Record scratching breaks containment again

In 2025, an unexpected sonic texture is making a noticeable comeback within indie rock and alternative pop music: record scratching. This audio technique, often linked to hip-hop and DJ culture, has found renewed favor among artists seeking fresh and spontaneous elements in their sound. Chicago indie rock band Slow Pulp exemplifies this resurgence as they embrace the technique on their upcoming album Melodie, due for release in September.

Slow Pulp’s core members Henry Stoehr and Emily Massey, who have long been known for their warm, immersive indie rock sound, deliberately incorporated record scratching into the track “These Days.” The subtle scratch effects, initially created via a keyboard rather than traditional turntables, underscore the band’s experimental approach during the relaxed, low-pressure sessions for Melodie. Despite initial suggestions from their co-producer to remove the effect, Slow Pulp retained the scratches to preserve a sense of immediacy and rawness that reflects their creative process.

This reappearance of record scratching, however, is not isolated to Slow Pulp. Chicagoland’s vibrant indie scene has witnessed a number of acts integrating scratch-like sounds into their music. Bands such as Footballhead, Aight Bet, Gia Margaret, and Jane Remover have all featured scratching elements across recent releases, blending the technique into genres ranging from ambient pop to hyperpop and hoodcore.

The use of scratching in these predominantly rock and pop settings marks a notable departure from its traditional confines. For example, Footballhead’s album Weight of the Truth opens with sharp scratching sounds that contrast with their alt-rock framework, while Aight Bet incorporates dynamic scratch breaks into their self-titled 2025 release. These creative choices reflect a broader willingness among artists to blend sonic textures once considered niche or genre-specific.

Beyond the Chicago area, the influence of scratching extends into other regional scenes and musical styles. Artists like Hotline TNT, 100 Gecs, and Hovvdy have woven scratching into their tracks, sometimes employing it as a subtle embellishment and other times as a prominent feature. This suggests a wider reevaluation of scratching as a versatile instrument capable of enhancing melodic and rhythmic dimensions within contemporary pop and rock music.

The renewed interest in scratching is partly rooted in nostalgia. Many musicians active today grew up during the late 1990s and early 2000s, when scratching was omnipresent in popular music both in hip-hop and crossover genres. This era’s influence is evident in the approach of artists who either use actual turntables or imitate scratching sounds through guitar techniques or digital audio workstations. For instance, indie artist Graham Hunt mimics the effect on guitar, while Slow Pulp’s Stoehr initially intended to involve a DJ but ended up programming the scratches digitally due to time constraints.

The historical origins of scratching trace back to the Bronx in the late 1970s, credited to Grand Wizzard Theodore’s accidental discovery of the sound’s musical potential. Since then, scratching evolved through pioneers like Grandmaster Flash and crossed into mainstream recognition with Herbie Hancock’s 1983 hit “Rockit.” Throughout the 1990s and early 2000s, scratching became a hallmark of trip-hop, alternative rock, and nu-metal, with artists such as Portishead, Beck, and Rage Against the Machine incorporating it into their music.

Contemporary musicians continue to explore scratching’s capabilities beyond its traditional usage. Some, like Denon DJ employee Sam Nazaretian of pop-punk band Cheem, have embraced scratching as a core element in crafting a hybrid “nu-pop” sound that blends rap, punk, and DJ techniques. Others, including members of Footballhead and the Texas power-pop group Bleed, utilize scratching to add aggressive textures or atmospheric layers that complement heavy, dense rock arrangements.

This revival also benefits from collaborations between musicians and turntablists, bridging gaps between rock instrumentation and DJ artistry. Zachary James of indie outfit Dari Bay recruited DJ Kanga to contribute scratching on multiple tracks, highlighting how contemporary artists seek authentic turntable input to enrich their recordings. Similarly, Shannon Connor, a part-time turntablist, has provided scratching for projects like Nihilistic Easyrider and Bleed, accentuating the creative potential of integrating scratching into modern rock contexts.

The reemergence of scratching in indie and alternative music underscores a broader trend toward eclecticism and experimentation in production. While the technique once symbolized a specific cultural moment and genre, its current adoption by diverse artists signals a renewed appreciation for its expressive possibilities. As the upcoming releases featuring these sounds hit the market, listeners can expect scratching to serve not only as a nostalgic nod but as a dynamic, textural tool shaping the soundscape of 2025’s music scene.