide, embracing influences as diverse as Bob Dylan, Billie Holiday, Jeff Buckley, and the Velvet Underground. |
 | | Equally inspired by classic tunesmiths like Buddy Holly and John Lennon and the street-smart attitude and angular riffs of fellow New Yorkers Television and the Velvet Underground, the Strokes were also equally blessed and cursed with an enormous amount of hype -- particularly from the U. |
 | | Starting in the late ‘90s and throughout the 2000s and 2010s, My Morning Jacket expanded on their rock and country roots, embracing everything from neo-psychedelia to funk, prog, and reggae in their sonic experimentation. |
 | | Even within the eclectic world of alternative rock, few bands were so brave, so frequently brilliant, and so deliciously weird as the Flaming Lips. |
 | | By distilling the sounds of Franz Ferdinand, the Clash, the Strokes, and the Libertines into a hybrid of swaggering indie rock and danceable neo-punk, Arctic Monkeys became one of the U. |
 | | It’s too facile to call the Black Keys counterparts of the White Stripes: they share several surface similarities -- their names are color-coded, they hail from the Midwest, they’re guitar-and-drum blues-rock duos -- but the Black Keys are their own distinct thing, a tougher, rougher rock band with a purist streak that never surfaces in the Stripes. |
 | | Seattle's Fleet Foxes are led by vocalist/guitarist Robin Pecknold, who fashioned his band's earthy, harmony-rich sound in honor of such perennial '60s artists as Bob Dylan, Neil Young, the Zombies, and the Beach Boys. |
 | | Folk-rock duo Tegan and Sara first burst onto the Canadian music scene in 1998, when they earned the highest score in history at Calgary's "Garage Warz" competition; their quick rise didn't stop, for their melodic acoustics and charming stage personas led to a slew of dates with Sarah McLachlan's Lilith Fair that same year and a record deal with Neil Young's Vapor Records in April 2000. |
 | | With their heady blend of precision punk and serpentine classic rock (the band has drawn comparisons to everyone from the Pixies and Sonic Youth to Elvis Costello and Tom Petty), enigmatic, Texas-based indie pop outfit Spoon went from underground press darlings to one of the genre’s premier commercially and critically acclaimed alternative rock acts. |
 | | Leslie Feist -- best known simply as Feist -- was a respected member of the Canadian alternative music community before becoming an international pop sensation with the success for her albums Let It Die and The Reminder. |
 | | The White Stripes formed on Bastille Day in 1997, aiming to create simple, vigorous rock & roll with little more than Meg White's percussion and Jack White's guitar-and-vocal attack. |
 | | Although formed during the late '90s, Interpol rose to international attention in 2002 as part of New York City's post-punk revival. |
 | | A self-described "new band made up of old friends," the Raconteurs feature the White Stripes' Jack White and power pop maestro Brendan Benson on vocals, keyboards, and guitars, and the Greenhornes' drummer Patrick Keeler and bassist Jack Lawrence as the group's rhythm section. |
 | | Brian Aubert (guitar/vocals), Nikki Monninger (bass), Christopher Guanlao (drums), and Joe Lester (keyboards) comprise the swarthy indie rock stylings of Silversun Pickups. |
 | | Inspired by folk, rock, country, and bluegrass, the London-based Mumford & Sons feature singer/guitarist/drummer Marcus Mumford, vocalist and banjo/Dobro player Winston Marshall, vocalist/keyboardist Ben Lovett, and vocalist/bassist Ted Dwane. |
 | | Hailing from South London, Florence Mary Leontine Welch writes songs that occupy the same confessional territory as gossip-loving, genre-bending contemporaries like Amy Winehouse, Kate Nash, Adele, and Lily Allen and the moody, classic art rock of Kate Bush, blending pop, soul, and baroque arrangements into a sound that earned the young artist considerable buzz in 2007. |
 | | The Boston, Massachusetts-based Passion Pit began as a one-man project of singer and songwriter Michael Angelakos to produce a Valentine's Day gift for his girlfriend. |
 | | The French group Phoenix draw elements from their eclectic '80s upbringing to arrive at a satisfying blend of rock and synthesizers. |
 | | Few bands in the early 2000s rose so quickly to the forefront of pop music as the Killers. With a mix of '80s-styled synth pop and fashionista charm, the band's street-smart debut, Hot Fuss, became one of 2004's biggest releases, spawning four singles and catapulting the group -- particularly their dandyish, 22-year-old frontman, Brandon Flowers -- into the international spotlight. |
 | | Formed in 2007 by Ima Robot frontman Alex Ebert after a brief period of existential crisis, the cultish 11-piece indie rock outfit Edward Sharpe & the Magnetic Zeros draw their inspiration from the communal musical communities that peppered Southern California (specifically Laurel Canyon) with positive vibrations during the '60s and early '70s. |
 | | Peter Bjorn and John formed in 1999 in Stockholm, Sweden, comprised of members Peter Morén on vocals, guitar, and harmonica; Björn Yttling on vocals, bass, and keyboards; and John Eriksson on drums, percussion, and vocals. |
 | | Combining jagged, roaring guitars and stop-start dynamics with melodic pop hooks, intertwining male-female harmonies and evocative, cryptic lyrics, the Pixies were one of the most influential American alternative rock bands of the late '80s. |
 | | Glasgow's art-damaged rock quartet Franz Ferdinand -- named for the Austro-Hungarian Archduke whose murder sparked World War I -- feature bassist Bob Hardy, guitarist Nick McCarthy, drummer Paul Thomson, and singer/guitarist Alex Kapranos. |
 | | Metric are a band with an eclectic, adventurous outlook, whose music encompasses elements of synth pop, new wave, dance-rock, and electronica and whose hometown has vacillated between Toronto, Montreal, New York, Los Angeles, and London over the course of the group's existence. |
 | | As led by singer/songwriter/guitarist Andy Hull, the maturity of Manchester Orchestra's songwriting belied the fact that the bandmembers were barely legal when their group sprung into existence. |
 | | Atmospheric English indie pop group the xx formed in London in 2008 around the talents of Romy Madley Croft, Oliver Sim, Baria Qureshi, and Jamie Smith, when the bandmembers were still in high school. |
 | | The Brooklyn-based group TV on the Radio mix post-punk, electronic, and other atmospheric elements in such a creative way that it only makes sense that their core duo, vocalist Tunde Adebimpe and multi-instrumentalist/producer David Andrew Sitek, are both visual artists as well as musicians. |
 | | Keyboardist Matt Johnson and drummer Kim Schifino create the giddy, punky pop music of Matt and Kim. |
 | | Wilco rose from the ashes of the seminal roots rock band Uncle Tupelo, which disbanded in 1994. While Jay Farrar, one of the group's two singer/songwriters, went on to form Son Volt, his ex-partner Jeff Tweedy established Wilco along with the remaining members of Tupelo's final incarnation, which included drummer Ken Coomer as well as part-time bandmates John Stirratt (bass) and Max Johnston (mandolin, banjo, fiddle, and lap steel). |
 | | OK Go didn't find an audience until 2005, when the band began creating homemade music videos to support their combination of off-kilter guitars, Pixies/Cars fetishism, and straightforward power pop sensibilities. |
 | | Equally inspired by Sonic Youth, Joy Division, Gang of Four, and the Cure, East London art punkers Bloc Party mix angular sonics with pop structures. |
 | | Luke Pritchard (vocals/guitar), Hugh Harris (guitar), Max Rafferty (bass), and Paul Garred (drums) generate the rubbishy garage rock sounds of the Kooks. |
 | | Indie rock trio Foster the People make atmospheric, psychedelic, and dance-oriented pop. Formed in Los Angeles in 2009, the band features keyboardist/guitarist/vocalist Mark Foster, bassist Cubbie Fink, and drummer Mark Pontius. |
 | | Although chart success in England was an unlikely first step to fame for a band from Bowling Green, Kentucky, mainstream rock band Cage the Elephant achieved just that. |
 | | Muse's fusion of progressive rock, glam, electronica, and Radiohead-influenced experimentation is crafted by guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard. |
 | | Formed during the height of New York City's post-punk revival in 2003, the Bravery took equal influence from dance music and stylish indie rock. |
 | | Although formed during the post-punk revival of the late '90s, the National took inspiration from a wider set of influences, including country-rock, Americana, indie rock, and Brit-pop. |