College rock
As a result, the genre featured a high degree of diversity and eclecticism, meaning that "on college radio ... screaming noise, retro country, avant-garde electronics, and power pop could coexist, linked by cheap-sounding singles recorded by local bands.
"[4] Acknowledging this variety, some common aesthetics among college rock bands do exist, with some writers characterizing it largely as a combination of the experimentation of post-punk and new wave with a more melodic pop style and an underground sensibility.
[6] The genre also came to include several British alternative acts who incorporated elements of jangle pop or post-punk romanticism in their music, with bands such as the Smiths, the Cure, and the La's achieving success on American college radio stations.
Svenonius characterized these stations as being "staffed by music enthusiasts who worked without pay, and who saw college rock as a desperately needed alternative to the platinum tedium of 'classic' and Top 40 drivel.
"[5] Reflecting the erudite tastes of these students, college rock programs were generally less militant and blunt than punk, but often featured a degree of activist sensibility.
Minneapolis and St. Paul, Minnesota spawned a large contingent of college rock acts, including the Replacements, Hüsker Dü, the Suburbs, and Soul Asylum.
Though these cities were major hubs, college rock acts proliferated throughout the US, from areas ranging from California (Red Hot Chili Peppers, Camper Van Beethoven) to New Jersey (the Smithereens, Dramarama).
