Sub Pop and Seattle clubs feed major labels. Nirvana’s Nevermind (1991) puts power-chord soft–loud (Pixies-adjacent) on MTV and Billboard. Pearl Jam’s Ten (1991), Soundgarden’s Badmotorfinger / Superunknown (1991–94), and Alice in Chains’ Dirt (1992) share the same US modern-rock window with different guitar and vocal approaches.
Outside Seattle, Radiohead moves from Pablo Honey / The Bends guitar singles toward OK Computer (1997) studio density. Foo Fighters (1995) carry post-Nirvana drummer-fronted alt onto the same radio format.
UK Britpop runs in parallel on different charts and press; this chapter stays on the US-leaning alternative and grunge shock.
Sound Fuzz and overdrive pedals, soft–loud verse–chorus, dry room mics, modern-rock radio compression, twin-vocal harmony on Alice in Chains sides