 | | The wispy pop outfit the Lightning Seeds were essentially the solo project of noted producer Ian Broudie. |
 | | As the lead singer of the Smiths, arguably the most important indie band in Britain during the '80s, Morrissey's theatrical crooning and literate, poetic lyrics -- filled with romantic angst, social alienation, and cutting wit -- connected powerfully with a legion of similarly sensitive, disaffected youth. |
 | | Hershey, Pennsylvania alternative pop band the Ocean Blue were formed in 1987 by singer/guitarist David Schelzel, keyboardist Steve Lau, and bassist Bobby Mittan, longtime schoolmates who shared an affection for college radio favorites including U2, Echo & the Bunnymen, the Smiths, and R. |
 | | The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. |
 | | Meshing '60s-styled guitar pop with an understated '80s dance beat, the Stone Roses defined the British guitar pop scene of the late '80s and early '90s. |
 | | Building on the jangly guitar pop of the Smiths and the trance-like dream pop of bands like the Cocteau Twins, the Sundays cultivated a dedicated following in indie rock circles, both in their native England and in America, in the early '90s. |
 | | As one of the first groups to be dubbed "the next Smiths," James became an institution on the British alternative music scene during the '80s and '90s with their pleasant folk-pop. |
 | | One of Britain's more popular indie guitar pop groups of the late '80s, the Housemartins' post-Smiths guitar jangle and subtle updating of catchy, melodic British beat groups earned the Hull-based quartet a substantial critical and popular following within the U. |
 | | For most intents and purposes, Aztec Camera is Roddy Frame, a Scottish guitarist/vocalist/songwriter. |
 | | Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few were as enduring and popular as the Cure. |
 | | Echo & the Bunnymen's dark, swirling fusion of gloomy post-punk and Doors-inspired psychedelia brought the group a handful of British hits in the early '80s, while attracting a cult following in the United States. |
 | | Rising from the ashes of the legendary British post-punk unit Joy Division, the enigmatic New Order triumphed over tragedy to emerge as one of the most influential and acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand of synth pop appealing equally to the mind, body, and soul. |
 | | XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. |
 | | One of the most successful and enduring Australian bands of the post-punk era, the Church began their career with music that paid explicit homage to psychedelia and 1960s folk rock, and with the passage of time they refined their own unique sound, fusing pop, art rock, progressive rock, and other flavors. |
 | | When the La's released their debut album in 1990, it made immediate waves in the British pop scene, as well as American college radio. |
 | | Following the disbandment of the British indie pop group the Housemartins in 1989, vocalist Paul Heaton and drummer David Hemmingway formed the Beautiful South. |
 | | The Psychedelic Furs, whose name was inspired by the 1966 Velvet Underground song "Venus in Furs," were formed in England in 1977 by brothers Richard Butler (vocals) and Tim Butler (bass), along with saxophone player Duncan Kilburn and guitarist Roger Morris. |
 | | The The was the guise of Matt Johnson, a mercurial singer/songwriter whose music ran the gamut from dance-pop to country. |
 | | For many years, the Charlatans UK were perceived as the also-rans of Madchester, the group that didn't capture the zeitgeist like the Stone Roses or the band that failed to match the mad genre-bending of the Happy Mondays. |
 | | Through both his lauded work fronting the Commotions and his more eclectic solo efforts, Lloyd Cole established himself as one of the most articulate and acute songwriters of the post-punk era. |
 | | Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. |
 | | Despite having a successful solo career as a cult artist, vocalist Peter Murphy remains best known as the lead vocalist for Bauhaus, the pioneering post-punk goth rock band of the early '80s. |
 | | Originally a product of Britain's new romantic movement, Depeche Mode went on to become the quintessential electro-pop band of the 1980s. |
 | | 10,000 Maniacs (named after the low-budget horror movie 2,000 Maniacs) was formed in Jamestown, New York, in 1981 by singer Natalie Merchant and guitarist John Lombardo. |
 | | The post-Smiths guitar pop of the House of Love was popular for a short time in the late '80s and early '90s, as many college and alternative rock fans became converts to their mixture of shiny ringing guitars, pseudo-psychedelic melodies, and bursts of noise. |
 | | R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. |
 | | Formed in Wolverhampton, England in 1985, the Mighty Lemon Drops' psychedelic post-punk pop earned the group frequent comparisons to Echo & the Bunnymen. |
 | | An institution in their homeland, a two-hit wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U. |
 | | The Go-Betweens were perhaps the quintessential cult band of the '80s: they came from an exotic locale (Brisbane, Australia), moved to a major recording center (in their case, London) in a sustained bid to make a career out of music, released album after album of music seemingly tailor-made for the radio in spite of their having little use for contemporary Top 40 musical/lyrical formulas, and earned considerable critical praise and a small but fervent international fan base. |
 | | By using their influences as a mere launching pad and consistently developing their many strengths, Catherine Wheel was able to outlast all of their early peers. |
 | | After Mick Jones was fired from the Clash in 1983, he formed Big Audio Dynamite (B.A.D.) one year later to continue the more experimental funk elements of the Clash's Combat Rock. |
 | | Love and Rockets comprised guitarist/vocalist Daniel Ash, bassist/vocalist David J, and drummer Kevin Haskins, all former members of the pioneering goth band Bauhaus. |
 | | Led by the literate singer/songwriter Mike Scott, the group's sole constant member, the mercurial Waterboys formed in London in 1981. |
 | | World Party began as an outlet for the pop infatuations of vocalist and multi-instrumentalist Karl Wallinger, previously best known for his tenure with the Waterboys. |
 | | With idealistic spirit, a powerhouse live show, and bigger than big hair, the Alarm were part of an early-'80s wave of bands (the Call, Big Country, and the Waterboys among them) who dealt in soaring anthems inspired by the righteous idealism of punk. |
 | | Featuring the core members Paul Humphreys and Andy McCluskey, the Liverpudlian synth pop group Orchestral Manoeuvres in the Dark formed in the late '70s. |
 | | One of the first and most significant post-punk bands, Public Image Ltd. (PiL) were originally a quartet led by singer John Lydon (formerly Johnny Rotten, born January 31, 1956) and guitarist Keith Levene, who had been a member of the Clash in one of its early lineups. |
 | | Siouxsie and the Banshees were among the longest-lived and most successful acts to emerge from the London punk community; over the course of a career that lasted two decades, they evolved from an abrasive, primitive art punk band into a stylish, sophisticated unit that even notched a left-field Top 40 hit. |
 | | Best known in the U.S. for their 1985 number one hit "Don't You (Forget About Me)" from the film The Breakfast Club, Scotland's Simple Minds evolved from a post-punk art rock band influenced by Roxy Music into a grand, epic-sounding pop band along the lines of U2. |
 | | One of the earliest and most important ska revivalist groups, Birmingham's the Beat formed in 1978 (the band had to change its name to the English Beat in the U. |
 | | A group whose distinctly ethereal and gossamer sound virtually defined the enigmatic image of the record label 4AD, Cocteau Twins were founded in Grangemouth, Scotland, in 1979. |
 | | Initially, Blur were one of the multitude of British bands that appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. |
 | | Like most bands, Australia's Hoodoo Gurus were largely the product of their influences; unlike most bands, however, the Hoodoos channeled their inspiration from the vast entirety of the American pop cultural landscape, drawing on such disparate sources as B-movies, bad sitcoms, and junk food -- in tandem with the usual suspects like garage rock, power pop, and surf -- to create a distinctly kitschy and catchy sound. |
 | | Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands of the '80s. |
 | | Robyn Hitchcock is one of England's most enduring contemporary singer/songwriters and live performers. |
 | | Following the disbandment of the short-lived synth pop group Yazoo, former Depeche Mode member Vince Clarke formed Erasure in 1985 with singer Andy Bell. |
 | | One of the first supergroups from post-punk Great Britain, Electronic is the on-off project formed by New Order's Bernard Sumner and Johnny Marr, former guitarist of the Smiths. |
 | | When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. |
 | | Along with the Stone Roses, Happy Mondays were the leaders of the late-'80s/early-'90s dance club-influenced Manchester scene, experiencing a brief moment in the spotlight before collapsing in 1992. |
 | | The Sugarcubes were the biggest group ever to emerge from Iceland, which helps explain their off-kilter sense of melody. |