Editing Indie rock (section)

====Diversification====
[[Sunny Day Real Estate]]'s debut album, ''[[Diary (Sunny Day Real Estate album)|Diary]]'' (1994), began a new wave of the [[emo]] genre, by incorporating elements of it into their indie rock sound.<ref name="Cateforis 2013">{{cite book |last1=Cateforis |first1=Theo |title=The Rock History Reader |date=2013 |publisher=[[Routledge]] |page=354|quote=The DC emo scene exploded and became excessively popular amongst the underground. However, it fizzled out almost as fast as it had begun.<br>In the early 90's, two new bands, Sunny Day Real Estate and Jawbreaker, started the new wave of emo music. SDRE started the "post indie emo" genre. Bands that can be categorized under this genre could be Texas Is The Reason, Taking Back Sunday, Mineral and other music following those lines, that are often confused for emo.}}</ref> Sunny Day Real Estate and other second wave emo bands, including [[Piebald (band)|Piebald]], [[the Promise Ring]] and [[Cap'n Jazz]] distanced emo from its hardcore roots and allowed the genre to develop a much more realised scene than its first wave.<ref name="Connick" /> 

This style of 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]]'' (2001).<ref name=DeRogatis2003p373-4>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> One particularly notable scene during this wave was the [[Midwest emo]] bands of the latter half of the decade, who incorporated the jangly guitar tones of earlier indie rock and elements of [[math rock]] to create the distinctive style of groups like [[American Football (band)|American Football]].<ref name="Connick">{{cite web |last1=Connick |first1=Tom |title=The beginner's guide to the evolution of emo |url=https://www.nme.com/blogs/nme-blogs/emo-wave-guide-evolution-2302802 |website=[[Alternative Press (magazine)|Alternative Press]] |date=30 April 2018 |access-date=18 June 2023}}</ref> The popularity of emo, also allowed a number of "not-quite-indie-not-quite-emo" bands like [[Death Cab For Cutie]], [[Modest Mouse]] and [[Karate (band)|Karate]] to gain significant attention.<ref>{{cite web |last1=Mair |first1=Rob |title=The Van Pelt – Artisans & Merchants |date=15 March 2023 |url=https://upsetmagazine.com/reviews/albums/the-van-pelt-artisans-merchants/ |access-date=18 June 2023}}</ref>

The loosely defined [[Elephant 6]] collective – which included [[the Apples in Stereo]], [[Beulah (band)|Beulah]], [[Circulatory System (band)|Circulatory System]], [[Elf Power]], [[the Minders]], [[Neutral Milk Hotel]], [[of Montreal]] and [[the Olivia Tremor Control]] – merged indie rock with [[psychedelic pop]]. ''[[Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981–1996|Gimme Indie Rock]]'' author Andrew Earles stated that the collective, namely Neutral Milk Hotel on ''[[On Avery Island]]'' (1996), "helped keep the genre artistically relevant while other bands defected and other underground styles rose to prominence".<ref>{{cite book |last1=Earles |first1=Andrew |title=Gimme Indie Rock 500 Essential American Underground Rock Albums 1981-1996 |title-link=Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981–1996 |date=15 September 2014 |publisher=Voyageur Press |page=219 |quote=Though overshadowed by Neutral Milk Hotel's 1998 breakthrough album, In the Aeroplane Over the Sea, the band's debut from a couple of years earlier is no small feat of mid-'90s indie rock, and it helped keep the genre artistically relevant while other bands defected and other underground styles rose to prominence in the latter half of the decade. One of the best early transmissions from the Elephant 6 collective of indie-psych-pop bands, On Avery Island is a collection of songs written by bandleader Jeff Mangum, recorded on a four-track reel-to-reel, and accompanied by a different backing band than the one that would fill out the legendary lineup heard on NMH's second release.}}</ref><ref>{{cite web |last1=Shook Jr |first1=Lee M. |title=Interstellar Pop Underground: A History of the Elephant 6 Collective |url=https://www.pastemagazine.com/music/interstellar-pop-underground-a-history-of-the-elep |website=[[Paste (magazine)|Paste]] |access-date=18 June 2023}}</ref>

Indie electronic or indietronica<ref>{{Cite web|url=https://www.wearetheguard.com/music/indie-electronic|title=Indie Electronic|website=WeAreTheGuard.com}}</ref> covers rock-based artists who share an affinity for electronic music, using samplers, synthesizers, drum machines, and computer programs.<ref name=AMGO>{{cite web|url=https://www.allmusic.com/style/indie-electronic-ma0000012275|title=Indie Electronic – Significant Albums, Artists and Songs|work=AllMusic}}</ref> Less a style and more a categorization, it describes an early 1990s trend of acts who followed in the traditions of early electronic music (composers of the [[BBC Radiophonic Workshop]]), [[krautrock]] and [[synth-pop]].<ref name=AMGO/> Progenitors of the genre were English bands [[Disco Inferno (band)|Disco Inferno]], [[Stereolab]], and [[Space (UK band)|Space]].<ref name=AMGO/> Most musicians in the genre can be found on independent labels like [[Warp (record label)|Warp]], [[Morr Music]], [[Sub Pop]] or [[Ghostly International]].<ref name=AMGO/>

[[Space rock]] took the [[psychedelic rock]], [[ambient music]] influence of [[Pink Floyd]] and [[Hawkwind]] and incorporated them into an indie rock context. The style began with [[Spacemen 3]] in the 1980s, with later groups including [[Spiritualized]], [[Flying Saucer Attack]], [[Godspeed You! Black Emperor]] and [[Quickspace]].<ref>{{Citation|title=Space rock |journal=Allmusic |url=https://www.allmusic.com/explore/style/space-rock-d2784 |archive-url=https://archive.today/20200213193714/https://www.webcitation.org/5wUOtn84J?url=http://www.allmusic.com/explore/style/d2784 |archive-date=13 February 2020 |url-status=dead }}.</ref>

As Britpop waned towards the end of the decade, [[post-Britpop]] took hold within the UK's indie rock scene.<ref>{{cite book |last1=Moore |first1=Allan F |last2=Martin |first2=Remy |title=Rock: The Primary Text Developing a Musicology of Rock |date=28 September 2018 |publisher=[[Taylor & Francis]] |quote=The styles performed by post-Britpop bands are often condensed down to the single label 'indie rock', which contains a myriad of young British artists with varying influences from punk, grunge, folk and electronic dance music. Critics are keen to characterise its key players as taking part in a post-punk revival, but the constellation of stylistic influences which span this musical world are diverse indeed. The fresh face of this music, which began to appear around the turn of the millennium, remains a fairly significant commercial force (Harris 2003). It was likely the best known face of}}</ref>
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'' (Da Capo Press, 2004), {{ISBN|0-306-81367-X}}, pp. 369–70.</ref><ref name=Borhwick&Moy2004>S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, p. 188.</ref> After the decline of Britpop they began to gain more critical and popular attention.<ref name=Harris2004/> [[The Verve]]'s album ''[[Urban Hymns]]'' (1997) was a worldwide hit and their commercial peak before they broke up in 1999, while [[Radiohead]]{{spaced ndash}} although having achieved moderate recognition with ''[[The Bends (album)|The Bends]]'' in 1995{{spaced ndash}} achieved near-universal critical acclaim with their experimental third album ''[[OK Computer]]'' (1997), and its follow-ups ''[[Kid A]]'' (2000) and ''[[Amnesiac (album)|Amnesiac]]'' (2001).<ref name=Bogdanov2002Radiohead&Verve>V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, pp. 911 and 1192.</ref> [[Stereophonics]], used elements of a post-grunge and hardcore on their breakthrough albums ''[[Word Gets Around]]'' (1997) and ''[[Performance and Cocktails]]'' (1999), before moving into more melodic territory with ''[[Just Enough Education to Perform]]'' (2001) and subsequent albums.<ref name=Bogdanov2002Stereophonics>V. Bogdanov, C. Woodstra and S. T. Erlewine, ''All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul'' (Backbeat Books, 3rd edn., 2002), {{ISBN|0-87930-653-X}}, p. 1076.</ref><ref name=AllMusicStereophonics>[{{AllMusic|class=artist|id=p225008|pure_url=yes}} "Stereophonics"], ''Allmusic'', retrieved 3 January 2010.</ref>

[[Feeder (band)|Feeder]], who were initially more influenced by American post-grunge, producing a hard rock sound that led to their breakthrough single "[[Buck Rogers (song)|Buck Rogers]]" and the album ''[[Echo Park (album)|Echo Park]]'' (2001).<ref>[{{AllMusic|class=artist|id=p224868|pure_url=yes}} "Feeder"], ''Allmusic'', retrieved 3 December 2010.</ref> After the death of their drummer [[Jon Lee (drummer)|Jon Lee]], they moved to a more reflective and introspective mode on ''[[Comfort in Sound]]'' (2002), their most commercially successful album to that point, which spawned a series of hit singles.<ref>[{{AllMusic|class=album|id=r640675|pure_url=yes}} "Feeder: Comfort in Sound"], ''Allmusic'', retrieved 3 December 2010.</ref>

The most commercially successful band in the millennium were [[Coldplay]], whose first two albums ''[[Parachutes (Coldplay album)|Parachutes]]'' (2000) and ''[[A Rush of Blood to the Head]]'' (2002) went [[Music recording sales certification|multi-platinum]], establishing them as one of the most popular acts in the world by the time of their third album ''[[X&Y]]'' (2005).<ref name=AllMusicColdplay>[{{AllMusic|class=artist|id=coldplay-p435023|pure_url=yes}} "Coldplay"], ''Allmusic'', retrieved 3 December 2010.</ref><ref>{{Citation |author=Stephen M. Deusner |date=1 June 2009 |title=Coldplay LeftRightLeftRightLeft |journal=Pitchfork |url=http://pitchfork.com/reviews/albums/13074-leftrightleftrightleft/ |access-date=25 July 2011 }}.</ref> Snow Patrol's "[[Chasing Cars]]" (from their 2006 album ''[[Eyes Open (Snow Patrol album)|Eyes Open]]'') is the most widely played song of the 21st century on UK radio.<ref>{{cite news |url=https://www.bbc.co.uk/news/entertainment-arts-49008689|title=And the most-played song on UK radio is... Chasing Cars by Snow Patrol |work=[[BBC News]]|date=17 July 2019|access-date=17 July 2019}}</ref>