Matador Records is synonymous with American indie rock music. It was a launching pad for artists like Pavement and Liz Phair, and known for taking chances. In the late ’90s, Matador began taking on more than just indie rockers, and sought out artists in other genres, like noise, IDM and hip-hop. And today, it has a roster that’s as strong as ever, with groups like Shearwater and The New Pornographers among their latest batch of heavyweights.
Superchunk – No Pocky For Kitty (1991)
Liz Phair – Exile In Guyville (1993)
Pavement – Crooked Rain, Crooked Rain (1994)
Jon Spencer Blues Explosion – Orange (1994)
Guided by Voices – Alien Lanes (1995)
Yo La Tengo – I Can Hear the Heart Beating as One (1997)
Belle and Sebastian – The Boy With the Arab Strap (1998)
For the first decade or so of its existence as a full-time record label, it seemed that Seattle’s Sub Pop Records was going to be synonymous with grunge. Sub Pop were key chroniclers of the fertile Seattle scene in the late-’80s and early-’90s, and were an early breeding ground for Soundgarden and Nirvana. After a decade living down grunge hype, a funny thing happened in the ’00s: Sub Pop going from faded alt-rock stalwarts to insanely-successful enterprise. It’s been a long and varied story over the label’s 20+ years on the job, but the music has been routinely awesome.
(Note I had to do 11 records)
Mudhoney ‘Superfuzz Bigmuff Plus Early Singles’ (1990)
Electroclash, also known as retro electro, tech pop, nouveau disco, the new new wave , Neo-Electro is a genre of music that fuses 1980s electro, new wave and synthpop with 1990s techno, retro-style electropop and electronic dance music. It emerged in New York and Detroit in the later 1990s, pioneered by acts including Collider, I-F and those associated with Gerald Donald, and is associated with acts including Peaches, Adult, Legowelt, and Fischerspoone