 | | Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, the Brian Jonestown Massacre formed in San Francisco, California in 1990. |
 | | Indeed, it's been a long strange trip for Warlocks leader Bobby Hecksher since his band played their first gig on July 4th, 1998. |
 | | The Morning After Girls are an Australian-bred band whose music is part psychedelia, part shoegaze, and part indie pop, fusing elements of these disparate styles to create striking, grand-scale aural landscapes. |
 | | The Dilettantes are fronted by mutton-chopped tambourine player Joel Gion, better known as one of the longest-lasting members of psychedelic rock & roll band the Brian Jonestown Massacre. |
 | | Singapore Sling formed in Reykjavik, Iceland, in 2000 around the eight-tracked material of Sling chief Henrik Bjornsson. |
 | | Lacking something in originality (critics noted a particular debt to early Deep Purple), Swiss outfit the Black Angels went some way towards remedying their shortcomings through sheer energy and self-belief. |
 | | Mazarin was the psych-pop project of Philadelphia-based singer/guitarist Quentin Stoltzfus, whose previous effort included a stint drumming for the Azusa Plane as well as the solo four-track outing Therisphere. |
 | | The L.A.-based psych-rock quartet Darker My Love was formed by high school buddies Tim Presley (guitars, vocals) and Andy Granelli (drums) in 2001. |
 | | The Wannadies are one of Sweden's sweetest secrets, a band that was lucky enough to look beyond the pop sensations of ABBA, Ace of Base, and Roxette to establish a career inside modern rock. |
 | | The Bay Area-based alternative rock quartet Creeper Lagoon comprised singer/guitarist Ian Sefchick, multi-instrumentalist Sharky Laguana, drummer David Kostiner, and bassist Geoffrey Chisholm (later replaced by Dan Carr). |
 | | Dead Meadow' s unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss, and singer Jason Simon's high-pitched melodic croon have won over both psychedelic pop/rock and stoner rock fans alike. |
 | | British drone-pop quintet Six by Seven was formed in Nottingham, England in 1991 by singer/guitarist Chris Olley, guitarist Sam Hempton, organist James Flower, bassist Paul Douglas and drummer Chris Davis. |
 | | Known for their extended, mind-altering jams, Portland, Oregon's King Black Acid was originally the moniker of Hitting Birth leader Daniel Riddle's solo home-taping project. |
 | | The "trippy country meets stoner rock" of Vancouver's Pink Mountaintops is the brainchild of Stephen McBean, who is also the singer/songwriter/guitarist for Black Mountain, which was formerly known as Jerk with a Bomb. |
 | | After founding Jerk with a Bomb in the late '90s, Stephen McBean had by the mid-2000s transformed the Vancouver-area band into a group called Black Mountain. |
 | | Combining a knack for infectious melodies with a quirky, bizarre sense of humor and a vaguely avant-garde aesthetic borrowed from the New York post-punk underground, They Might Be Giants became one of the most unlikely alternative success stories of the late '80s and early '90s. |
 | | Most bands hit the big time immediately and fade away, or they build a dedicated following and slowly climb their way to the top. |
 | | 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. |
 | | Guitarist Will Sergeant and singer Ian McCulloch formed Echo & the Bunnymen with bassist Les Pattinson in Liverpool in 1978. |
 | | Playing emo-influenced indie rock with a hard rock-guitar accent, Jet by Day was formed in 1997 in Athens, GA, by guitarist/singer David Matysiak, drummer Tom Naumann, and bassist Bo Wamsley. |
 | | Formed in a squat in Leeds, England, in 1984, the anarchist pop group Chumbawamba were a most unlikely mainstream success story. |
 | | What began as a one-off from like-minded coffee shop dwellers in Portland, OR, swelled into one of the Rose City's longest-lasting contributions to the indie rock world. |
 | | 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. |
 | | Too Much Joy was part of the explosion of collegiate comedy rock in the late '80s, distinguishing themselves with a more mature side than the Dead Milkmen and a simpler, speedier punk-pop approach than the arty King Missile. |
 | | The '80s saw the emergence of several bands that gave a modern spin to the Beatles' more melodic moments -- namely Utopia, XTC, and the Bears. |
 | | Although Fountains of Wayne didn't enjoy mainstream attention until the release of "Stacy's Mom" in 2003, the band had already established itself as one of America's strongest power pop acts. |
 | | The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. |
 | | |
 | | The Liverpool, England art rock band Deaf School turned to the Tin Pan Alley sound, not punk, as an alternative to the commercial music of the ‘70s. |
 | | During their heyday in the late '80s, the Dead Milkmen led a crop of college-radio jokesters that also included Mojo Nixon, King Missile, and Too Much Joy, among others. |
 | | Led by bassist/songwriter Derrick Anderson (also of Chewy Marble) and guitarist/singer Robbie Rist (of Martin Luther Lennon and Wonderboy), the Andersons specialize in jangly, guitar-driven power pop. |
 | | Stealing from the campy styles of Echo & the Bunnymen and the infectious sounds of the Boo Radleys, Liverpool's Space were formed in 1993 by Tommy Scott (vocals/bass), Jamie Murphy (guitar), and Andy Kowalski (drums). |
 | | Irish group Whipping Boy came to prominence in the mid-1990s with their tales of everyday life and love, seen through the world-weary and cynical eyes of frontman Ferghal McKee. |
 | | Given Lawrence Hayward's frequent disputes with his bandmates during the decade-long run of his first and best-known band Felt, it came as little surprise that for his next project, he was not merely the uncontested leader, but the sole constant member. |
 | | Though they're based in Berlin, the witty pop group Stereo Total draw bandmembers and musical influences from across Europe. |
 | | As the frontman for Blur and Gorillaz, Damon Albarn helped shape the British mainstream during the '90s and beyond, first establishing himself as a Brit-pop icon before expanding into hip-hop, opera, electronica, and world music. |
 | | Of all the quirky, Captain Beefheart -indebted groups to reside at Manchester’s Ron Johnson label, Stump were not only the most distinctive, but also the most endearing. |
 | | 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. |
 | | Unsung heroes of the Seattle rock community, the witty, rough-edged pop unit Young Fresh Fellows formed in 1982. |
 | | One of new wave's most innovative and (for a time) successful bands, Devo was also perhaps one of its most misunderstood. |
 | | A true jack of all trades, native New York composer/lyricist David Yazbek got his big break scoring the stage adaptation of the hit film The Full Monty, a break that earned him both a Tony and a Grammy nomination. |
 | | Flop formed in 1989 when vocalist and guitarist Rusty Willoughby and drummer Nate Johnson left the group Pure Joy and joined up with guitarist Bill Campbell from Chemistry Set and bassist Paul Schurr from the Seers of Bavaria. |
 | | Initially pegged as something as a voice of a generation when “Loser” turned into a smash crossover success, Beck did wind up crystallizing much of the post-modern ruckus of the ‘90s alternative explosion, but in unexpected ways. |
 | | |
 | | 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. |
 | | Emerging from the same Oxford, England pop scene which also yielded Radiohead and Supergrass, the Candyskins were formed in 1989 by frontman Nick Cope, his guitarist brother Mark, lead guitarist Nick Burton, bassist Karl Shale and drummer John Halliday. |
 | | |
 | | |
 | | Ween was the ultimate cosmic goof of the alternative rock era, a prodigiously talented and deliriously odd duo whose work traveled far beyond the constraints of parody and novelty into the heart of surrealist ecstasy. |
 | | More than any band that came out of late-'70s England, the Mekons (the name taken from the popular sci-fi comic Dan Dare) have perhaps the most devoted fans of any band even remotely connected to punk rock. |
![Thirteen Tales from Urban Bohemia [Bonus CD] Album Cover](http://images.slacker.com/isv1/album/v1/6315841/aol/1/center/5,0/70.jpg "Thirteen Tales from Urban Bohemia [Bonus CD] Album Cover")
![Welcome to the Monkey House [Australia Bonus DVD] Album Cover](http://images.slacker.com/isv1/album/v1/380497/aol/1/center/5,0/70.jpg "Welcome to the Monkey House [Australia Bonus DVD] Album Cover")
