Disclosure: As an Amazon Associate we earn from qualifying purchases.
Indie rock emerged in the early to mid-1980s in the UK, US, and New Zealand, originally referring to rock music released by independent labels before evolving into a distinct genre. Its roots lie in the jangly, melodic Dunedin sound of bands like the Chills and the Clean, as well as early college rock staples like the Smiths and R.E.M. The genre solidified with the UK’s *NME* C86 cassette and the underground rise of Sonic Youth, Dinosaur Jr., and Unrest in the US. By the late 1980s and early 1990s, indie rock expanded with bands like the Pixies and Radiohead signing to major labels, while subgenres such as slowcore, Midwest emo, and shoegaze took shape.
The mainstream success of grunge and Britpop in the ’90s drew attention to indie rock, creating a divide between radio-friendly acts and more experimental artists, ultimately shifting “indie” from a label-based definition to a stylistic one. In the 2000s, the genre resurged through the garage rock and post-punk revival, led by the Strokes and the Libertines, with later success from Bloc Party, Arctic Monkeys, and the Killers, leading to the “landfill indie” wave that oversaturated the market.
The Yeah Yeah Yeah’s Karen O’s (Ozolek) vocal and stage antics made her impossible to ignore. Prone to dumping beer all over herself while performing, Karen O’s style owed at least something to Wendy O. Williams and Iggy Pop. Guitarist Nick Zinner and drummer Brian Chase delivered a raw Garage Rock din. In ’02, Yeah…
Like countless musicians, Caleb, Nathan and Jared Followill earned their musical chops playing in church. Only when their father left the ministry did the Followill’s, along with their cousin Matthew, discover Led Zeppelin, Tom Petty and Rolling Stones. Interestingly, those influences did not dominate. Rather, the Followill’s honed a roots/rustic style that was, in part,…
The Human Fear finds Franz Ferdinand dancing with dread, not reinvention. Slick grooves meet simmering tension as new blood revives their swagger. Not flawless, but when it hits, it crackles—fear you can move to, charm with sharp edges.
A moody, slow-burning turn inward. This is cluttered beauty, not clean charm. Less sparkle, more smog. Hooks linger instead of leap. No flash, just depth. A band aging with grit and grace, trading answers for atmosphere. It doesn’t shout—it simmers.
Corey Taylor’s CMF2 is a fiery, unfiltered blast of rage, heart, and swagger. Jumping from barroom brawls to tender ballads, it’s chaotic in the best way—raw, real, and relentless. No mask, no filter—just Taylor burning it all down.
A messy, bratty, and irresistibly fun debut built on deadpan charm, sharp hooks, and post-punk swagger. It’s lo-fi, loud, and laced with sarcasm—like turning boredom into a dance party you didn’t know you needed. Unbothered, clever, and oddly sincere.
Snail Mail – Valentine Valentine, released in 2021, is a stunning evolution of Lindsey Jordan’s artistry, blending emotional depth with intricate, lush arrangements. The album builds on the raw, guitar-driven sound of Snail Mail’s debut album while expanding into more polished and dynamic territories, incorporating strings, synths, and layered production that elevate her introspective songwriting….
Fake It Flowers thrives on noise, confession, and messy honesty. Beabadoobee turns jagged riffs and blunt admissions into an album that feels brash and vulnerable at once, a record that sounds like living too loudly and refusing to apologize for it.
Fleet Foxes’ Shore unfolds like a quiet revelation—patient, luminous, and rooted in acceptance. It holds space for grief and joy in equal measure, crafting songs that resonate not by force but by grace. A record that lingers long after silence returns.
A Hero’s Death is a striking sophomore effort that solidifies Fontaines D.C.’s position as one of the most compelling voices in modern post-punk. The album marks a tonal shift from their fiery debut, delving into introspective themes of identity and the search for meaning in a chaotic world.