Editing Rock music (section)

== 1990s–2000s: Rise of alternative culture ==

===Grunge===
{{Main|Grunge}}
[[File:Nirvana around 1992.jpg|thumb|alt=A color photograph of two members of the band Nirvana on stage with guitars|[[Grunge]] band [[Nirvana (band)|Nirvana]] performing in September 1992]]
Disaffected by commercialized and highly produced pop and rock in the mid-1980s, bands in [[Washington (state)|Washington state]] (particularly in the [[Seattle]] area) formed a new style of rock which sharply contrasted with the mainstream music of the time.<ref name="allmusic grunge">{{Citation|title=Grunge |work=AllMusic |url={{AllMusic|class=explore|id=style/d2679|pure_url=yes}} |archive-url=https://www.webcitation.org/5wT8KwMkr?url=http://www.allmusic.com/explore/style/d2679 |archive-date=13 February 2011 |url-status=dead}}.</ref> The developing genre came to be known as "grunge", a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians, who actively rebelled against the over-groomed images of other artists.<ref name="allmusic grunge"/> Grunge fused elements of [[hardcore punk]] and [[Heavy metal music|heavy metal]] into a single sound, and made heavy use of guitar [[distortion (guitar)|distortion]], [[Distortion (music)|fuzz]], and [[audio feedback|feedback]].<ref name="allmusic grunge"/> The lyrics were typically apathetic and angst-filled, and often concerned themes such as social alienation and entrapment, although it was also known for its dark humor and parodies of commercial rock.<ref name="allmusic grunge"/>

Bands such as [[Green River (band)|Green River]], [[Soundgarden]], [[Melvins]], and [[Skin Yard]] pioneered the genre, with [[Mudhoney]] becoming the most successful by the end of the decade. Grunge remained largely a local phenomenon until 1991, when [[Nirvana (band)|Nirvana]]'s album ''[[Nevermind]]'' became a huge success, containing the anthemic song "[[Smells Like Teen Spirit]]".<ref>{{Citation|last=E. Olsen |title=10 years later, Cobain continues to live on through his music |publisher=MSNBC |date=4 September 2004 |url=https://www.nbcnews.com/id/wbna4652653 |archive-url=https://web.archive.org/web/20110311131250/http://today.msnbc.msn.com/id/4652653 |archive-date=11 March 2011 |url-status=live}}</ref> ''Nevermind'' was more melodic than its predecessors, by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing mechanisms such as an MTV video, in store displays and the use of radio "consultants" who promoted airplay at major mainstream rock stations. During 1991 and 1992, other grunge albums such as [[Pearl Jam]]'s ''[[Ten (Pearl Jam album)|Ten]]'', Soundgarden's ''[[Badmotorfinger]]'', and [[Alice in Chains]]' ''[[Dirt (Alice in Chains album)|Dirt]]'', along with the ''[[Temple of the Dog]]'' album featuring members of Pearl Jam and Soundgarden, became among the 100 top-selling albums.<ref>J. Lyons, ''Selling Seattle: Representing Contemporary Urban America'' (London: Wallflower, 2004), {{ISBN|1-903364-96-5}}, p. 136.</ref> Major record labels signed most of the remaining grunge bands in Seattle, while a second influx of acts moved to the city in the hope of success.<ref name="Azerrad419">M. Azerrad, ''[[Our Band Could Be Your Life|Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991]]'' (Boston, MA: Little Brown and Company, 2001), {{ISBN|0-316-78753-1}}, pp. 452–53.</ref> However, with the [[Suicide of Kurt Cobain|death of Kurt Cobain]] and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains' lead singer [[Layne Staley]] in 1998, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding [[post-grunge]].<ref name=AllMusicPostgrunge>{{Citation|title=Post-grunge |work=AllMusic |url={{AllMusic|class=explore|id=style/d2771|pure_url=yes}} |archive-url=https://www.webcitation.org/5wTFBkV3M?url=http://www.allmusic.com/explore/style/d2771 |archive-date=13 February 2011 |url-status=dead}}.</ref>

===Britpop===
{{Main|Britpop}}
[[File:Oasis Liam and Noel.jpg|thumb|left|alt=A color photograph of Noel and Liam Gallagher of the band Oasis on stage|[[Oasis (band)|Oasis]] performing in [[San Diego]] in September 2005]]
Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s.<ref name=Bogdanov2002UKAlternative/> [[The Smiths]] were a major influence, as were bands of the [[Madchester]] scene, which had dissolved in the early 1990s.<ref name="allmusicBritpop">{{Citation|title=Britpop |work=AllMusic |url={{AllMusic|class=explore|id=style/d2681|pure_url=yes}} |archive-url=https://www.webcitation.org/5wRBeCas7?url=http://www.allmusic.com/explore/style/d2681 |archive-date=12 February 2011 |url-status=dead}}.</ref> The movement has been seen partly as a reaction against various US-based, musical and cultural trends in the late 1980s and early 1990s, particularly the [[grunge]] phenomenon and as a reassertion of a British rock identity.<ref name=Bogdanov2002UKAlternative/> Britpop was varied in style, but often used catchy tunes and hooks, beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion, including the symbols of British identity previously used by the mods.<ref>H. Jenkins, T. McPherson and J. Shattuc, ''Hop on Pop: the Politics and Pleasures of Popular Culture'' (Durham NC: Duke University Press, 2002), {{ISBN|0-8223-2737-6}}, p. 541.</ref> It was launched around 1993 with releases by groups such as [[Suede (band)|Suede]] and [[Blur (band)|Blur]], who were soon joined by others including [[Oasis (band)|Oasis]], [[Pulp (band)|Pulp]], [[Supergrass]], and [[Elastica]], who produced a series of successful albums and singles.<ref name=Bogdanov2002UKAlternative/> For a while the contest between Blur and Oasis was built by the popular press into the "Battle of Britpop", initially won by Blur, but with Oasis achieving greater long-term and international success, directly influencing later Britpop bands, such as [[Ocean Colour Scene]] and [[Kula Shaker]].<ref>E. Kessler, "Noelrock!", ''NME'', 8 June 1996.</ref> Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as [[Cool Britannia]].<ref>W. Osgerby, ''Youth Media'' (Abingdon: Routledge, 2004), {{ISBN|0-415-23808-0}}, pp. 92–96.</ref> Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas, especially to the United States, the movement had largely fallen apart by the end of the decade.<ref name=Bogdanov2002UKAlternative/>

===Post-grunge===
{{Main|Post-grunge}}
[[File:Foo Fighters Live 29.jpg|thumb|alt=A color photograph of members of the Foo Fighters on stage with instruments|[[Foo Fighters]] performing an acoustic show in November 2007]]
The term post-grunge was coined for the generation of bands that followed the emergence into the mainstream and subsequent hiatus of the Seattle grunge bands. Post-grunge bands emulated their attitudes and music, but with a more radio-friendly commercially oriented sound.<ref name=AllMusicPostgrunge/> Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-punk, [[alternative metal]] or hard rock.<ref name=AllMusicPostgrunge/> The term post-grunge originally was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement.<ref name=Grierson/> Originally, grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge.<ref name=Grierson/> From 1994, former Nirvana drummer [[Dave Grohl]]'s new band, the [[Foo Fighters]], helped popularize the genre and define its parameters.<ref name=Bogdanov2002FooFighters>S.T. Erlewine, "Foo Fighters", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], p. 423.</ref>

Some post-grunge bands, like [[Candlebox]], were from Seattle, but the subgenre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' [[Audioslave]], and Georgia's [[Collective Soul]] and beyond the US to Australia's [[Silverchair]] and Britain's [[Bush (British band)|Bush]], who all cemented post-grunge as one of the most commercially viable subgenres of the late 1990s.<ref name=Bogdanov2002USAlternative/><ref name=AllMusicPostgrunge/> Although male bands predominated post-grunge, female solo artist [[Alanis Morissette]]'s 1995 album ''[[Jagged Little Pill]]'', labelled as post-grunge, also became a multi-platinum hit.<ref name=Bogdanov2002Alanis>S.T. Erlewine, "Alanis Morissette", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], p. 761.</ref> Post-grunge morphed during the late 1990s as post-grunge bands like [[Creed (band)|Creed]] and [[Nickelback]] emerged.<ref name=Grierson/> Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by newer acts including [[Shinedown]], [[Seether]], [[Three Days Grace]],<ref>{{cite web | url=https://www.palladium.lv/en/news/in-january-the-only-three-days-grace-concert-in-the-baltics-in-riga/ | archive-url=https://web.archive.org/web/20160326160901/https://www.palladium.lv/en/news/in-january-the-only-three-days-grace-concert-in-the-baltics-in-riga/ | archive-date=26 March 2016 | title=In January the only Three Days Grace concert in the Baltics – in Riga - Palladium }}</ref> [[3 Doors Down]], [[Breaking Benjamin]]<ref>{{cite magazine | url=https://www.billboard.com/music/music-news/breaking-benjamin-takes-agony-to-top-10-267122/ | title=Breaking Benjamin Takes 'Agony' to Top 10 | magazine=[[Billboard (magazine)|Billboard]] }}</ref> and [[Puddle of Mudd]].<ref name=Grierson>{{Citation|last=T. Grierson |title=Post-Grunge: A History of Post-Grunge Rock |website=About.com |url=http://rock.about.com/od/rockmusic101/a/PostGrunge.htm |archive-url=https://web.archive.org/web/20110514035717/http://rock.about.com/od/rockmusic101/a/PostGrunge.htm |archive-date=14 May 2011 |url-status=dead}}</ref>

===Pop-punk===
{{Main|Pop-punk}}
[[File:Green day Live 5 june 2013 in Rome5.JPG|thumb|alt=A color photograph of members of the group Green Day on stage with instruments|[[Green Day]] performing in [[Rome]] in June 2013]]
The origins of 1990s pop-punk can be seen in the more song-oriented bands of the 1970s punk movement like [[Buzzcocks]] and [[the Clash]], commercially successful new wave acts such as [[the Jam]] and [[the Undertones]], and the more hardcore-influenced elements of alternative rock in the 1980s.<ref name=LambPunkPop>{{Citation
 |last=W. Lamb
 |title=Punk Pop
 |website=About.com
 |url=http://top40.about.com/od/popmusic101/p/punkpop.htm
 |archive-url=https://web.archive.org/web/20110516091225/http://top40.about.com/od/popmusic101/p/punkpop.htm
 |archive-date=16 May 2011
|url-status=dead
}}</ref> Pop-punk tends to use power-pop melodies and chord changes with speedy punk tempos and loud guitars.<ref>{{Citation
 |title=Punk Pop
 |work=AllMusic
 |url={{AllMusic|class=explore|id=style/d2928|pure_url=yes}}
 |archive-url=https://www.webcitation.org/5wZYGmlDd?url=http://www.allmusic.com/explore/style/d2928
 |archive-date=17 February 2011
|url-status=dead
}}.</ref> Punk music provided the inspiration for some California-based bands on independent labels in the early 1990s, including [[Rancid (band)|Rancid]] and [[Green Day]].<ref name=LambPunkPop/> In 1994, Green Day moved to a major label and produced the album ''[[Dookie (album)|Dookie]]'', which found a new, largely teenage, audience and proved a surprise diamond-selling success, leading to a series of hit singles, including two number ones in the US.<ref name=Bogdanov2002USAlternative/> They were soon followed by the [[Weezer (1994 album)|eponymous debut from Weezer]], which spawned three top ten singles in the US.<ref>{{Citation
 |last=S.T. Erlewine
 |title=Weezer
 |work=AllMusic
 |url={{AllMusic|class=artist|id=p44726|pure_url=yes}}
 |archive-url=https://www.webcitation.org/5wTa5j1b6?url=http://www.allmusic.com/artist/weezer-p44726/biography
 |archive-date=13 February 2011
|url-status=dead
}}.</ref> This success opened the door for the multi-platinum sales of metallic punk band [[the Offspring]] with ''[[Smash (The Offspring album)|Smash]]'' (1994).<ref name=Bogdanov2002USAlternative/> This first wave of pop punk reached its commercial peak with Green Day's ''[[Nimrod (album)|Nimrod]]'' (1997) and the Offspring's ''[[Americana (The Offspring album)|Americana]]'' (1998).<ref name=Bogdanov2002GreenDay&Offspring>S.T. Erlewine, "Green Day", and "Offspring", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 484–85, 816.</ref>

A second wave of pop-punk was spearheaded by [[Blink-182]], with their breakthrough album ''[[Enema of the State]]'' (1999), followed by bands such as [[Good Charlotte]], [[Simple Plan]] and [[Sum 41]], who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk.<ref name=LambPunkPop/> Later pop-punk bands, including [[All Time Low]], [[the All-American Rejects]] and [[Fall Out Boy]], had a sound that has been described as closer to 1980s hardcore, while still achieving commercial success.<ref name=LambPunkPop/>

===Indie rock===
{{Main|Indie rock}}
{{See also|Riot grrrl|Lo-fi music|Post rock|Math rock|Space rock|Sadcore|Baroque pop}}
[[File:Pavement, the band, in Tokyo.jpg|thumb|alt=A black and white photograph of five members of the group Pavement standing in front of a brick wall|[[Lo-fi music|Lo-fi]] indie rock band [[Pavement (band)|Pavement]]]]
In the 1980s the terms indie rock and alternative rock were used interchangeably.<ref name=AllMusicIndie/> By the mid-1990s, as elements of the movement began to attract mainstream interest, particularly grunge and then Britpop, post-grunge and pop-punk, the term alternative began to lose its meaning.<ref name=AllMusicIndie/> Those bands following the less commercial contours of the scene were increasingly referred to by the label indie.<ref name=AllMusicIndie/> They characteristically attempted to retain control of their careers by releasing albums on their own or small independent labels, while relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion.<ref name=AllMusicIndie>{{Citation|title=Indie rock |work=AllMusic |url=http://www.allmusic.com/explore/style/d2687 |archive-url=https://web.archive.org/web/20110105070517/http://www.allmusic.com/explore/style/d2687 |archive-date=5 January 2011 |url-status=dead}}</ref> Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands like [[the Cranberries]] and [[Superchunk]], through do-it-yourself experimental bands like [[Pavement (band)|Pavement]], to punk-folk singers such as [[Ani DiFranco]].<ref name=Bogdanov2002USAlternative/><ref name=Bogdanov2002UKAlternative/> It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of feminist-informed [[Riot grrrl]] music.<ref>{{cite book|last=Leonard |first=Marion |title=Gender in the Music Industry: Rock, Discourse and Girl Power |year=2007 |publisher=Ashgate Publishing |location=Aldershot, England |isbn=978-0-7546-3862-9 |page=2}}</ref> Many countries have developed an extensive local [[indie (music)|indie]] scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.<ref>J. Connell and C. Gibson, ''Sound Tracks: Popular Music, Identity, and Place'' (Abingdon: Routledge, 2003), {{ISBN|0-415-17028-1}}, pp. 101–03.</ref>

By the end of the 1990s many recognisable subgenres, most with their origins in the late 1980s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by [[Beck]], [[Sebadoh]] and [[Pavement (band)|Pavement]].<ref name=Bogdanov2002USAlternative/> The work of [[Talk Talk]] and [[Slint]] helped inspire both post rock, an experimental style influenced by [[jazz]] and [[electronic music]], pioneered by [[Bark Psychosis]] and taken up by acts such as [[Tortoise (band)|Tortoise]], [[Stereolab]], and [[Laika (band)|Laika]],<ref name="S. Taylor, 2006 pp. 154-5">S. Taylor, ''A to X of Alternative Music'' (London: Continuum, 2006), {{ISBN|0-8264-8217-1}}, pp. 154–55.</ref><ref name=AMpostrock>{{Citation|title=Post rock |work=AllMusic |url={{AllMusic|class=explore|id=style/d2682|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUOZlt8K?url=http://www.allmusic.com/explore/style/d2682 |archive-date=14 February 2011 |url-status=dead}}.</ref> as well as leading to more dense and complex, guitar-based math rock, developed by acts like [[Polvo]] and [[Chavez (band)|Chavez]].<ref>{{Citation|title=Math rock |work=AllMusic |url={{AllMusic|class=explore|id=style/d4560|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUOlnegC?url=http://www.allmusic.com/explore/style/d4560 |archive-date=14 February 2011 |url-status=dead}}.</ref> Space rock looked back to progressive roots, with drone heavy and minimalist acts like [[Spacemen 3]], the two bands created out of its split, [[Spectrum (band)|Spectrum]] and [[Spiritualized]], and later groups including [[Flying Saucer Attack]], [[Godspeed You! Black Emperor]] and [[Quickspace]].<ref>{{Citation|title=Space rock |work=AllMusic |url=http://www.allmusic.com/explore/style/space-rock-d2784 |archive-url=https://web.archive.org/web/20220612162828/http://www.allmusic.com/explore/style/d2784 |archive-date=12 June 2022 |url-status=dead}}</ref> In contrast, [[Sadcore]] emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like [[American Music Club]] and [[Red House Painters]],<ref>{{Citation|title=Sadcore |work=AllMusic |url={{AllMusic|class=explore|id=style/d4588|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUP1oqYG?url=http://www.allmusic.com/explore/style/d4588 |archive-date=14 February 2011 |url-status=dead}}.</ref> while the revival of baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like [[Arcade Fire]], [[Belle and Sebastian]] and [[Rufus Wainwright]].<ref>{{Citation|title=Chamber pop |work=AllMusic |url={{AllMusic|class=explore|id=style/d4445|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUP95eY9?url=http://www.allmusic.com/explore/style/d4445 |archive-date=14 February 2011 |url-status=dead}}.</ref>

===Alternative metal, rap rock and nu metal===
{{Main|Heavy metal music}}
{{See also|New Wave of American Heavy Metal|Alternative metal|Rap rock|Rap metal|Nu metal}}
Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after grunge broke into the mainstream in the early 1990s.<ref name=AllMusicAltMetal>{{Citation|title=Alternative Metal |work=AllMusic |url={{AllMusic|class=explore|id=style/d2697|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUPHFHt0?url=http://www.allmusic.com/explore/style/d2697 |archive-date=14 February 2011 |url-status=dead}}.</ref> Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like [[Jane's Addiction]] and [[Primus (band)|Primus]] using progressive rock, [[Soundgarden]] and [[Corrosion of Conformity]] using garage punk, [[the Jesus Lizard]] and [[Helmet (band)|Helmet]] mixing [[noise rock]], [[Ministry (band)|Ministry]] and [[Nine Inch Nails]] influenced by [[industrial music]], [[Monster Magnet]] moving into [[psychedelic music|psychedelia]], [[Pantera]], [[Sepultura]] and [[White Zombie (band)|White Zombie]] creating [[groove metal]], while [[Biohazard (band)|Biohazard]], [[Limp Bizkit]] and [[Faith No More]] turned to [[hip hop]] and rap.<ref name=AllMusicAltMetal/>
[[File:Linkin Park @ Sonisphere.jpg|thumb|left|alt=A color photograph of members of the group Linkin Park performing on and outdoor stage|[[Linkin Park]] performing at [[Sonisphere Festival]] in [[Pori]], Finland, in June 2009]]

[[Hip hop]] had gained attention from rock acts in the early 1980s, including [[the Clash]] with "[[The Magnificent Seven (song)|The Magnificent Seven]]" (1980) and Blondie with "[[Rapture (Blondie song)|Rapture]]" (1980).<ref>{{Citation|last=W. Ruhlmann |title=Blondie |work=AllMusic |url=http://www.allmusic.com/artist/blondie-p3703/biography |archive-url=https://web.archive.org/web/20110115085206/http://www.allmusic.com/artist/blondie-p3703/biography |archive-date=15 January 2011 |url-status=dead}}</ref><ref>{{Citation|last=D.A. Guarisco |title=The Clash: The Magnificent Seven |work=AllMusic |url={{AllMusic|class=song|id=t3302362|pure_url=yes}} |archive-url=https://www.webcitation.org/5wUolWTAl?url=http://www.allmusic.com/song/t3302362 |archive-date=14 February 2011 |url-status=dead}}.</ref> Early crossover acts included [[Run DMC]] and the [[Beastie Boys]].<ref name="Sanneh">{{Citation|last=K. Sanneh |title=Rappers Who Definitely Know How to Rock |work=The New York Times |date=3 December 2000 |url=https://query.nytimes.com/gst/fullpage.html?res=9B0DE2DB143DF930A35751C1A9669C8B63 |archive-url=https://archive.today/20120714070757/http://query.nytimes.com/gst/fullpage.html?res=9B0DE2DB143DF930A35751C1A9669C8B63 |archive-date=14 July 2012 |url-status=dead}}</ref> Detroit rapper [[Esham]] became known for his "acid rap" style, which fused rapping with a sound that was often based in rock and heavy metal.<ref name="Keyes">C.L. Keyes, ''Rap Music and Street Consciousness'' (Chicago, IL: University of Illinois Press, 2002), {{ISBN|0-252-07201-4}}, p. 108.</ref><ref>{{Citation|last=W.E. Ketchum III |title=Mayor Esham? What? |journal=Metro Times |date=15 October 2008 |url=http://www2.metrotimes.com/music/story.asp?id=13341 |archive-url=https://web.archive.org/web/20110504013031/http://www2.metrotimes.com/music/story.asp?id=13341 |archive-date=4 May 2011 |url-status=dead}}</ref> Rappers who sampled rock songs included [[Ice-T]], [[the Fat Boys]], [[LL Cool J]], [[Public Enemy (band)|Public Enemy]] and [[Whodini]].<ref name=AMRap-metal>{{Citation|title=Rap-Metal |work=AllMusic |date=15 October 2008 |url=http://www.allmusic.com/explore/style/rap-metal-d2931 |archive-url=https://web.archive.org/web/20120402101828/http://www.allmusic.com/explore/style/d2931 |archive-date=2 April 2012 |url-status=dead}}</ref> The mixing of thrash metal and rap was pioneered by [[Anthrax (American band)|Anthrax]] on their 1987 comedy-influenced single "[[I'm the Man (EP)|I'm the Man]]".<ref name=AMRap-metal/>

In 1990, [[Faith No More]] broke into the mainstream with their single "[[Epic (Faith No More song)|Epic]]", often seen as the first truly successful combination of heavy metal with rap.<ref name=Bogdanov2002FaithNoMore>S. T. Erlewine, et al., "Faith No More", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 388–89.</ref> This paved the way for the success of existing bands like [[24-7 Spyz]] and [[Living Colour]], and new acts including [[Rage Against the Machine]] and [[Red Hot Chili Peppers]], who all fused rock and hip hop among other influences.<ref name=AMRap-metal/><ref name="GriersonRapRock">T. Grierson, [http://rock.about.com/od/rockmusic101/a/raprock.htm "What Is Rap-Rock: A Brief History of Rap-Rock"] {{Webarchive|url=https://web.archive.org/web/20161229171929/http://rock.about.com/od/rockmusic101/a/raprock.htm |date=29 December 2016 }}, ''About.com''. Retrieved 31 December 2008.</ref> Among the first wave of performers to gain mainstream success as rap rock were [[311 (band)|311]],<ref>{{Citation|last=C. Nixon |title=Anything goes |journal=The San Diego Union-Tribune |date=16 August 2007 |url=http://www.signonsandiego.com/uniontrib/20070816/news_lz1w16anythin.html |archive-url=https://web.archive.org/web/20110504011039/http://www.signonsandiego.com/uniontrib/20070816/news_lz1w16anythin.html |archive-date=4 May 2011 |url-status=dead}}</ref> [[Bloodhound Gang]],<ref>{{Citation |last=T. Potterf |title=Turners blurs line between sports bar, dance club |journal=The Seattle Times |date=1 October 2003 |url=https://archive.seattletimes.com/archive/20031001/turners01n/turners-blurs-line-between-sports-bar-dance-club |archive-url=https://web.archive.org/web/20110503233209/http://community.seattletimes.nwsource.com/archive/?date=20031001&slug=turners01n |archive-date=3 May 2011 |url-status=live}}</ref> and [[Kid Rock]].<ref>{{Citation |title=Long Live Rock n' Rap: Rock isn't dead, it's just moving to a hip-hop beat. So are its mostly white fans, who face questions about racial identity as old as Elvis |magazine=Newsweek |date=19 July 1999 |url=https://www.questia.com/read/1G1-55145760 |access-date=7 January 2019 |archive-date=1 February 2022 |archive-url=https://web.archive.org/web/20220201180645/https://www.gale.com/databases/questia |url-status=dead }}</ref> A more metallic sound{{snd}}''nu metal''{{snd}}was pursued by bands including [[Limp Bizkit]], [[Korn]] and [[Slipknot (band)|Slipknot]].<ref name=AMRap-metal/> Later in the decade this style, which contained a mix of grunge, punk, metal, rap and turntable [[scratching]], spawned a wave of successful bands like [[Linkin Park]], [[P.O.D.]] and [[Staind]], who were often classified as rap metal or nu metal, the first of which are the best-selling band of the genre.<ref>L. McIver, ''Nu-metal: The Next Generation of Rock & Punk'' (London, Omnibus Press, 2002), {{ISBN|0-7119-9209-6}}, p. 10.</ref>

In 2001, nu metal reached its peak with albums like Staind's ''[[Break the Cycle]]'', P.O.D's ''[[Satellite (P.O.D. album)|Satellite]]'', Slipknot's ''[[Iowa (album)|Iowa]]'' and Linkin Park's ''[[Hybrid Theory]]''. New bands also emerged like [[Disturbed (band)|Disturbed]], [[Godsmack]] and [[Papa Roach]], whose major label début ''[[Infest (album)|Infest]]'' became a platinum hit.<ref>B. Reesman, "Sustaining the success", ''Billboard'', 23 June 2001, 113 (25), p. 25.</ref> Korn's long-awaited fifth album ''[[Untouchables (album)|Untouchables]]'', and Papa Roach's second album ''[[Lovehatetragedy]]'', did not sell as well as their previous releases, while nu metal bands were played more infrequently on rock radio stations and [[MTV]] began focusing on [[pop punk]] and [[emo]].<ref name=DAngeloMTV>{{Citation|last=J. D'Angelo |title=Will Korn, Papa Roach and Limp Bizkit evolve or die: a look at the Nu Metal meltdown |publisher=MTV |url=http://www.mtv.com/bands/m/metal_meltdown/news_feature_030124/ |archive-url=https://web.archive.org/web/20101221121551/http://www.mtv.com/bands/m/metal_meltdown/news_feature_030124/ |archive-date=21 December 2010 |url-status=dead}}</ref> Since then, many bands have changed to a more conventional hard rock, heavy metal, or electronic music sound.<ref name=DAngeloMTV/>

===Post-Britpop===
{{Main|Post-Britpop}}
[[File:Travis-Wiltern-21Nov2007.jpg|thumb|left|[[Travis (band)|Travis]] in [[Los Angeles]] in November 2007]]
From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it.<ref name=Harris2004>J. Harris, ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock'' (Cambridge MA: Da Capo, 2004), {{ISBN|0-306-81367-X}}, pp. 369–70.</ref><ref>S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, p. 188.</ref> Many of these bands tended to mix elements of British traditional rock (or British trad rock),<ref>{{Citation
 |title=British Trad Rock
 |work=AllMusic
 |url={{AllMusic|class=explore|id=style/d4360|pure_url=yes}}
 |archive-url=https://www.webcitation.org/5wZcbk3d8?url=http://www.allmusic.com/explore/style/british-trad-rock-d4360
 |archive-date=17 February 2011
|url-status=dead
}}.</ref> particularly the Beatles, Rolling Stones and [[Small Faces]],<ref name=Patridis2004>{{Citation|last=A. Petridis |title=Roll over Britpop&nbsp;... it's the rebirth of art rock |work=The Guardian |date=14 February 2004 |url=https://www.theguardian.com/uk/2004/feb/14/rock.pop |archive-url=https://web.archive.org/web/20100625042042/http://www.guardian.co.uk/uk/2004/feb/14/rock.pop |archive-date=25 June 2010 |url-status=dead}}</ref> with American influences, including post-grunge.<ref>{{Citation|last=M. Wilson |title=Stereophonics: You Gotta Go There to Come Back |work=AllMusic |url={{AllMusic|class=album|id=r642565|pure_url=yes}} |archive-url=https://www.webcitation.org/5wV84URWD?url=http://www.allmusic.com/album/r642565 |archive-date=14 February 2011 |url-status=dead}}.</ref><ref name=AllMusicTravis>{{Citation|last=H. Phares |title=Travis |work=AllMusic |url={{AllMusic|class=artist|id=p132643|pure_url=yes}} |archive-url=https://www.webcitation.org/5wV8IkrpP?url=http://www.allmusic.com/artist/p132643 |archive-date=14 February 2011 |url-status=dead}}.</ref> Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centered on British, English and London life and more introspective than had been the case with Britpop at its height.<ref>{{cite book|last=Cloonan |first=Martin |title=Popular Music and the State in the UK: Culture, Trade or Industry? |year=2007 |publisher=Ashgate Publishing |location=Aldershot, England |isbn=978-0-7546-5373-8 |page=21}}</ref><ref>{{Citation|last=A. Begrand |title=Travis: The boy with no name |journal=Pop Matters |date=17 May 2007 |url=http://www.popmatters.com/pm/review/travis-the-boy-with-no-name/ |archive-url=https://web.archive.org/web/20110219023451/http://www.popmatters.com/pm/review/travis-the-boy-with-no-name |archive-date=19 February 2011 |url-status=dead}}</ref> This, beside a greater willingness to engage with the American press and fans, may have helped some of them in achieving international success.<ref name=Dowling2005>{{Citation|last=S. Dowling |title=Are we in Britpop's second wave? |journal=BBC News |date=19 August 2005 |url=http://news.bbc.co.uk/1/hi/entertainment/4745137.stm |archive-url=https://web.archive.org/web/20100317191607/http://news.bbc.co.uk/2/hi/entertainment/4745137.stm |archive-date=17 March 2010 |url-status=dead}}</ref> Several alternative bands that had enjoyed some success during the mid-1990s, but did not find major commercial success until the late 1990s included [[the Verve]] and [[Radiohead]]. After the decline of Britpop they began to gain more critical and popular attention. The Verve's album ''[[Urban Hymns]]'' (1997) was a worldwide hit, and Radiohead achieved near-universal critical acclaim with their experimental third album ''[[OK Computer]]'' (1997), as well as its follow-up ''[[Kid A]]'' (2000).

Post-Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative.<ref>{{Citation|last=A. Petridis |title=And the bland played on |journal=The Guardian |date=26 February 2004 |url=https://www.theguardian.com/music/2004/feb/26/popandrock3 |archive-url=https://web.archive.org/web/20100421164019/http://www.guardian.co.uk/music/2004/feb/26/popandrock3 |archive-date=21 April 2010 |url-status=dead}}</ref> Post-Britpop bands like [[Travis (band)|Travis]] from ''[[The Man Who]]'' (1999), [[Stereophonics]] from ''[[Performance and Cocktails]]'' (1999), [[Feeder (band)|Feeder]] from ''[[Echo Park (album)|Echo Park]]'' (2001), and particularly [[Snow Patrol]] from ''[[Final Straw]]'' (2003), [[Keane (band)|Keane]] from their debut album ''[[Hopes and Fears]]'' (2004), and [[Coldplay]] from their debut album ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000), achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent [[garage rock revival]] and [[post-punk revival]], which has also been seen as a reaction to their introspective brand of rock.<ref name=AllMusicTravis/><ref>M. Roach, ''This Is It-: the First Biography of the Strokes'' (London: Omnibus Press, 2003), {{ISBN|0-7119-9601-6}}, pp. 42, 45.</ref><ref name=AllMusicStereophonics>{{Citation|last=A. Ogg |title=Stereophonics |work=AllMusic |url=http://www.allmusic.com/artist/stereophonics-p225008/biography |archive-url=https://web.archive.org/web/20110121024235/http://www.allmusic.com/artist/stereophonics-p225008/biography |archive-date=21 January 2011 |url-status=dead}}</ref><ref name=AllMusicColdplay>{{Citation|last=A. Leahey |title=Coldplay |work=AllMusic |url=http://www.allmusic.com/artist/coldplay-p435023/biography |archive-url=https://web.archive.org/web/20110114205200/http://www.allmusic.com/artist/coldplay-p435023/biography |archive-date=14 January 2011 |url-status=dead}}</ref><ref>{{cite web |url=https://americansongwriter.com/4-of-the-best-post-britpop-bands-of-all-time/ |title=4 of the Best Post-Britpop Bands of All Time |work=American Songwriter |last=Donovan |first=Thom |date=5 September 2024 |access-date=4 May 2025}}</ref>

===Post-hardcore and emo===
{{Main|Post-hardcore|Emo}}
{{See also|Screamo}}
Post-hardcore developed in the US, particularly in the Chicago and Washington, DC areas, in the early to mid-1980s, with bands that were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer song formats, more complex musical structures and sometimes more melodic vocal styles.<ref name=AMPost-Hardcore>{{Citation|title=Post-hardcore |work=AllMusic |url=http://www.allmusic.com/explore/style/post-hardcore-d12962 |archive-url=https://web.archive.org/web/20110505171528/http://www.allmusic.com/explore/style/post-hardcore-d12962 |archive-date=5 May 2011 |url-status=dead}}</ref>

Emo also emerged from the hardcore scene in 1980s Washington, D.C., initially as "emocore", used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style.<ref name=AllMusicEmo>{{Citation|title=Emo |work=AllMusic |url={{AllMusic|class=explore|id=style/d4525|pure_url=yes}} |archive-url=https://www.webcitation.org/5wWXsBzzX?url=http://www.allmusic.com/explore/style/d4525 |archive-date=15 February 2011 |url-status=dead}}.</ref> The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels.<ref name=AllMusicEmo/> Emo broke into mainstream culture in the early 2000s with the platinum-selling success of [[Jimmy Eat World]]'s ''[[Bleed American]]'' (2001) and [[Dashboard Confessional]]'s ''[[The Places You Have Come to Fear the Most]]'' (2003).<ref name=DeRogatis2003>{{Citation|last=J. DeRogatis |title=True Confessional? |journal=Chicago Sun-Times |date=3 October 2003 |url=http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |archive-url=https://web.archive.org/web/20110501150556/http://www.jimdero.com/News2003/Oct3LiveDashboard.htm |archive-date=1 May 2011 |url-status=dead}}</ref> The new emo had a much more mainstream sound than in the 1990s and a far greater appeal among adolescents than its earlier incarnations.<ref name=DeRogatis2003/> At the same time, use of the term emo expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.<ref>{{Citation |last=H.A.S. Popkin |title=What exactly is 'emo,' anyway? |publisher=MSNBC |date=26 March 2006 |url=https://www.today.com/popculture/what-exactly-emo-anyway-wbna11720603 |access-date=10 November 2019 |archive-date=7 August 2017 |archive-url=https://web.archive.org/web/20170807164925/http://www.today.com/popculture/what-exactly-emo-anyway-wbna11720603 |url-status=live }}</ref> By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts.{{citation needed|date=April 2017}} A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of [[screamo]].<ref name=AMScreamo>{{Citation | title = Screamo | journal = AllMusic |url=http://www.allmusic.com/explore/style/screamo-d13459 | access-date = 25 May 2011 | archive-date = 21 March 2012 | archive-url=https://web.archive.org/web/20120321210803/http://www.allmusic.com/explore/style/screamo-d13459 | url-status = dead }}</ref>

===Garage rock and post-punk revivals===
{{Main|Garage rock revival|Post-punk revival}}
[[File:TheStrokes.jpg|thumb|alt=a color photograph of members of the group the Strokes performing on stage|[[The Strokes]] performing in March 2006]]
In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or [[New Wave revival]].<ref>{{Citation|last=H. Phares |title=Franz Ferdinand: Franz Ferdinand (Australia Bonus CD) |work=AllMusic |url={{AllMusic|class=album|id=r690093|pure_url=yes}} |archive-url=https://www.webcitation.org/5wXTt4hOr?url=http://www.allmusic.com/album/franz-ferdinand-australia-bonus-cd-r690093/review |archive-date=16 February 2011 |url-status=dead}}.</ref><ref>J. DeRogatis, ''Turn on your Mind: Four Decades of Great Psychedelic Rock'' (Milwaukee, WI: Hal Leonard Corporation, 2003), {{ISBN|0-634-05548-8}}, p. 373.</ref><ref>{{Citation|title=New Wave/Post-Punk Revival |work=AllMusic |url={{AllMusic|class=explore|id=style/d13761|pure_url=yes}} |archive-url=https://www.webcitation.org/5wXTJhkeb?url=http://www.allmusic.com/explore/style/d13761 |archive-date=16 February 2011 |url-status=dead}}.</ref><ref>M. Roach, ''This Is It-: the First Biography of the Strokes'' (London: Omnibus Press, 2003), {{ISBN|0-7119-9601-6}}, p. 86.</ref> Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.<ref>E.J. Abbey, ''Garage Rock and its Roots: Musical Rebels and the Drive for Individuality'' (Jefferson, NC: McFarland, 2006), {{ISBN|0-7864-2564-4}}, pp. 108–12.</ref> There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s; by 2000, scenes had grown up in several countries.<ref>P. Simpson, ''The Rough Guide to Cult Pop'' (London: Rough Guides, 2003), {{ISBN|1-84353-229-8}}, p. 42.</ref>

The commercial breakthrough from these scenes was led by four bands: [[the Strokes]], who emerged from the New York club scene with their debut album ''[[Is This It]]'' (2001); [[the White Stripes]], from Detroit, with their third album ''[[White Blood Cells (album)|White Blood Cells]]'' (2001); [[the Hives]] from Sweden after their compilation album ''[[Your New Favourite Band]]'' (2001); and [[The Vines (band)|the Vines]] from Australia with ''[[Highly Evolved]]'' (2002).<ref>P. Buckley, ''The Rough Guide to Rock'' (London: Rough Guides, 3rd edn., 2003), {{ISBN|1-84353-105-4}}, pp. 498–99, 1024–26, 1040–41, 1162–64.</ref> They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.<ref>{{cite book|last=Smith |first=Chris |title=101 Albums That Changed Popular Music |year=2009 |publisher=Oxford University Press |location=Oxford, UK |isbn=978-0-19-537371-4 |page=240}}</ref> A second wave of bands that gained international recognition due to the movement included [[Black Rebel Motorcycle Club]], [[Yeah Yeah Yeahs]], [[the Killers]], [[Interpol (band)|Interpol]] and [[Kings of Leon]] from the US,<ref>S.J. Blackman, ''Chilling Out: the Cultural Politics of Substance Consumption, Youth and Drug Policy'' (Maidenhead: McGraw-Hill International, 2004), {{ISBN|0-335-20072-9}}, p. 90.</ref> [[the Libertines]], [[Arctic Monkeys]], [[Bloc Party]], [[Editors (band)|Editors]], [[Kaiser Chiefs]] and [[Franz Ferdinand (band)|Franz Ferdinand]] from the UK,<ref>{{cite book|last1=Else |first1=David |last2=Attwooll |first2=Jolyon |last3=Beech |first3=Charlotte |last4=Berry |first4=Oliver |last5=Dunford |first5=George |last6=Symington |first6=Andy |display-authors=1 |title=Lonely Planet Great Britain |year=2007 |edition=7th |publisher=Lonely Planet |location=London, UK |isbn=978-1-74104-565-9 |page=75}}</ref> [[Jet (band)|Jet]] and [[Wolfmother]] from Australia,<ref>{{cite book|last1=Smitz |first1=Paul |title=Lonely Planet Australia |year=2005 |edition=14th |publisher=Lonely Planet |location=[[Footscray, Victoria]] |isbn=978-1-74059-740-1 |page=58}}</ref> and [[the Datsuns]] and [[the D4]] from New Zealand.<ref>{{cite book|last1=Rawlings-Way |first1=Charles |last2=Bennett |first2=Sarah |last3=Dragicevich |first3=Peter |last4=Hunt |first4=Errol |last5=Atkinson |first5=Brett |display-authors=1 |title=Lonely Planet New Zealand |year=2008 |edition=14th |publisher=Lonely Planet |location=Footscray, Victoria |isbn=978-1-74104-816-2 |page=52}}</ref>

===Digital electronic rock===
{{Main|Electronic rock}}
{{See also|Laptronica|Indietronica|Electroclash|Dance-punk|New rave|Synth-pop}}
In the 2000s, as computer technology became more accessible and [[music software]] advanced, it became possible to create high quality music using little more than a single laptop computer.<ref name="S. Emmerson, 2007 pp. 80-1">{{cite book|last=Emmerson |first=Simon |title=Living Electronic Music |year=2007 |publisher=Ashgate Publishing |location=Aldershot, England |isbn=978-0-7546-5548-0 |pages=80–81}}</ref> This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet,<ref>R. Shuker, ''Popular Music: the Key Concepts'' (Abingdon: Routledge, 2nd edn., 2005), {{ISBN|0-415-34770-X}}, pp. 145–48.</ref> and new forms of performance such as [[laptronica]]<ref name="S. Emmerson, 2007 pp. 80-1"/> and [[live coding]].<ref>{{harvnb|Emmerson|2007|p=115}}</ref> These techniques also began to be used by existing bands and by developing genres that mixed rock with digital techniques and sounds, including [[indie electronic]], [[electroclash]], [[dance-punk]] and [[new rave]].{{citation needed|date=February 2017}}

===Metalcore===
{{Main|Metalcore}}
Metalcore is a broadly defined<ref>{{cite book|last1=Kennedy |first1=Scott |title=Functions of Genre in Metal and Hardcore Music |publisher=University of Hull |date=January 2018 |pages=56–57 |quote=The consciously hybrid nature of metalcore resulted initially in a somewhat amorphous version of the genre. Commentary on metalcore of the 1990s tends to construct the genre as stylistically indistinct, referring to a general mixing of metal and hardcore that variously incorporates elements of hardcore, crossover, thrash metal, groove metal, and death metal. Berelian’s wideranging conception of metalcore includes artists as dissimilar as Sick of It All, The Dillinger Escape Plan, and Mastodon (2005, p. 223), grouped as such primarily (it would seem) as a result of each artist mixing elements drawn from various metal/hardcore genres. A more stable interpretation of metalcore emerged during the New Wave of American Heavy Metal period that codified metalcore into a recognisable form (the subject of chapter six) with identifiable style characteristics. A product of metal/hardcore symbiosis, metalcore’s overt hybridity is also conspicuous in the related genres of mathcore and deathcore, both of which amalgamate aspects of diverse metal/hardcore genres.}}</ref> fusion genre combining elements of [[extreme metal]] and [[hardcore punk]], that originated in the late 1980s. Metalcore is noted for its use of [[Breakdown (music)|breakdowns]], which are slow, intense passages conducive to [[moshing]], while other defining instrumentation includes heavy and [[percussive]] [[pedal point]] [[guitar riff]]s and [[double bass drumming]]. In the late 1980s to early 1990s, pioneering bands such as [[Integrity (band)|Integrity]], [[Earth Crisis]] and [[Converge (band)|Converge]], whose hardcore punk-leaning style is sometimes referred to as '''metallic hardcore''',<ref>{{cite journal |last1=Bennett |first1=J |title=Converge's "Jane Doe" |journal=[[Revolver (magazine)|Revolver]] |date=June 2008}}</ref> were founded. These bands took influence from a range of styles and genres such as hardcore punk, [[thrash metal]] and [[death metal]]. During the decade, the genre diversified, with Converge, [[the Dillinger Escape Plan]], [[Botch (band)|Botch]] and [[Coalesce (band)|Coalesce]] pioneering [[mathcore]], while [[Overcast (band)|Overcast]], [[Shadows Fall]] and [[Darkest Hour (band)|Darkest Hour]] merged the genre with [[melodic death metal]] to create [[melodic metalcore]]. During the early 2000s, melodic metalcore bands such as <!-- DO NOT name-drop your favorite band here; following groups are all this section needs --> [[Killswitch Engage]], [[All That Remains (band)|All That Remains]], [[Trivium (band)|Trivium]], [[As I Lay Dying (band)|As I Lay Dying]], [[Atreyu]], [[Bullet for My Valentine]] and [[Parkway Drive]] found mainstream popularity. In the subsequent years, the genre saw increased success through [[social networking]] on [[Myspace]] and [[internet meme]]s such as [[crabcore]]. During this time, artists began to draw influence from a wide variety of sources, which led to genre cultivating a plethora of fusion genres including [[electronicore]], [[deathcore]], [[Nintendocore]], [[progressive metalcore]] and [[nu metalcore]]. 

In the 2010s and through to the 2020s, the genre saw even greater commercial success, with albums by [[Bring Me the Horizon]], [[Architects (British band)|Architects]], [[Asking Alexandria]], [[the Devil Wears Prada (band)|the Devil Wears Prada]] and [[Of Mice & Men (band)|Of Mice & Men]] penetrating the top 10 of international albums charts. Formed in 2015, [[Bad Omens]]' third album ''[[The Death of Peace of Mind]]'' (2022) was the band's commercial breakthrough after viral success of the album's second single "[[Just Pretend (Bad Omens song)|Just Pretend]]" on TikTok<ref name="Hill, 2023">{{cite web |last1=Hill |first1=Stephen |title=No one expected Bad Omens to become the biggest metalcore band in a generation. So what the hell is going on? |url=https://www.loudersound.com/features/no-one-expected-bad-omens-to-become-the-biggest-metalcore-band-in-a-generation-so-what-the-hell-is-going-on |website=[[Metal Hammer]] |date=17 March 2023 |access-date=1 September 2023}}</ref> which then topped the ''Billboard'' Mainstream Rock chart.<ref>{{cite magazine |title=Chart History Bad Omens |magazine=[[Billboard (magazine)|Billboard]] |url=https://www.billboard.com/artist/bad-omens/chart-history/rtt/ |access-date=1 September 2023}}</ref> Bring Me the Horizon's ''[[Post Human: Survival Horror]]'' (2020)<ref>{{cite web |title=Official Albums Charton 29/1/2021 29 January 2021 - 4 February 2021 |website=[[Official Charts Company|Official Charts]] |url=https://www.officialcharts.com/charts/albums-chart/20210129/7502/ |access-date=1 September 2023}}</ref> and Architects' ''[[For Those That Wish to Exist]]'' (2021) both also reached number one in the UK album charts.<ref>{{cite web |last1=Loftin |first1=Steven |title=The Ongoing Legacy of Architects |url=https://www.thelineofbestfit.com/features/interviews/architects-ongoing-legacy |access-date=31 August 2023}}</ref>