Death Cab For Cutie takes its indie rock brand to its peak, First Aid Kit debuts by showing they know which sources to drink from, Little Joy uncorks sunny and breezy old-school pop rock, and The Heartbreakers find the meeting point between punk and rock and roll.
Radiohead moves but stands still, the Red Hot Chili Peppers get their footing back, Bob Dylan continues to explore the American songbook, and Neil Young captures the fiery performances of his new band and wraps them in an environmental message.
Amy Winehouse reveals the full extent of her magnificent talent, PJ Harvey documents the injustices of the world, the Pretenders follow tragedy with a masterpiece, and Pylon delivers alternative jangle rock drenched in punk attitude.
Bruce Springsteen finds utter darkness in his first encounter with folk music, Iggy Pop roars back to form with a little help from his friends, the Alabama Shakes pair their blues roots with sonic weirdness, and Beady Eye turns in a loose, wild, and fun rock record.
Daughter merges folk music with clever electronic arrangements, Of Monsters and Men expand their indie sound to wide and cold grounds, Tears For Fears take new wave to a depressive dark pit, and Noel Gallagher’s High Flying Birds deliver a record of solid mid-tempo rockers.
The Rolling Stones go back to their roots, Green Day reaches for ambitious heights, the Eagles of Death Metal sexualize their blend of garage rock and blues, and the Manic Street Preachers launch their careers with a major political and musical statement.
The Good, The Bad & The Queen get sulky in the apocalypse, Gorillaz reach the peak of their eclectic pop, The Allman Brothers Band solidify themselves as the ultimate interpreters and re-inventors of the American roots musical tradition, and The Black Crowes bring southern rock to the 90s.
Bob Dylan gets close and personal, The Kooks perfect their brand of British guitar pop, Them Crooked Vultures produce a sensual and dancy hard rock epic, and Jimi Hendrix births his wildest, trippiest, and best work.
Panic! at the Disco reaps the rewards of the experimentation of their previous record, T. Rex mutates into a Glam rock juggernaut, Foo Fighters imposes itself as one of the best rock acts of the 90s, and The Who sells out.
Of Monsters and Men approach indie rock with genuine starry-eyed naiveté and grand imagery, The Dead Weather rewrites the blues with augmented darkness, Gram Parsons bows out with style, and Jane’s Addiction splits a record between their funky brand of metal and long-winded epics.
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