While catching up on indie music for the first time since I resonated with it in the early 2000s, I'm struck by how similar the mood is 15 years later.
What stands out most to me is the revival of what's variously called dream pop, shoegaze, or noise pop. Repetitive riffs without an intricate melody, lack of contrast between verse and chorus (similar flow across the phrase structure), layers of sound (often distorted), hazy vocals, an overall impression of an ethereal dreamlike state, and a warm tone rather than a cold or neutral tone, either sweet or bittersweet -- not downbeat, moping, or funereal.
In fact, it sounds uplifting compared to what's going on in the mainstream during the same time period -- the vulnerable phase when everything is sad and emo.
My hunch so far is that the indie world has its own 15-year cycle of excited, withdrawn, and returning-to-neutral phases -- but that it lags behind the mainstream's timing by one full phase. I speculate that the indie people are waiting for the normies to clear out of the arena, as it were, before they put on their own show of a similar mood and tone, so that they don't overlap in zeitgeist.
That is, when the mainstream is excited, indie is returning to neutral, when the mainstream then crashes into numbness, indie takes off into excitation, when the mainstream then returns to neutral, indie crashes into numbness, and the cycle repeats.
So, the bounciest that indie or alternative music is going to get, happens right after the mainstream has already gone through that phase and has entered its refractory phase. That would be the late 2010s, the early 2000s, the late '80s, and the early '70s.
But that's a broader topic for future posts. Sticking just to the dream pop phenomenon, here are two contempo songs that could easily have been on the soundtracks for Lost in Translation and Blue Velvet, during previous instances of this phase of the cycle (the latter was fittingly included on the Twin Peaks revival of 2017, two full cycles after Blue Velvet):
Alvvays, "In Undertow" (2017)
Chromatics, "Shadow" (2015)
From the last phase that was sad and numb for the mainstream, but upbeat for the indie world, here's one from the actual Lost in Translation soundtrack, and one inspired by the Jesus and Mary Chain sound of the previous instance of this phase in the late '80s:
Death in Vegas, "Girls" (2002)
The Raveonettes, "Remember" (2003)
Now one from the actual Blue Velvet soundtrack, and one that's close enough to the late '80s, which just so happens to be a cover of a song from the previous instance of this phase in the early '70s (by Slapp Happy):
Julee Cruise, "Mysteries of Love" (1986)
Mazzy Star, "Blue Flower" (1990)
Finding counterparts from the previous instance during the early '70s is a little harder, since the sound is so associated with female vocals, and there weren't many rock bands with female singers back then. The androgynous glam rock is about as close as there is, along with the birth of Krautrock and "cosmic" music in Germany:
T. Rex, "Cosmic Dancer" (1971)
Kraftwerk, "Autobahn" (1974)