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Post-punk revival
The post-punk revival (also described as new wave revival,〔 garage rock revival,〔J. Stuessy and S. D. Lipscomb, ''Rock and roll: its History and Stylistic Development'' (London: Pearson Prentice Hall, 5th edn., 2006), ISBN 0-13-193098-2, p. 451.〕 or new rock revolution〔) is a genre of alternative rock and indie rock that developed in the late 20th and early 21st centuries in which bands took inspiration from the original sounds and aesthetics of garage rock of the 1960s and new wave and post-punk of the 1980s.〔.〕〔 Bands that broke through to the mainstream from local scenes across the world in the early 2000s included the Strokes, Interpol, the White Stripes, the Hives and the Vines, who were followed to commercial success by many established and new acts. By the end of the decade, most of the bands had broken up, moved on to other projects or were on hiatus, although some bands returned to recording and touring in the 2010s.
==Definitions and characteristics==
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, new wave or post-punk revival.〔〔.〕〔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.〕〔M. Roach, ''This Is It-: the First Biography of the Strokes'' (London: Omnibus Press, 2003), ISBN 0-7119-9601-6, p. 86.〕 Influences ranged from traditional blues, through new wave to grunge.〔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. 105–12.〕 The music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like the Sounds,〔 popularising distorted guitar sounds.〔 They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans,〔 often drawing on fashion of the 1950s and 1960s,〔 with "skinny ties, white belts () shag haircuts".〔 There was an emphasis on "rock authenticity" that has been seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop〔 and "bland" post-Britpop groups.〔M. Roach, ''This Is It-: the First Biography of the Strokes'' (London: Omnibus Press, 2003), ISBN 0-7119-9601-6, pp. 42 and 45.〕 Because the bands came from across the globe, cited diverse influences and adopted differing styles of dress, their unity as a genre has been disputed. For historian of garage rock Eric James Abbey, these were diverse bands that appropriated, or been given, the label "garage" to gain a degree of credibility.〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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