Editing Indie rock (section)

===Mainstream success: 2000s===
====Post-punk and garage rock revival====
{{Main|Post-punk revival|Garage rock revival}}
[[File:The Strokes by Roger Woolman.jpg|thumb|[[The Strokes]] are one of the most influential bands to indie rock in the 2000s.]]
The mainstream attention which indie rock garnered in the 2000s began with [[the Strokes]] and their 2001 debut album ''[[Is This It]]''. Playing a style indebted to '60s-70s bands like [[the Velvet Underground]] and [[the Ramones]], the band's intention musically was to sound like "a band from the past that took a time trip into the future to make their record."<ref name="Indie88">{{cite web |title=Indie Anthology: The Strokes release their influential debut album 'Is This It' |date=19 September 2022 |url=https://indie88.com/indie-anthology-the-strokes-debut-is-this-it/ |publisher=[[CIND-FM]] |access-date=16 June 2023}}</ref> The album peaked at number thirty-three in the United States, staying in the charts for two additional years and debuted at number two on the [[UK albums chart]].<ref name="Indie88" /><ref>{{cite web |last1=Daly |first1=Rhian |title=The Strokes' world-changing 'Is This It' at 20: "They had a 'last gang in town' mentality" |url=https://www.nme.com/features/music-features/the-strokes-is-this-it-at-20-years-anniversary-3006402 |website=[[NME]] |date=30 July 2021 |access-date=16 June 2023}}</ref> When the Strokes made their commercial debut, the public perception of "rock music" was based in [[post-grunge]], [[nu metal]] and [[rap rock]], putting their throwback style of [[garage rock]] as a stark contrast to the mainstream. The band's immediate influence allowed fellow classic rock influenced New York bands like the [[Yeah Yeah Yeahs]], [[Interpol (band)|Interpol]] and [[TV on the Radio]] to gain mainstream attention.<ref name="Golsen 2022">{{cite web |last1=Golsen |first1=Tyler |title=Is This It' at 20: How The Strokes changed music forever |date=30 July 2021 |url=https://faroutmagazine.co.uk/how-the-strokes-album-is-this-it-changed-music-forever/ |access-date=16 June 2023}}</ref> The Strokes were accompanied in this commercial breakthrough by [[the White Stripes]], [[The Vines (band)|the Vines]], and [[the Hives]]. These groups were christened by parts of the media as the "The" bands, and dubbed "the saviours of rock 'n' roll",<ref name=Smith2009>C. Smith, ''101 Albums That Changed Popular Music'' (Oxford: Oxford University Press, 2009), {{ISBN|0-19-537371-5}}, p. 240.</ref> prompting ''[[Rolling Stone]]'' magazine to declare on its September 2002 cover, "Rock is Back!"<ref name=Youngs2002>{{Citation| last = I. Youngs| title = New bands race for rock stardom| publisher = BBC News| date = 22 October 2002| url = http://news.bbc.co.uk/1/hi/entertainment/2346791.stm| archive-url = https://web.archive.org/web/20090104075622/http://news.bbc.co.uk/2/hi/entertainment/2346791.stm| archive-date = 4 January 2009| url-status = dead| df = mdy-all}}.</ref>

[[File:The Libertines (40466665072).jpg|thumb|[[The Libertines]] were described by [[AllMusic]] as "one of the U.K.'s most influential 21st century acts".]]
The success of the Strokes revitalised the then-dying underground post-Britpop scene in the United Kingdom with groups who took the band's influence and experimented with their sound. This first wave of UK acts included [[Franz Ferdinand (band)|Franz Ferdinand]], [[Kasabian]], [[Maxïmo Park]], [[the Cribs]], [[Bloc Party]], [[Kaiser Chiefs]] and [[the Others (band)|the Others]].<ref name=":0" /> However, [[the Libertines]], who formed in 1997, stood as the UK's counterpoint to the Strokes, being described by [[AllMusic]] as "one of the U.K.'s most influential 21st century acts"<ref name="Phares, AllMusic">{{cite web |last1=Phares |first1=Heather |title=Biography: the Libertines |url=https://www.allmusic.com/artist/the-libertines-mn0000080649/biography |website=[[AllMusic]] |access-date=16 June 2023}}</ref> and ''[[The Independent]]'' stating that "the Libertines wanted to be an important band, but they could not have predicted the impact they would have".<ref name=independent0703>{{cite news|url=https://www.independent.co.uk/arts-entertainment/music/features/after-the-libertines-what-todays-bands-owe-carl-and-pete-439391.html|archive-url=https://web.archive.org/web/20080608030141/http://www.independent.co.uk/arts-entertainment/music/features/after-the-libertines-what-todays-bands-owe-carl-and-pete-439391.html|url-status=dead|archive-date=8 June 2008|title=After The Libertines: What today's bands owe Carl and Pete|access-date=27 February 2008|author=Thornton, Anthony |author-link=Anthony Thornton (writer)|date=9 March 2007|work=[[The Independent]] | location=London}}</ref> Influenced by [[the Clash]], [[the Kinks]], [[the Smiths]] and [[the Jam]],<ref name="Phares, AllMusic" /> the band's style of tinny, high register, sometimes acoustic, guitar parts topped by lyrics of British [[Parochialism|parochial]] pleasures in the vocalists' authentic English accents became widely imitated.<ref name=independent0703 /> [[The Fratellis]], [[the Kooks]], and [[the View (band)|the View]] were three such acts to gain significant commercial success, although the most prominent post-Libertines band was Sheffield's [[Arctic Monkeys]].<ref name=independent0703 /> One of the earliest groups to owe their initial commercial success to the use of [[Internet social network]]ing,<ref>A. Goetchius, ''Career Building Through Social Networking'' (Rosen, 2007), {{ISBN|1-4042-1943-9}}, pp. 21–2.</ref> the Arctic Monkeys had two No. 1 singles, and their album ''[[Whatever People Say I Am, That's What I'm Not]]'' (2006) became the fastest-selling debut album in British chart history.<ref>{{citation |last=A. Kumi |url=https://www.theguardian.com/arts/news/story/0,,1698025,00.html |work=The Guardian |title=Arctic Monkeys make chart history |date=30 January 2006 |archive-url=https://web.archive.org/web/20110823024750/http://www.guardian.co.uk/uk/2006/jan/30/arts.artsnews |archive-date=23 August 2011 |url-status=dead }}</ref>

In this success, legacy indie bands soon entered the mainstream,<ref name=Spitz2010>M. Spitz, [https://books.google.com/books?id=yqmlNOuYQdEC&pg=PA95 "The 'New Rock Revolution' fizzles"], May 2010, ''Spin'', vol. 26, no. 4, ISSN 0886-3032, p. 95.</ref> including Modest Mouse (whose 2004 album ''[[Good News for People Who Love Bad News]]'' reached the US top 40 and was nominated for a [[Grammy]] Award), [[Bright Eyes (band)|Bright Eyes]] (who in 2004 had two singles at the top of the Billboard magazine [[Hot 100 Single Sales]])<ref>{{Citation|last=J. Arndt |title=Bright Eyes Sees Double |journal=Soul Shine Magazine |date=23 November 2004 |url=http://www.soulshine.ca/news/newsarticle.php?nid=1293 |archive-url=https://web.archive.org/web/20110514021037/http://www.soulshine.ca/news/newsarticle.php?nid=1293 |archive-date=14 May 2011 |url-status=dead }}.</ref> and Death Cab for Cutie (whose 2005 album ''[[Plans (album)|Plans]]'' debuted at number four in the US, remaining on the Billboard charts for nearly one year and achieving platinum status and a Grammy nomination).<ref>{{Citation|last=A. Leahey |title=Death Cab for Cutie: Biography |journal=Allmusic |url=https://www.allmusic.com/artist/death-cab-for-cutie-p365455/biography |archive-url=https://web.archive.org/web/20110424203425/http://www.allmusic.com/artist/death-cab-for-cutie-p365455/biography |archive-date=24 April 2011 |url-status=dead }}.</ref> This new commercial breakthrough and the widespread use of the term indie to other forms of popular culture, led a number of commentators to suggest that indie rock had ceased to be a meaningful term.<ref>{{Citation|last=K. Korducki |title=Is indie rock dead? |journal=The Varsity |date=17 July 2007 |url=http://thevarsity.ca/articles/99 |archive-url=https://web.archive.org/web/20110916134124/http://thevarsity.ca/articles/99 |archive-date=16 September 2011 |url-status=dead }}.</ref><ref>{{Citation|last=R. Maddux |title=Is Indie Dead? |journal=Paste Magazine.com |date=26 January 2010 |url=https://www.pastemagazine.com/articles/2010/01/is-indie-dead.html |archive-url=https://web.archive.org/web/20110403102612/http://www.pastemagazine.com/articles/2010/01/is-indie-dead.html |archive-date=3 April 2011 |url-status=dead }}.</ref>

Additionally, a second wave of bands emerged in the United States that managed to gain international recognition as a result of the movement included [[the Black Keys]], [[Kings of Leon]], [[the Shins]], [[the Bravery]], [[Spoon (band)|Spoon]], [[the Hold Steady]], and [[the National (band)|the National]].<ref name=DeRogatis2003p373-4/> The most commercially successful band of this wave was Las Vegas' [[the Killers]]. Formed in 2001, after hearing ''Is This It'', the band scrapped the majority of their prior material to rewrite it under the Strokes' influence.<ref>{{cite web|url=https://www.nme.com/news/music/the-strokes-talk-the-killers-rivalry-2072222|title=The Strokes talk about their rivalry with The Killers|first=Luke Morgan|last=Britton|date=15 May 2017|work=[[NME]]|access-date=25 June 2019}}</ref> The band's debut single "[[Mr. Brightside]]" spent 260 non-consecutive weeks, or five years, on the [[UK Singles Chart]] as of April 2021, the most out of any song,<ref name="copsey">{{cite web|url=https://www.officialcharts.com/chart-news/the-killers-mr-brightside-claims-record-breaking-260th-week-exactly-five-years-on-the-official-singles-chart-top-100__32800/|title=The Killers' Mr Brightside claims record-breaking 260th week – exactly five years – on the Official Singles Chart Top 100|last=Copsey|first=Rob|publisher=Official Charts Company|date=1 April 2021|access-date=2 April 2021}}</ref><ref name="moore">{{cite web|url=https://www.nme.com/news/music/the-killers-set-new-uk-chart-record-with-mr-brightside-2912306|title=The Killers set new UK chart record with 'Mr. Brightside'|last=Moore|first=Sam|website=NME|date=1 April 2021|access-date=2 April 2021}}</ref> and {{As of|2017}}, it had charted on the UK Singles Chart in 11 of the last 13 years,<ref>{{cite news |url=https://www.npr.org/2017/06/04/530079710/mr-brightside-will-never-die-and-heres-why |title='Mr. Brightside' Will Never Die, And Here's Why |first=Stephen |last=Thompson |date=4 June 2017 |work=NPR Music}}</ref> including a 35-week run peaking at number 49 in 2016–2017.<ref name="MetChart">{{cite web |last1=Westbrook |first1=Caroline |title=Mr Brightside by The Killers has been in the UK charts every year since 2004 |url=http://metro.co.uk/2017/05/20/mr-brightside-by-the-killers-has-been-in-the-uk-charts-every-year-since-2004-6650448/ |work=Metro |date=20 May 2017 |access-date=31 May 2017}}</ref> Furthermore, it was the UK's most streamed pre-2010 song, until it was surpassed in late 2018,<ref>{{citation |title=(What's The Story) Morning Glory? [Remastered] |date=2 October 1995 |url=https://open.spotify.com/album/1VW1MFNstaJuygaoTPkdCk |language=en |access-date=16 November 2018}}</ref> and continued to be purchased for download hundreds of times a week by 2017.<ref name="200weeks"/> In March 2018, the song reached the milestone of staying in the Top 100 of the UK Singles Chart for 200 weeks.<ref name="200weeks">{{cite web |url=http://www.officialcharts.com/chart-news/why-the-killers-mr-brightside-refuses-to-leave-the-official-singles-chart-top-100__19190/ |title=Why The Killers' Mr Brightside refuses to leave the Official Singles Chart Top 100 |date=16 March 2018 |first=Rob|last=Copsey |work=Official Charts Company}}</ref>

====Proliferation====
[[File:Alex Turner and Nick O'Malley Roskilde 2014.jpg|thumb|150px |[[Arctic Monkeys]] are one of the most commercially successful indie rock bands.]]
The impact of the Strokes, the Libertines and Bloc Party led to significant major label interest in indie rock artists, which was then exacerbated by the success of the Arctic Monkeys. In the years following ''Whatever People Say I Am, That's What I'm Not'' there was a proliferation of bands such as [[the Rifles (band)|the Rifles]], [[the Pigeon Detectives]] and [[Milburn (band)|Milburn]], who created a more formulaic derivative of the earlier acts.<ref name="vice.com">{{Cite web |last1=Akinfenwa |first1=Jumi |last2=Joshi |first2=Tara |last3=Garland |first3=Emma |date=27 August 2020 |title=The Top 50 Greatest Landfill Indie Songs of All Time |url=https://www.vice.com/en/article/the-top-50-greatest-landfill-indie-songs-of-all-time/ |url-status=live |archive-url=https://web.archive.org/web/20221111203505/https://www.vice.com/en/article/bv8a8w/the-top-50-greatest-landfill-indie-songs-of-all-time |archive-date=11 November 2022 |website=Vice}}</ref><ref name=":0">{{Cite web|url=https://www.nme.com/features/landfill-indie-snobbery-2741199|title=The term 'landfill indie' is nothing but musical snobbery|website=Nme.com|date=1 September 2020}}</ref> By the end of the decade, critics had taken to referring to this wave of acts as "landfill indie",<ref>{{Cite web|last=Power|first=Ed|date=28 July 2019|title=How landfill indie swallowed guitar music in the mid-Noughties|url=https://www.independent.co.uk/arts-entertainment/music/features/landfill-indie-kaiser-chiefs-album-razorlight-kooks-ricky-wilson-a9022051.html|access-date=29 August 2020|website=Independent.co.uk|language=en}}</ref><ref name="Beaumont 2020">{{Cite web|last=Beaumont|first=Mark|date=4 May 2020|title=From Britpop to 'landfill indie', lockdown forces us to face our musical pasts|url=https://www.nme.com/blogs/britpop-landfill-indie-razorlight-nostalgia-2658671|access-date=29 August 2020|website=Nme.com|language=en-GB}}</ref><ref name="T. Walker">{{Citation |last=T. |first=Walker |title=Does the world need another indie band? |date=21 January 2010 |url=https://www.independent.co.uk/arts-entertainment/music/features/does-the-world-need-another-indie-band-870520.html |journal=Independent  |archive-url=https://web.archive.org/web/20100304122059/http://www.independent.co.uk/arts-entertainment/music/features/does-the-world-need-another-indie-band-870520.html |archive-date=4 March 2010 |url-status=dead}}.</ref> a description coined by [[Andrew Harrison (journalist)|Andrew Harrison]] of ''[[the Word (UK magazine)|the Word]]'' magazine.<ref>{{Cite journal|last=S. Reynolds |title=Clearing up the indie landfill |journal=Guardian.co.uk |date=4 January 2010 |url=https://www.theguardian.com/music/musicblog/2010/jan/04/clearing-up-indie-landfill |archive-url=https://web.archive.org/web/20111117025019/http://www.guardian.co.uk/music/musicblog/2010/jan/04/clearing-up-indie-landfill |archive-date=17 November 2011 |url-status=dead }}</ref> A 2020 ''[[Vice Media|Vice]]'' article cited [[Johnny Borrell]], vocalist of [[Razorlight]], as the "one man who defined, embodied and lived Landfill Indie" due to his forming of a "spectacularly middle-of-the-road" band despite his close proximity to the Libertines' "desperate kinetic energy, mythologised love-hate dynamic and vision of a dilapidated Britain animated by romance and narcotics".<ref name="vice.com"/> In a 2009 article for ''[[the Guardian]]'', journalist [[Peter Robinson (journalist)|Peter Robinson]] cited the landfill indie movement as dead, blaming [[the Wombats]], [[Scouting For Girls]], and [[Joe Lean & the Jing Jang Jong]] by stating "If landfill indie had been a game of ''[[Buckaroo!|Buckaroo]]'', those three sent the whole donkey's arse of radio-friendly mainstream guitar band monotony flying high into the air, legs flailing."<ref>{{Cite web|url=http://www.theguardian.com/music/2009/jan/17/florence-and-the-machine-indie|title=Peter Robinson on the death of landfill indie music|date=17 January 2009|website=The Guardian}}</ref>