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Britpop

From Wikipedia, the free encyclopedia

Not to be confused with Bitpop.

Britpop
Stylistic

Alternative rock, Madchester,Baggy, glam

origins

rock, power pop,punk rock, baroque pop,mod
revival

Cultural

Early 1990s, United Kingdom

origins

Typical

Vocals, electric guitar, electric bass, drums,

instruments

Derivative

keyboards

Post-Britpop

forms

Subgenres

New wave of new wave

Regional scenes

England - Scotland - Wales - Northern Ireland

Other topics

Bands - Cool Britannia -Timeline of alternative rock

Britpop is a subgenre of rock and pop music that originated in the United Kingdom. Britpop
emerged from the Britishindependent music scene of the early 1990s and was
characterised by bands influenced by British guitar pop music of the 1960s and 1970s and
indie rock from the 1980s, notably The Smiths.[1] Britpop focused on bands, singing in
regional British accents and making references to British places and culture, particularly
working class culture. The movement developed as a reaction against various musical and
cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from
the United States.
In the wake of the musical invasion into the United Kingdom of American grunge bands,
new British groups such asSuede and Blur launched the movement by positioning
themselves as opposing musical forces, referencing British guitar music of the past and

Britpop bands relied on catchy hooks and wrote lyrics that were meant to be relevant to British .2 Peak of success o 2. The Verve. respectively. many acts began to falter and broke up. Pulp.[4] Alternative rock acts from the 1980s and early 1990s indie scene were the direct ancestors of the Britpop movement. having drums/bass/guitar/vocals (and sometimes keyboards) line-ups. fronted by The Stone Roses. A chart battle between Blur and Oasis dubbed "The Battle of Britpop" brought Britpop to the forefront of the British press in 1995.[6] Britpop groups were defined by being focused on bands rather than solo artists. roots and influences[edit] The Stone Roses playing live. Sleeper and Elastica. writing original material and playing instruments themselves. singing in regional British accents. Contents [hide]       1 Style. Cast. Supergrass. By 1997. all Britpop artists projected a sense of reverence for the sounds of the past. roots and influences 2 History o 2. Britpop bands were influenced by British guitar music of the past.3 Decline 3 See also 4 References 5 Footnotes 6 External links Style.[5] The Madchester scene. the movement began to slow down.[2] The popularity of the pop group the Spice Girls captured the "spirit of the age from those responsible for Britpop. Specific influences varied: Blur and Oasis drew from The Kinks and The Beatles. Regardless. Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia."[3] Although its more popular bands were able to spread their commercial success overseas. glam rock. Space. while Elastica had a fondness for arty punk rock.[7] Stylistically. particularly movements and genres such as the British Invasion. These bands were soon joined by others including Oasis.writing about uniquely British topics and concerns. references to British places and culture in lyrics and image. The influence of The Smiths was common to the majority of Britpop artists.Happy Mondays and Inspiral Carpets (for whom Oasis's Noel Gallagher had worked as a roadie during the Madchester years). and punk rock. however. Placebo. was the immediate root of Britpop since its emphasis on good times and catchy songs provided an alternative to the alternative rock style known as shoegazing. and fashion consciousness. especially to the United States.1 Origins and first years o 2. the movement largely fell apart by the end of the decade.

with exclusively metropolitan models. would be very much part of the Britpop era. This scene was dubbed "The Scene That Celebrates Itself" by Melody Maker. The dominant musical force of the period was the grunge invasion from the United States. "Well. and people were very interested in American music.[16] In April 1993. formerly of Suede and leader of Elastica (and at the time in a relationship with Damon Albarn) explained. Why? Because.[9] The imagery associated with Britpop was equally British and working class. took on an Anglocentric aesthetic with their second album Modern Life Is Rubbish (1993). S*M*A*S*H and These Animal Men.] it occurred to us that Nirvana were out there. Suede) would go on to play a leading part in Britpop. . Blur's new approach was inspired by their tour of the United States in the spring of 1992. "[Blur's] timing has been fortuitously perfect. Damon Albarn of Blur summed up the attitude in 1993 when after being asked if Blur were an "anti-grunge band" he said. Saint Etienne and Pulp and helped foment the idea of an emerging movement.[15] Suede were the first of the new crop of guitar-orientated bands to be embraced by the UK music media as Britain's answer to Seattle's grunge sound. "Damon and I felt like we were in the thick of it at that point [. "[I]f Britpop started anywhere. successful and very. it was the deluge of acclaim that greeted Suede's first records: all of them audacious.[14] Journalist John Harris has suggested that Britpop began when Blur's single "Popscene" and Suede's "The Drowners" were released around the same time in the spring of 1992. Lush. that's good. a term applied to the more punk-derivative acts such as Elastica. exemplified by Loaded magazine and lad culture in general. then I'm getting rid of grunge. Select magazine featured Suede's lead singer Brett Anderson on the cover with a Union Flag in the background and the headline "Yanks go home!". . very British".[11] The emphasis on British reference points made it difficult for the genre to achieve success in the US.[8] The music press also fixated on what the NME had dubbed the New Wave of New Wave.[13] Some members of this scene (Blur. as with baggies and shoegazers. During the tour. and in particular around a group of bands involved in a vibrant social scene focused in theCamden Town area of London. The Auteurs."[17] John Harris wrote in an NME article just prior to the release of Modern Life is Rubbish. frontman Damon Albarn began to resent American culture and found the need to comment on that culture's influence seeping into Britain. and that he felt their music was similar enough that Cobain could have written "Wonderwall". Spitfire and Ride would not."[8] In spite of the professed disdain for the genres. some elements of both crept into the more enduring facets of Britpop. middle-class fantasy of central London streetlife. and there should be some sort of manifesto for the return of Britishness. Slowdive. The Union Jack also became a prominent symbol of the movement (as it had a generation earlier with modbands such as The Who) and its use as a symbol of pride and nationalism contrasted deeply with the controversy that erupted just a few years before when former Smiths singer Morrissey performed draped in it.[14] Blur.[6] Britpop bands conversely denounced grunge as irrelevant and having nothing to say about their lives. If punk was about getting rid of hippies. . long-haired Americans have just found themselves condemned to the ignominious corner labeled 'yesterday's thing'".[14] Justine Frischmann. loud. He stated. Others such as Kingmaker. a group that formerly mixed elements of shoegazing and baggy."[10] A rise in unabashed maleness. Music critic Jon Savage asserted that Britpop was "an outer-suburban. Denim.[12] History[edit] Origins and first years[edit] The origins of Britpop lie primarily in the indie scene of the early 1990s. Noel Gallagher stated in a 1996 interview that Nirvana's Kurt Cobain was the only songwriter he had respect for in the last ten years. Their debut album Suede became the fastest-selling debut album in the history of the UK. The issue included features on Suede. Noel Gallagher has since championed Ride. which filled the void left in the indie scene by The Stone Roses' inactivity.young people of their own generation.

and coupled with the death of Nirvana's Kurt Cobain in April of that year it seemed that British alternative rock had finally turned back the tide of grunge dominance. However. and Menswear. The Stone Roses. The NME wrote about the phenomenon. At the start of 1995 Britpop bands including Sleeper. frequented by Britpop groups like Blur. and what Mr Blobby was to 1993. in a week where news leaked that Saddam Hussein was preparing nuclear weapons.[19] A rash of bands emerged aligned with the new movement. "Britpop" arose around the same time as the term "Britart" (which referred to the work of British modern artists such as Damien Hirst). "Yes. tabloids. Elastica. it was Blur's third album Parklife that made them arguably the most popular band in the UK in 1994. the groups became engaged in what the NME dubbed on the cover of its 12 August issue the "British Heavyweight Championship" with the pending release of Oasis' single "Roll With It".[16][18] The movement was soon dubbed Britpop. being used extensively by the music press and radio DJs. it would not be until 1994 when the term entered the popular consciousness. and Menswear scored pop hits. That same year Oasis released their debut album Definitely Maybe. everyday folks were still getting slaughtered in Bosnia and Mike .While Modern Life Is Rubbish was a moderate success. The bands had initially praised each other but over the course of the year antagonisms between the two increased. which broke Suede's record for fastest-selling debut album. The term "Britpop" had been used in the late 1980s (in Sounds magazine by journalist. Supergrass. and Blur's "Country House" on the same day.[23]Spurred on by the media. The battle pitted the two bands against each other. with the conflict as much about British class and regional divisions as it was about music.[21] The music press viewed the scene around Camden Town as a musical centre.[24] Oasis were taken as representing the North of England.[14] The event caught the public's imagination and gained mass media attention in national newspapers. and even the BBC News. its first week sales surpassed the record set by Definitely Maybe the previous year. Goldblade frontman and TV punditJohn Robb referring to bands such as The La's. Inspiral Carpets and The Bridewell Taxis). what Manchester was to 1989.[20] Elastica released their debut album Elastica that March."[22] Peak of success[edit] Cover of the 12 August 1995 issue of NME advertising the "British Heavyweight Championship" battle between Oasis and Blur A chart battle between Blur and Oasis dubbed "The Battle of Britpop" brought Britpop to the forefront of the British press in 1995. while Blur represented the South.[16]Parklife continued the fiercely British nature of its predecessor. Melody Maker declared "Camden is to 1995 what Seattle was to 1992.

and Gallagher. with more introspective lyrics.[2] The popularity of the pop group the Spice Girls has been seen as having "snatched the spirit of the age from those responsible for Britpop.[14] At the same time. tabloids and broadsheets alike went Britpop crazy. On 8 September 2013."[31][32] The demand for these gigs was and still is the largest ever for a concert on British soil.[27] Oasis's second album (What's the Story) Morning Glory?(1995) eventually sold over four million copies in the UK. a spurning of much beyond rock's most basic ingredients.[26] However. Oasis played a two-night set at Knebworth to a combined audience of 250. Albarn explained to the NME in January 1997 that "We created a movement: as far as the lineage of British bands goes.[30] Starting on 10 August 1996. And The Stories From The Artists Who Wrote Them. there'll always be a place for us".[37] Though the article ranks The .[32] Decline[edit] Oasis playing live. the record was soon subjected to strong criticism from music critics. Unlike Blur.[33] On guitarist Graham Coxon's suggestion.000 people. Music critic Jon Savage pinpointed Be Here Now as the moment where Britpop ended. with one journalist commenting. Ocean Colour Scene and Cast) as "Noelrock"."[35] While established acts struggled. Several news outlets.Tyson was making his comeback. of sharing "a dewy-eyed love of the 1960s.the songs charting at number one and number two respectively. "(Knebworth) could be seen as the last great Britpop performance. Oasis' third album Be Here Now (1997) was highly anticipated. in the long run Oasis became more commercially successful than Blur.[29] John Harris typified this wave of Britpop bands. influenced by Britpop acts. particularly Oasis."[34] As the movement began to slow down. In 1997. over 2. published NPR Music.[28] By the summer of 1996 Oasis's prominence was such that NME termed a number of Britpop bands (including The Boo Radleys. Blur moved away from their Parklife-era sound. entitled Britpop At 20: The Era’s Best Songs. "We genuinely started to see that world in a slightly different way. citing Gallagher's influence on their success. Radiohead and The Verve released their respective efforts OK Computerand Urban Hymns. Otis Hart penned one such article.[36] September 2013 marked the 20th anniversary of the Britpop genre. were some of the most successful rock acts of the late 1990s and early 2000s. both of which were widely acclaimed. influences that were uncommon among earlier Britpop acts." he noted that "[i]t was supposed to be the big. big triumphal record" of the period. nothing after would match its scale. but added.6 million people had applied for tickets. many acts began to falter and broke up. and a belief in the supremacy of 'real music'". These two bands—in particular Radiohead—showed considerably more esoteric influences from the 1960s and 1970s. becoming the third bestselling album in British history.000 copies to Oasis' 216."[25] Blur won the battle of the bands. and their music began to assimilate American lofi influences. who had been previously overlooked by the British media.[2] Post-Britpop bands like Travis. Savage said that while the album "isn't the great disaster that everybody says. particularly that of Pavement. Stereophonics and Coldplay. Blur (1997). selling 274. Damon Albarn sought to distance Blur from Britpop with the band's fifth album. from within Britain and across the shores saw fit to celebrate with a plethora of commemorative articles and playlists. record-buyers and even Noel Gallagher himself for its overproduced and bloated sound. attention began to turn to the likes of Radiohead and The Verve. Despite initially attracting positive reviews and selling strongly. Oasis were able to achieve sustained sales in the United States thanks to the singles "Wonderwall" and "Champagne Supernova".000 .

Matthew. Allmusic. "RECORDINGS VIEW. ISBN 0-306-81367-X. 57. Harris. "A shite sports car and a punk reincarnation". Listeners were invited to vote for the top 40 best Britpop anthems. 2004. The New York Times. 295. Retrieved on 30 March 2008. "Modern Life is Brilliant!" NME. Passion Pictures. 7. 2. pg. 354. 14.Drowners by Suede. 10 April 1993. 385. New Combatants". ahead of The Verve'sBitter Sweet Symphony and Don't Look Back in Anger by Oasis. 6. Jump up^ Savage. pg. Britpop!: Cool Britannia and the Spectacular Demise of English Rock. 13. Pulp and The Verve was published as a companion to the Britpop at 20 article. Britpop!: Cool Britannia and the Spectacular Demise of English Rock. Jon. Da Capo Press. "Top of the Pops". "Letere From London: Britpop". ^ Jump up to:a b Harris. ISBN 0-306-81367-X. 2004. . London: Continuum. 2004. Jump up^ Harris. 22 October 1995. Pop Cult. Jump up^ Harris. John. 10. 2010. Till. ^ Jump up to:a b Explore: Britpop. 2001. pg. Pg. 347-48. covering artists from Happy Mondays. Jump up^ Reynolds. 3.[38] BBC Radio 6 Music held a celebration to mark the 20th anniversary of Britpop in April 2014.com. 2010. Jump up^ Till. pg. 9. Pop Cult. London: Continuum. p. a 500-track Britpop mix. Artforum. 2004. Guitar World. 12. John. 5. Pg. pg. Jump up^ Harris. For Tomorrow by Blur. and Daydreamer by Menswear amongst the most influential tracks from the Britpop era. Jump up^ Caws. "In my beautiful neighbourhood: local cults of popular music". to James. Simon. "In my beautiful neighbourhood: local cults of popular music". Da Capo Press. Jump up^ Harris. Live Forever byOasis. Footnotes[edit] 1. Rupert. October 1995. 385. ^ Jump up to:a b c d e Live Forever: The Rise and Fall of Brit Pop. 8. Passion Pictures. The Creation Records Story: My Magpie Eyes Are Hungry for the Prize. coinciding with the 20th anniversary of the release of Oasis's debut single Supersonic. 90.[39] See also[edit] 1990s portal      List of Britpop musicians The Britpop Story Live Forever: The Rise and Fall of Brit Pop Post-Britpop Cool Britannia References[edit]      Cavanagh. 11. One to Another by The Charlatans. John. 4. NME. Jump up^ Harris. Retrieved on 21 January 2011. David. John. May 1996. with Common People by Pulp finishing as number one. 7 January 1995. ^ Jump up to:a b c Harris. Jump up^ Harris. 202. Battle of the Bands: Old Turf. Harris. Live Forever: The Rise and Fall of Brit Pop. R.

27. pg. 36. Jump up^ Harris. 25. "Noelrock!" NME. Jump up^ "Queen head all-time sales chart". 298. 2003. Jump up^ http://www. 28.uk/news/entertainment-arts-26990999 . Jump up^ http://www. "It's An NW1-derful Life". Retrieved8 September 2013. 321-22. 369-70. National Public Radio. Jump up^ Harris.uk. 26. 11 January 1997. NPR Music. Jump up^ Hart. 12 August 1995. "Britpop at 20: The Era's Best Songs. 20. 19. Jump up^ Harris. Jump up^ Richardson. Jump up^ "Roll with the presses". 33. BBC. 79. pg. Archived from the original on 9 December 2010. Ted.NME. 203-04. 34. ^ Jump up to:a b Harris. 38.bbc. 24. 230. 17. 29. Jump up^ Mulvey. 296. 30. NME. Jump up^ Kessler. Jump up^ Harris. 31. 37.. Melody Maker. John. pg. pg. 17 June 1995.co. Retrieved on 21 January 2011.. Jump up^ Harris. 35. Allmusic. Taylor. Andy. 16. 23. Jump up^ Harris. Otis. Jump up^ Harris. Jump up^ The Last Party: Britpop. Jump up^ Harris. Jump up^ Harris. pg. 178. Retrieved8 September 2013. 235. 261.uk/music/sevenages/events/indie/oasis-at-knebworth 32. pg. 201. And The Stories From The Artists Who Wrote Them". 39. Harper Perennial. p. ^ Jump up to:a b c Erlewine. Blair and the Demise of English Rock. John Harris. 21. Jump up^ Harris. pg.there'll always be a place for us".co. "We created a movement. pg. Jump up^ Harris. Jump up^ Parkes. "British Alternative Rock". 210-11.bbc. And The Stories From The Artists Who Wrote Them". 8 June 1996. 347-48. 26 August 1995. pg. "Britpop at 20: The Era’s Best Songs. Retrieved on 3 January 2007.co. Jump up^ Harris.15. pg. "The Battle of Britpop". Jump up^ Hart. pg. National Public Radio. 22. 18. 16 November 2006. pg. NPR Music. Stephen Thomas. NME. Otis.