后英伦Post-Britpop

后Britpop是另类摇滚风格，是Britpop在1990年代末和2000年代初之后的时期，当时媒体开始识别受“纸浆”，“绿洲”和“模糊”等行为影响的“新一代”或“第二波”吉他乐队，但在歌词方面英国人对此不太关心，并更多地利用了美国摇滚和独立音乐的影响，以及实验音乐。

后英国流行时代的乐队已经确立了表演，但在英国流行音乐衰落之后，例如Radiohead和The Verve变得更加突出，诸如Travis，Stereophonics，Feeder尤其是Coldplay之类的新表演在国际上获得了广泛的成功在他们之前的大多数英国流行乐团，都是1990年代末和2000年代初商业上最成功的行为。

后英国流行音乐时代的许多乐队都回避了英国流行音乐唱片公司，但仍在生产由此衍生的音乐。大多数乐队的音乐都是以吉他为基础的，通常将英国传统摇滚的元素，尤其是甲壳虫乐队，滚石乐队和小脸乐队，融合美国的影响。

那个时代的乐队利用了1970年代英国摇滚音乐和流行音乐的特定元素。他们的音乐主题来自英国各地，与英国，英国和伦敦的生活相比，其主题往往不太讲究重点，而与之相比，其音乐主题更具内省性。除了更愿意吸引美国媒体和支持者外，这还可能帮助其中一些人取得了国际成功。他们被视为以普通人或“邻家男孩”的身份呈现摇滚明星的形象，而他们越来越旋律的音乐因其平淡无奇或衍生而受到批评。

Post-Britpop is an alternative rock subgenre and is the period following Britpop in the late 1990s and early 2000s, when the media were identifying a "new generation" or "second wave" of guitar bands influenced by acts like Pulp, Oasis and Blur, but with less overtly British concerns in their lyrics and making more use of American rock and indie influences, as well as experimental music.

Bands in the post-Britpop era that had been established acts, but gained greater prominence after the decline of Britpop, such as Radiohead and The Verve, and new acts such as Travis, Stereophonics, Feeder and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.

Many bands in the post-Britpop era avoided the Britpop label while still producing music derived from it. The music of most bands was guitar based, often mixing elements of British traditional rock, particularly the Beatles, the Rolling Stones and the Small Faces, with American influences. Bands from the era utilized specific elements from 1970s British rock and pop music.

Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height. This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success.

They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door" and their increasingly melodic music was criticised for being bland or derivative.