Indie Rock从“独立”中获取它的名字，它描述了它的乐队的态度和释放音乐的标签的小型，低预算性质。最大的独立标签可能会达到主要企业标签的分销涉及，但他们的决策过程仍然是自主的。因此，独立摇滚可以自由地探索不吸引大量的声音，情绪和抒情的科目，主流受众 - 利润并不像个人品味那么多的关注（虽然标签毕竟，想要留在商业中）。它非常植根于美国地下和80年代的替代岩石的声音和敏感性，尽管从那以后占地下岩石的变化的几个差异。从这个术语被最广泛使用的术语中，独立的摇滚真正将自己与替代岩石分开，即Nirvana击中主流。主流味道逐渐被重新装入替代品，以一种新的严重思想的硬岩形式，在该过程中使其更具可预测和睾丸激素驱动。独立摇滚是对这种现象的反应;并非所有替代摇滚的替代岩石都越过涅磐的醒来，也不是所有的替代岩石，也不想要。然而，虽然独立摇滚肯定分享朋克社区对商业主义的担忧，但对于乐队是否仍然独立或“卖出”而言，这不是特别的担忧。 the general assumption is that it's virtually impossible to make indie rock's varying musical approaches compatible with mainstream tastes in the first place. There are almost as many reasons for that incompatibility as there are indie-rock bands, but following are some of the most common: the music may be too whimsical and innocent; too weird; too sensitive and melancholy; too soft and delicate; too dreamy and hypnotic; too personal and intimately revealing in its lyrics; too low-fidelity and low-budget in its production; too angular in its melodies and riffs; too raw, skronky and abrasive; wrapped in too many sheets of Sonic Youth/Dinosaur Jr./Pixies/Jesus & Mary Chain-style guitar noise; too oblique and fractured in its song structures; too influenced by experimental or otherwise unpopular musical styles. Regardless of the specifics, it's rock made by and for outsiders -- much like alternative once was, except that thanks to its crossover, indie rock has a far greater wariness of excess testosterone. It's certainly not that indie rock is never visceral or powerful; it's just rarely -- if ever -- macho about it. As the '90s wore on, indie rock developed quite a few substyles and close cousins (indie pop, dream pop, noise-pop, lo-fi, math rock, post-rock, space rock, sadcore, and emo among them), all of which seemed poised to remain strictly underground phenomena.