Post-punk revival

[3][5] The genre has an emphasis on "rock authenticity" that was seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop and "bland" post-Britpop groups.

[11] They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans,[12] often drawing on fashion of the 1950s and 1960s,[11] with "skinny ties, white belts [and] shag haircuts".

[11] AllMusic argued that rather than a revival, the history of post-punk was more of a continuum from the mid-1980s, with scattered bands that included Big Flame, World Domination Enterprises, and Minimal Compact extending the genre.

[13] According to music critic Jim DeRogatis, the Strokes, the White Stripes and The Hives all had a sound "to some extent rooted in Nuggets-era garage rock".

[18] In Los Angeles & San Francisco, the scene was centered around Black Rebel Motorcycle Club, Brian Jonestown Massacre, the Dandy Warhols and Silversun Pickups.

[27] A second wave of bands that managed to gain international recognition as a result of the movement included Interpol, the Black Keys, the Killers, Kings of Leon, Modest Mouse, the Shins, the Bravery, Spoon, the Hold Steady, and the National in the US,[9] and Franz Ferdinand, Bloc Party, the Futureheads, The Cribs, the Libertines,[28] Kaiser Chiefs and the Kooks in the UK.

[31] In the years following Whatever People Say I Am, That's What I'm Not there was a proliferation of bands, such as the Pigeon Detectives, Milburn, The Fratellis and the Rifles, who created a more formulaic derivative of the earlier acts.

[32][33] By the end of the decade, critics had taken to referring to this wave of acts as "landfill indie",[34][35][36] a description coined by Andrew Harrison of the Word magazine.

"[38] A 2020 Vice article cited Johnny Borrell, vocalist of Razorlight, as the "one man who defined, embodied and lived Landfill Indie" due 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".

[44]Post punk artists that attained prominence in the 2010s and early 2020s included Parquet Courts, Protomartyr and Geese (United States), Preoccupations (Canada), Iceage (Denmark), and Viagra Boys (Sweden).

"[50] Many of the acts are associated with producer Dan Carey and his record label Speedy Wunderground, and with The Windmill, an all-ages music venue in Brixton, London.