In 1997 Limp Bizkit released Three Dollar Y'all, spawning a new mainstream trend in rock. Bands like Korn and Linkin Park followed suit. Simple, thrashing guitars paired with usually enraged pseudo-rapping became known as "nu-metal," or rap-rock.
Later, this nu-metal movement lost steam for various reasons (meager album sales, feuding band members, etc.), and it was clear that the music industry needed something fresh to sell.
Enter The Strokes in early 2002 with their 70's throwback video rotating heavily on MTV. The garage/punk revival had officially begun. Labels began promoting groups that were compared to bands of the past like Television and The Velvet Underground.
With uncombed hairstyles reminiscent of 60's rock icons, this new breed of musicians showed promise. As rock is in the midst of this new movement, the question is will they lead a successful revolution, overthrowing pop music's current uninspired hierarchy, or will they simply burn out?.
The White Stripes, a mixed gender two-piece from Detroit, Michigan, cross genre lines song by song with their latest album White Blood Cells. From the simple yet powerful grunge components of "Fell in Love With a Girl" to the folky "Hotel Yorba" and the British metal-esque rampage of "Expecting", the Stripes exhibit their versatility on their third record.
The duo's two albums prior are also gems (without big-name producers), displaying that The White Stripes have the consistency, creativity, and longevity to continue to make quality rock and roll albums.
Making up the bulk of the "punk" in garage/punk are The Hives. Lead singer Howlin' Pelle Almqvist hiccups and shouts through a successful party album, their sophomore effort Veni Vidi Vicious.
The fivesome bleeds arrogant punk energy with song titles like "Die, All Right!" and "A Get Together to tear it Apart." However, the band's image screams novelty.
Almqvist's voice ebcomes increasingly obnoxious as the album goes on, and the band's black-and-white dress code gets old quickly.
