Indie pop

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Indie pop (also typeset as indie-pop or indiepop) is a music genre and subculture [1] that combines guitar pop with DIY ethic [3] in opposition to the style and tone of mainstream pop music. [8] It originated from British post-punk [4] in the late 1970s and subsequently generated a thriving fanzine, label, and club and gig circuit. Compared to its counterpart, indie rock, [5] the genre is more melodic, less abrasive, and relatively angst-free. [5] In later years, the definition of indie pop has bifurcated to also mean bands from unrelated DIY scenes/movements with pop leanings. [4] Subgenres include chamber pop and twee pop. [5]

Contents

Development and characteristics

Origins and etymology

Indie pop is not just "indie" that is "pop." Not too many people realize this, or really care either way. But you can be sure indie pop's fans know it. They have their own names for themselves ... the music they listen to ... their own canon of legendary bands ... and legendary labels ... their own pop stars ... their own zines ... websites ... mailing lists ... aesthetics ... festivals ... iconography ... fashion accessories ... and in-jokes ... in short, their own culture.

—Nitsuh Abebe, Pitchfork [1]

Within indie genres, issues of authenticity are especially prominent: indie was born in a Utopian attempt to stop the inevitable cycle of bands being co-opted - and, it is assumed, corrupted - by the mainstream.

—Emily I. Dolan, Popular Music [2]

Both indie and indie pop had originally referred to the same thing during the late 1970s. Inspired more by punk rock's DIY ethos than its style, guitar bands were formed on the then-novel premise that one could record and release their own music instead of having to procure a record contract from a major label. [1] According to Emily Dolan, indie is predicated on the distorted music of the Velvet Underground, the "rebellious screaming" of early punk, and "some of rock's more quirky and eccentric figures", such as Jonathan Richman. [2] Pitchfork 's Nitsuh Abebe identifies the majority of indie as "all about that 60s-styled guitar jangle". [1] The Monochrome Set's [9] early singles were so heavily influential to indie pop band the Smiths that Johnny Marr stated without them, the Smiths would not have existed. [10] [11]

Indie pop was an unprecedented contrast from the gritty and serious tones of previous underground rock styles, as well as being a departure from the glamour of contemporary pop music. [1] Distinguished from the angst and abrasiveness of its indie rock counterpart, [5] the majority of indie pop borrows not only the stripped-down quality of punk, but also "the sweetness and catchiness of mainstream pop". [2] Music critic Simon Reynolds says that indie pop defines itself against "charting pop". [8] Abebe explains:

One of those things was the idea that rock music was supposed to be cool – "cool" meaning sexy, tough, arty, fiery, or fantastical... The charts had "cool" covered – these kids, in their basements and bedrooms, were trying to hand-craft a mirror-image of it, a pop world where they were the stars... and a little bit of a raspberry blown at the larger musical world, which (sensibly) went right on preferring something more interesting than average white kids playing simple pop songs. [1]

Despite their relatively minor commercial success (their third album was sardonically titled They Could Have Been Bigger than the Beatles ), the Television Personalities are highly regarded by critics and have been widely influential, especially on the C86 generation. [12] Reynolds has said that "what we now know as indie music was invented in Scotland," [13] with reference to the emergence of Postcard Records in 1979. However, some have posited that the concept of indie music did not crystallise until the late 1980s and early 1990s. [2] Brisbane band the Go-Betweens were an early influential indie pop band, releasing their first single "Lee Remick" in 1978. [14] American indie pop band Beat Happening's 1985 eponymous debut album was also influential in the development of the indie pop sound, particularly in North America. [15] In the early 1990s, English indie pop influenced and branched off to a variety of styles. The US, which did not have as much of a scene in the 1980s, had many indie pop enthusiasts by the mid 1990s. [1] Most of the modern notion of indie music stems from NME 's 1986 compilation C86, which collects many guitar bands who were inspired by the early psychedelic sounds of 1960s garage rock. [16]

Names that indie pop fans use for themselves are popkids and popgeeks, and for the music they listen to, p!o!p, twee, anorak and C86. Abebe says that the Scottish group the Pastels typified the "hip end of 'anorak': Their lazy melodies, lackadaisical strum, and naive attitude transformed the idea of the rock band into something casual, intimate, and free from the pretense of cool". [1]

Disputed significance of C86

Everett True, a writer for NME in the 1980s, believes that C86 was not the main factor behind indie pop, arguing that Sarah Records was more responsible for sticking to a particular sound, and that: "C86 didn't actually exist as a sound, or style. ... I find it weird, bordering on surreal, that people are starting to use it as a description again". [17] Geoff Taylor, a member of the band Age of Chance, added: "We never considered ourselves part of any scene. I'm not sure that the public at large did either, to be honest. We were just an independent band around at that same time as the others." [18] [ better source needed ]

Bob Stanley, a Melody Maker journalist in the late 1980s and founding member of pop band Saint Etienne, acknowledges that participants at the time reacted against lazy labelling, but insists they shared an approach:[ improper synthesis? ] "Of course the 'scene', like any scene, barely existed. Like squabbling Marxist factions, groups who had much in common built up petty rivalries. The June Brides and the Jasmine Minks were the biggest names at Alan McGee's Living Room Club and couldn't stand the sight of each other. Only when the Jesus and Mary Chain exploded and stole their two-headed crown did they realise they were basically soulmates". [19] [ verification needed ] Manic Street Preachers bassist Nicky Wire remembers that it was the bands' very independence that gave the scene coherence: "People were doing everything themselves - making their own records, doing the artwork, gluing the sleeves together, releasing them and sending them out, writing fanzines because the music press lost interest really quickly." [20]

Many of the actual C86 bands distanced themselves from the scene cultivated around them by the UK music press - in its time, C86 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) and underachievement. [21] [ verification needed ]

Twee pop

Twee pop is a subgenre of indie pop [5] that originates from C86. Characterised by its simplicity and perceived innocence, some of its defining features are boy-girl harmonies, catchy melodies, and lyrics about love. For many years, most bands were distributed by Sarah Records (in the UK) and K Records (in the US). [22]

Shibuya-kei

Shibuya-kei is a Japanese style from the 1990s that was embraced by indie pop enthusiasts, partly because many of its bands were distributed in the United States through major indie labels like Matador and Grand Royal. Out of all the Japanese groups from the scene, Pizzicato Five was the closest to achieving mainstream success in the US. [23]

Chamber pop

Chamber pop is a subgenre of indie pop that features lush orchestrations. Heavily influenced by Brian Wilson and Burt Bacharach, [5] the majority of Louis Phillipe's productions for él Records embodied the sophisticated use of orchestras and voices that typified the style, [24] whilst the Divine Comedy were the most popular chamber pop act of the Britpop era. [25]

See also

Related Research Articles

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.

Alternative rock is a category of rock music that evolved from the independent music underground of the 1970s. Alternative rock acts achieved mainstream success in the 1990s with the likes of the grunge, shoegaze, and Britpop subgenres in the United States and United Kingdom, respectively. During this period, many record labels were looking for "alternatives", as many corporate rock, hard rock, and glam metal acts from the 1980s were beginning to grow stale throughout the music industry. The emergence of Generation X as a cultural force in the 1990s also contributed greatly to the rise of alternative rock.

Twee pop is a subgenre of indie pop that originates from the 1986 NME compilation C86. It is an offshoot of the Twee movement, characterized by its simplicity and perceived 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.

<span class="mw-page-title-main">K Records</span> Independent record label in Olympia, Washington

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<span class="mw-page-title-main">Jangle</span> Guitar sound and technique

Jangle or jingle-jangle is a sound typically characterized by undistorted, treble-heavy electric guitars played in a droning chordal style. The sound is mainly associated with pop music as well as 1960s guitar bands, folk rock, and 1980s indie music. It is sometimes classed as its own subgenre, jangle pop. Music critics use the term to suggest guitar pop that evokes a bright mood.

Noise pop is a subgenre of alternative and indie rock that developed in the mid-1980s in the United Kingdom and United States. It is defined by its mixture of dissonant noise or feedback with the songcraft more often found in pop music. Shoegaze, another noise-based genre that developed in the 1980s, drew from noise pop.

Grebo was a short-lived subgenre of alternative rock that incorporated influences from punk rock, electronic dance music, hip hop and psychedelia. The scene occupied the period in the late 1980s and early 1990s in the United Kingdom before the popularisation of Britpop and grunge. The genre and its attributes were largely absorbed into industrial rock, which would emerge after the sub-genre's demise in the late 1980s, which then led to the development of industrial metal in the 1990s.

<span class="mw-page-title-main">British rock music</span> Rock music from the United Kingdom

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<i>The New Record by My Bloody Valentine</i> 1986 EP by My Bloody Valentine

The New Record by My Bloody Valentine is the second EP by the Irish-English alternative rock band My Bloody Valentine, released in September 1986 on Kaleidoscope Sound. Recorded at Alaska Studios in London, the EP's sound is influenced by C86, a brand of indie pop, and diverges from the band's earlier post-punk sound.

Popular music of the United Kingdom in the 1990s continued to develop and diversify. While the singles charts were dominated by boy bands and girl groups, British soul and Indian-based music also enjoyed their greatest level of mainstream success to date, and the rise of World music helped revitalise the popularity of folk music. Electronic rock bands like The Prodigy and Chemical Brothers began to achieve a high profile. Alternative rock reached the mainstream, emerging from the Madchester scene to produce dream pop, shoegazing, post rock and indie pop, which led to the commercial success of Britpop bands like Blur and Oasis; followed by a stream of post-Britpop bands like Radiohead and The Verve.

Post-punk revival is a genre or movement of indie rock that emerged in the early 2000s as musicians started to play a stripped down and back-to-basics version of guitar rock inspired by the original sounds and aesthetics of post-punk, new wave and garage rock. It is closely associated with new wave revival, and garage rock revival.

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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, Madchester from Manchester, and grunge from Seattle.

Nice was an Australian indie rock band which formed in 1991. The band was fronted by Randall Lee formerly of The Cannanes and later of Ashtray Boy on vocals and guitar; Susannah Stewart-Lindsay, previously a member of the Adelaide-based band, Rewind on the Paranoid Side, on guitar; and Jo Packer on drums. Francesca Bussey, later a member of The Cannanes, was a member of Nice on bass guitar during the recording sessions for their first album, Nice (1992), but left during production and was credited only as a guest. Bussey was replaced on bass guitar by Mark King.

<i>CD86</i> (album) 2006 compilation album

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.

Post-punk is a broad genre of music that emerged in 1977 in the wake of punk rock. Post-punk musicians departed from punk's traditional elements and raw simplicity, instead adopting a broader, more experimental approach that encompassed a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and do it yourself ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.

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"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.

<i>C86</i> 1986 compilation album by various artists

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. 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" and underachievement. The C86 scene is now recognized as a pivotal moment for independent music in the UK, as was recognized in the subtitle of the compilation's 2006 CD issue: CD86: 48 Tracks from the Birth of Indie Pop. 2014 saw the original compilation reissued in a 3CD expanded edition from Cherry Red Records; 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.

<span class="mw-page-title-main">Jangle pop</span> Music genre

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References

  1. 1 2 3 4 5 6 7 8 9 10 Abebe, Nitsuh (24 October 2005), "Twee as Fuck: The Story of Indie Pop", Pitchfork Media, archived from the original on 3 February 2011
  2. 1 2 3 4 5 Dolan, Emily (2010). "…This little ukulele tells the truth': indie pop and kitsch authenticity". Popular Music. Cambridge University Press. 29 (3): 457–469. doi:10.1017/s0261143010000437. JSTOR   40926945. S2CID   194113672.
  3. 1 2 Tea, Mark (14 April 2014). "10 Canadian jangle and indie pop bands that will improve your day". Aux. Archived from the original on 15 June 2018. Instead, we're focusing on a more classic definition of the genre, one that marries guitar pop with D.I.Y. ethics.
  4. 1 2 3 4 Heaton, Dave (5 December 2013). "The Best Indie-Pop of 2013". PopMatters .
  5. 1 2 3 4 5 6 7 8 9 "Indie Pop". AllMusic .
  6. The Week Staff (22 July 2011). "Washed Out: Within and Without". The Week .
  7. Reynolds 2011, p. 168.
  8. 1 2 Frith & Horne 2016, p. 139.
  9. "The Monochrome Set". Tapete Musik (in German). Retrieved 30 April 2023.
  10. "The Monochrome Set". CCCB. Retrieved 30 April 2023.
  11. Robb, John (9 January 2009). "The Monochrome Set: Remembering the band that history forgot". The Guardian. ISSN   0261-3077 . Retrieved 30 April 2023.
  12. Buckley, Peter. The Rough Guide to Rock. Rough Guides, 2003.
  13. "Big Gold Dream: Norman Blake, Russell Burn, Tam Dean Bum, Grant McPhee: Amazon Digital Services LLC". Amazon.com. Retrieved 7 May 2018.
  14. "Record Bin: The jangling pop brilliance of The Go-Betweens' "16 Lovers Lane"". NOOGAtoday. 11 July 2015. Archived from the original on 2 September 2019. Retrieved 2 September 2019.
  15. Abebe, Nitsuh. "Beat Happening - Beat Happening". AllMusic . Retrieved 25 March 2015. Beat Happening can't be given credit for creating the indie pop genre, but they certainly gave it life in America.
  16. Martin, Ian (10 July 2013). "C86 sound jangles on in the Japanese indie scene" . The Japan Times . Archived from the original on 14 October 2023. The modern notion of indie music was formed to a large extent by the sounds of melodic guitar bands from declining industrial cities in Margaret Thatcher's Britain, many of which were collected by music weekly the NME on its iconic "C86" compilation album. Disaffected by the implosion of punk and inspired by the proto-psychedelic sounds of '60s garage rock, bands such as The Wedding Present, The Pastels, Close Lobsters and others retained punk's wariness of the commercial music industry but developed a more tuneful, occasionally whimsical musical style.
  17. True, Everett (22 July 2005), Friday 22 July, Plan B Magazine Blog, archived from the original on 1 May 2007, retrieved 12 January 2016
  18. Taylor, Geoff, ireallylovemusic vs age of chance, ireallylovemusic[ self-published source ]
  19. Bob Stanley, sleevenotes to CD86 [ full citation needed ]
  20. Wire, Nicky (25 October 2006), "The Birth of Uncool", The Guardian
  21. Reynolds, Simon (23 October 2006). "The C86 indie scene is back!". Time Out!. Archived from the original on 2 October 2012. Retrieved 2 January 2012.
  22. "Twee Pop". AllMusic . Archived from the original on 10 November 2023. In the U.K., the hub of the twee-pop scene was for many years the now-legendary Sarah label, home of groups including the Field Mice, Heavenly, and the Orchids; upon Sarah's demise, its founders created a new label, Shinkansen. In the U.S., the twee-pop scene took root most notably in the Olympia, WA area, the home of K Records, a label owned and operated by Beat Happening's Calvin Johnson.
  23. Ohanesian, Liz (13 April 2011). "Japanese Indie Pop: The Beginner's Guide to Shibuya-Kei". LA Weekly . Archived from the original on 9 July 2023. If you're going to start digging around in the Shibuya-kei crates, Pizzicato 5 is the best place to start. Our reasoning for this is simple, out of all the bands that came out of this scene, they came closest to breaking through on a wide scale in the U.S.
  24. Marmoro, Gianfranco (12 January 2010). "The Ocean Tango". Ondarock (in Italian). Archived from the original on 17 November 2023.
  25. Kok, Dan (13 September 2016). "The Divine Comedy: Foreverland". PopMatters. Retrieved 7 January 2021.

Works cited

Further reading