 | | 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. |
 | | 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. |
 | | Like the Velvet Underground, Sonic Youth, and the Jesus and Mary Chain before them, My Bloody Valentine redefined what noise meant within the context of pop songwriting. |
 | | 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. |
 | | Formed in the wake of the punk explosion in England, Joy Division became the first band in the post-punk movement by later emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s. |
 | | Wire emerged out of the British punk explosion but, from the outset, maintained a distance from that scene and resisted easy categorization. |
 | | With their first records, Ride created a unique wall of sound that relied on massive, trembling distortion in the vein of My Bloody Valentine but with a simpler, more direct melodic approach. |
 | | Perhaps no band was more emblematic of the true spirit of American indie rock during the 1990s than Superchunk, the pride of Chapel Hill, NC. |
 | | Though criminally overlooked in their own lifetime, Galaxie 500 later emerged as one of the pivotal underground groups of the post-punk era; dreamy and enigmatic, their minimalist dirges presaged the rise of both the shoegazer and slowcore movements of the 1990s. |
 | | The Replacements initially formed in 1979, when Paul Westerberg joined a garage punk band formed by brothers Bob (guitar) and Tommy Stinson (bass) and drummer Chris Mars. |
 | | Formed in 1977 by Leeds University students Jon King (vocals), Andy Gill (guitar), Dave Allen (bass), and Hugo Burnham (drums), Gang of Four (along with the Fall, Mekons, and Liliput) produced some of the most exhilarating and lasting music of the early English post-punk era of 1978-1983. |
 | | With their fractured songs, unexpected blasts of feedback, laconic vocals, cryptic literate lyrics, and defiant low-fidelity, Pavement were one of the most influential and distinctive bands to emerge from the American underground in the '90s. |
 | | Inspired equally by jangle pop and arty post-punk, Guided by Voices created a series of trebly, hissy indie rock records filled with infectiously brief pop songs that fell somewhere between the British Invasion and prog rock. |
 | | 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. |
 | | As much a collective of musicians as a band, Sebadoh was the quintessential lo-fi band of the '90s. Formed by singer/songwriter Lou Barlow while he was the bassist for Dinosaur Jr. |
 | | 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. |
 | | Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R. |
 | | 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. |
 | | One of the quietly great college bands from the 1980s, Throwing Muses was formed in 1983 by guitarist/vocalist Kristin Hersh and her half-sister guitarist/vocalist Tanya Donelly with a few friends from high school. |
 | | Robyn Hitchcock is one of England's most enduring contemporary singer/songwriters and live performers. |
 | | Dinosaur Jr. were largely responsible for returning lead guitar to indie rock and, along with their peers the Pixies, they injected late-'80s alternative rock with monumental levels of pure guitar noise. |
 | | Meshing dreamy, feedback-drenched guitars with airy, catchy melodies, Lush were one of the most prominent shoegazing bands of the early '90s. |
 | | Hüsker Dü and R.E.M. were the two American post-punk bands of the '80s that changed the direction of rock & roll. |
 | | 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. |
 | | Out of all the late-'70s punk and post-punk bands, none were longer lived or more prolific than the Fall. |
 | | Yo La Tengo are in many respects the quintessential critics' band: in addition to their adventurous eclecticism, defiant independence, and restless creative ambition -- three qualities that virtually guarantee music press acclaim -- the group's frontman, Ira Kaplan, even tenured as a rock scribe prior to finding success as a performer. |
 | | Of all the punk-inspired bands that came out of Boston in the early '80s, none were better than Mission of Burma. |
 | | Most bands hit the big time immediately and fade away, or they build a dedicated following and slowly climb their way to the top. |
 | | Dream Syndicate are at the foundation (alongside the Velvet Underground, the Stooges, and R.E.M.) of contemporary alternative music simply because at the time when most bands were experimenting with new technology, the Syndicate deigned to bring back the guitar. |
 | | The Archers of Loaf were darlings of the indie world in the early to mid-'90s, thanks to an off-kilter sound that was edgy and challenging, yet melodically accessible at the same time. |
 | | XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. |
 | | The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with the Sex Pistols, the Clash, and the Buzzcocks, the Jam had the most impact on pop music. |
 | | 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. |
 | | 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. |
 | | 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. |
 | | 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. |
 | | 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. |
 | | 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. |
 | | Guitarist/singer/songwriter Bob Mould was initially a member of Hüsker Dü, one of the most influential American bands of the '80s. |
 | | X were far from the first punk rock band in Los Angeles, and they weren't the first to achieve some level of nationwide recognition, but in a very real way, they were the ones who put the L. |
 | | Ned's Atomic Dustbin's stylish fusion of punk and funk earned them a fair number of fans in the early '90s, just as England's Stone Roses-inspired "Madchester" scene was drawing to a close. |
 | | One of alternative rock's most promising -- and frustrating -- bands, the Breeders were conceived initially as a way for Pixies bassist Kim Deal and Throwing Muses guitarist Tanya Donelly to let out some suppressed creative energy and to take a break from being the second bananas in each of their main bands. |
 | | 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. |
 | | After first gaining acclaim for a dense, melodic sound that anticipated the coming emergence of grunge, Scotland's Teenage Fanclub spent the remainder of their career as torch-bearers for the power pop revival, unparalleled among their generation for both their unwavering adherence to and brilliant reinvention of the classic guitar pop of vintage acts like Big Star and Badfinger. |
 | | Built to Spill were one of the most popular indie rock acts of the '90s, finding the middle ground between postmodern, Pavement-style pop and the loose, spacious jamming of Neil Young. |
 | | 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. |
 | | Of the countless bands to emerge from the New York City underground during the post-punk era, few if any were as unique and influential as the Feelies; nerdy, nervous, and noisy, even decades later their droning, skittering avant-garde pop remains a key touchstone of the American indie music scene. |
 | | The band who brought the car song into the shoegaze era, Swervedriver was formed in Britain in 1990 by vocalists/guitarists Adam Franklin and Jimmy Hartridge, bassist Adi Vines, and drummer Graham Bonner. |
 | | After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. |
 | | After spending the '80s as an unappreciated jangle pop guitarist with Oh-OK and Lloyd Cole, as well as a solo artist, Matthew Sweet emerged in 1991 as the leading figure of the American power pop revival. |