C86 | ||||
---|---|---|---|---|
Compilation album by various artists | ||||
Released | May 1986 | |||
Recorded | 1985/86 | |||
Genre | Indie pop, post-punk, indie rock, jangle pop, alternative rock | |||
Label | Rough Trade, NME | |||
Compiler | Neil Taylor, Adrian Thrills, Roy Carr | |||
Various artists chronology | ||||
|
C86 is a cassette compilation released by the British music magazine NME in 1986, featuring new bands licensed from British independent record labels of the time. [1] As a term, C86 quickly evolved into shorthand for a guitar-based music genre characterized by jangling guitars and melodic power pop song structures, although other musical styles were represented on the tape. In its time, it became a pejorative term for its associations with so-called "shambling" (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music [2] ) and underachievement. The C86 scene is now recognized as a pivotal moment for independent music in the UK, [3] as was recognized in the subtitle of the compilation's 2006 CD issue: CD86: 48 Tracks from the Birth of Indie Pop . In 2014, the original compilation was reissued in a 3CD expanded edition from Cherry Red Records; [4] the 2014 box-set came with an 11,500-word book of sleevenotes by one of the tape's original curators, former NME journalist Neil Taylor.
The C86 name was a play on the labelling and length of blank compact cassette, commonly C60, C90 and C120, combined with 1986.
The tape was a belated follow-up to C81 , a more eclectic collection of new bands, released by the NME in 1981 in conjunction with Rough Trade. C86 was similarly designed to reflect the new music scene of the time. It was compiled by NME writers Roy Carr, Neil Taylor and Adrian Thrills, who licensed tracks from labels including Creation, Subway, Probe Plus, Dan Treacy's Dreamworld Records, Jeff Barrett's Head Records, Pink, and Ron Johnson. Readers had to pay for the tape via mail order, although an LP was subsequently released on Rough Trade on 24 November 1986. [5] The UK music press was in this period highly competitive, with four weekly papers documenting new bands and trends. There was a tendency to create and "discover" new musical subgenres artificially in order to heighten reader interest. NME journalists of the period subsequently agreed that C86 was an example of this, but also a byproduct of NME's "hip hop wars" [6] - a schism in the paper (and among readers) between enthusiasts of contemporary progressive black music (for example, by Public Enemy and Mantronix), and fans of guitar-based music, as represented on C86.
NME promoted the tape in conjunction with London's Institute of Contemporary Arts, who staged a week of gigs, [7] in July 1986 which featured most of the acts on the compilation.
The tape included tracks by some more abrasive bands atypical of the perceived C86 jangle pop aesthetic: Stump, Bogshed, A Witness, The Mackenzies, Big Flame and The Shrubs.
C86 was the twenty-third NME tape, although its catalogue number was NME022 (C81 had been dubbed COPY001). The rest of the tapes were compilations promoting labels' back catalogues and dedicated to R&B, Northern soul, jazz or reggae. C86 was followed up with a Billie Holiday compilation, Holiday Romance. [8]
Review scores | |
---|---|
Source | Rating |
AllMusic | [9] |
Drowned in Sound | (9/10) [10] |
Stewart Lee | (favourable) [11] |
The Line of Best Fit | (8/10) [12] |
Pitchfork | (9.2/10) [13] |
PopMatters | (7/10) [14] |
The Quietus | (positive) [15] |
Ex-NME writer Andrew Collins summed up C86 by dubbing it "the most indie thing to have ever existed". [16] Bob Stanley, a Melody Maker journalist in the late 1980s and founding member of pop band Saint Etienne, similarly said in a 2006 interview that C86 represented:
[the] beginning of indie music… It's hard to remember how underground guitar music and fanzines were in the mid-'80s; DIY ethics and any residual punk attitudes were in isolated pockets around the country and the C86 comp and gigs brought them together in an explosion of new groups. [17]
Martin Whitehead, who ran Subway in the late 1980s, added a new political dimension to the importance of C86."Before C86, women could only be eye-candy in a band; I think C86 changed that - there were women promoting gigs, writing fanzines and running labels." [18]
Some are more ambivalent about the tape's influence. Everett True, a writer for NME in 1986 under the name "The Legend!", [19] called it "unrepresentative of its times . . . and even unrepresentative of the small narrow strata of music it thought it was representing." Alastair Fitchett, editor of the music site Tangents (and a fan of many of the bands on the tape), takes a polemical line: "(The NME) laid the foundations for the desolate wastelands of what we came to know by that vile term 'Indie'. What more reason do you need to hate it?" [20] The Guardian published an article in 2014 debunking some of the negative myths about the cassette. [21]
In 2022, journalist Nige Tassell published the book Whatever Happened to the C86 Kids?: An Indie Odyssey, based on interviews with members of all 22 bands that had appeared on the cassette. It outlines the "many and varied paths through life" these musicians took over a period of more than three decades. [22]
In 1996, NME continued the tradition of compiling a new band album (this time a CD) by releasing C96. This had little impact, with Mogwai and Broadcast being the only acts on the compilation to subsequently enjoy mainstream success. [23] Three other bands on the compilation - Babybird, The Delgados and Urusei Yatsura - had brief success in the United Kingdom after the compilation's release.
NME have also collaborated with Rough Trade Records to release C09 in 2009 for Record Store Day [24] and with Bose Corporation to release C23 in 2023 for South by Southwest. [25]
The significance of C86 was recognized by several events marking the 20th anniversary of the compilation's release in 2006:
Cherry Red's 2014 expanded reissue was marked by an NME C86 show on 14 June 2014 at Venue 229, London W1; acts from the original compilation included The Wedding Present, David Westlake of The Servants, The Wolfhounds and A Witness. [28]
The 30-year anniversary of C86 saw the original compilation issued in a deluxe gatefold sleeved double-LP edition for Record Store Day 2016. [29]
Cherry Red Records issued an imagined sequel compilation titled C87 in 2016, followed by C88, C89, C90, C91 and the prequel C85. [30]
No. | Title | Contributing artist | Length |
---|---|---|---|
1. | "Velocity Girl" | Primal Scream | 1:21 |
2. | "Happy Head" | The Mighty Lemon Drops | 2:43 |
3. | "Pleasantly Surprised" | The Soup Dragons | 2:05 |
4. | "Feeling So Strange Again" | The Wolfhounds | 1:42 |
5. | "Therese" | The Bodines | 3:03 |
6. | "Law" | Mighty Mighty | 3:39 |
7. | "Buffalo" | Stump | 4:27 |
8. | "Run to the Temple" | Bogshed | 3:30 |
9. | "Sharpened Sticks" | A Witness | 2:30 |
10. | "Breaking Lines" | The Pastels | 2:58 |
11. | "From Now On, This Will Be Your God" | Age of Chance | 3:17 |
No. | Title | Contributing artist | Length |
---|---|---|---|
12. | "It's Up to You" | Shop Assistants | 2:36 |
13. | "Firestation Towers" | Close Lobsters | 1:46 |
14. | "Sport Most Royal" | Miaow | 2:55 |
15. | "I Hate Nerys Hughes (From the Heart)" | Half Man Half Biscuit | 3:43 |
16. | "Transparent" | The Servants | 2:33 |
17. | "Big Jim (There's No Pubs in Heaven)" | The Mackenzies | 2:36 |
18. | "New Way (Quick Wash and Brush Up with Liberation Theology)" | Big Flame | 1:38 |
19. | "Console Me" | We've Got a Fuzzbox and We're Gonna Use It | 1:25 |
20. | "Celestial City" | McCarthy | 3:00 |
21. | "Bullfighter's Bones" | The Shrubs | 3:45 |
22. | "This Boy Can Wait" | The Wedding Present | 3:59 |
The cassette culture is the amateur production and distribution of music and sound art on compact cassette that emerged in the mid-1970s. The cassette was used by fine artists and poets for the independent distribution of new work. An independent music scene based on the cassette burgeoned internationally in the second half of the 1970s.
Indie rock is a subgenre of rock music that originated in the United Kingdom, United States and New Zealand in the early to mid-1980s. Although the term was originally used to describe rock music released through independent record labels, by the 1990s it became more widely associated with the music such bands produced.
Twee pop is a subgenre of indie pop that originates from the 1986 NME compilation C86. Twee pop gets its name from the aesthetic of twee, which is known for its simplicity and childlike innocence. Some of its defining features are boy-girl harmonies, catchy melodies, and lyrics about love. For many years, prominent independent record labels associated with twee pop were Sarah Records and K Records.
Big Flame were a post-punk/indie rock three piece band, based in Manchester, England, and active from 1983 to 1986. The members were Alan Brown, Greg Keeffe (guitar) and Dil Green (drums). After a debut EP ("Sink") on their own Laughing Gun label, they joined the Ron Johnson roster for a series of mid-1980s singles as well as an appearance on the NME's C86 compilation.
K Records is an independent record label in Olympia, Washington founded in 1982. Artists on the label included early releases by Beck, Modest Mouse and Built to Spill. The record label has been called "key to the development of independent music" since the 1980s.
Indie pop is a music genre and subculture that combines guitar pop with DIY ethic in opposition to the style and tone of mainstream pop music. It originated from British post-punk in the late 1970s and subsequently generated a thriving fanzine, label, and club and gig circuit. Compared to its counterpart, indie rock, the genre is more melodic, less abrasive, and relatively angst-free. In later years, the definition of indie pop has bifurcated to also mean bands from unrelated DIY scenes/movements with pop leanings. Subgenres include chamber pop and twee pop.
The Wolfhounds are an English noise pop band formed in Romford, Essex, in 1985 by David Callahan, Paul Clark, Andy Golding, Andy Bolton and Frank Stebbing, and originally active until 1990. The band reformed in 2005 and continues to write, record and play live, releasing new albums in 2014, 2016, and 2020.
Independent music is a broad style of music characterized by creative freedoms, low-budgets, and a do-it-yourself approach to music creation, which originated from the liberties afforded by independent record labels. Indie music describes a number of related styles, but generally describes guitar-oriented music straying away from mainstream conventions. There are a number of subgenres of independent music which combine its characteristics with other genres, such as indie pop, indie rock, indie folk, and indie electronic.
C81 was a cassette compiled for the British music paper NME in 1981 and released in conjunction with the record label Rough Trade. Featuring a number of contemporary musical acts and performers, it was intended to mark the first five years of the independent label movement in the UK record industry and Rough Trade itself. It was the first in a series of many cassette releases from the paper, including the C86 compilation of 1986.
The Hit Parade is a music group from London that has released eight LPs and fourteen 7" vinyl records. The group has been described as "the very definition of twee Eighties style indie".
Po! are an indie rock band formed in Leicester, England in 1987, with releases dating up to 1998 on Rutland Records, Sunday Records in the US and Elefant Records in Spain.
An independent music scene is a localized independent music-oriented community of bands and their audiences. Local scenes can play a key role in musical history and lead to the development of influential genres; for example, no wave from New York City, United States; Madchester from Manchester, England; and grunge from Seattle.
A Witness are an English post-punk/indie rock band, who were originally active in the mid-1980s alternative music scene. Their first EP Loudhailer Songs and début album I am John's Pancreas brought them to the attention of BBC Radio 1 disc jockey John Peel, for whom they recorded four sessions. Their career was brought to a halt with the death of guitarist Rick Aitken in 1989. Founder member and songwriter Vince Hunt revived the band with a new line-up for a series of UK-wide dates in 2014 marking the 25th anniversary of Aitken's death, and the band continues to play live.
The June Brides are an English indie pop group, formed in London in 1983, by Phil Wilson and Simon Beesley of International Rescue. Influenced by Postcard-label bands such as Josef K and punk-era bands such as Buzzcocks, The Desperate Bicycles and The Television Personalities, their mix of guitar pop with viola and trumpet formed a blueprint for many of the indie pop bands that would follow.
The Servants were an indie band formed in 1985 in Hayes, Middlesex, England by singer-songwriter David Westlake. The band was the original home of Luke Haines.
The Chesterfields are an English indie pop band from Yeovil, Somerset, England. Hardcore fans tended to refer to them as "The Chesterf!elds", with an exclamation mark replacing the "i", following the example of the band's logo.
CD86: 48 Tracks from the Birth of Indie Pop is a compilation album of artists from the original C86 era, released in 2006 by Sanctuary Records. It is compiled by Bob Stanley of Saint Etienne.
The Subway Organization was a British independent record label founded in 1985 in Bristol by Martin Whitehead.
"Velocity Girl" is a song by British alternative rock band Primal Scream, originally released as the B-side to their second single, "Crystal Crescent", in 1986. The song has been noted for its influence in indie pop, with Pitchfork Media saying that it reduced "the pop song to its subatomic essence: quick, breezy, quirky, and above all, exquisitely small". The song was partly inspired by the actress, model and Warhol superstar Edie Sedgwick.
This article's use of external links may not follow Wikipedia's policies or guidelines.(June 2015) |