Indie rock

From Freepedia

Alternative rock
Stylistic origins:	Punk rock, rock and roll
Cultural origins:	early 1980s, primarily UK, US, Canada, Australia, New Zealand
Typical instruments:	Guitar - Bass - Drums
Mainstream popularity:	Limited, except grunge in the US and Indie & Britpop in the UK
Derivative forms:	Indie - Grunge
Subgenres
Britpop - College rock - Dream pop - Gothic rock - Grunge - Indie - Jam band - Madchester - Shoegazing - Twee pop
Fusion genres
Alternative metal - Darkwave - Gothabilly - Goth metal
Regional scenes
Massachusetts - Washington - Illinois - Maryland
Other topics
Bands - History

Indie rock is rock music that falls within the indie music description. The term is sometimes used interchangeably with indie music as a whole, though more specifically implies that the music meets the criteria of being rock, as opposed to indie pop or other possible matchups. These criteria vary from an emphasis on rock instrumentation (electric guitars, bass guitar and live drums) to more abstract (and debatable) rockist constructions of authenticity.

The music commonly regarded as indie rock is descended from what was known as alternative rock during the 1980s; this name refers to the fact that it was an alternative to mainstream rock. Alternative bands of the time, in turn, were influenced by the punk rock and New Wave movements of the 1970s and early 1980s. During the first half of the 1990s, alternative music, led by grunge bands such as Nirvana and Pearl Jam, broke into the mainstream, achieving commercial chart success; shortly thereafter, the alternative genre became commercialised, as mainstream success attracted major-label investment and commercially-oriented or manufactured acts with a formulaic, conservative approach. With this, the meaning of the label "alternative" changed away from its original, more countercultural meaning, and the term "indie rock" fell into greater use.

"Indie rock" is shorthand for "independent rock," which stems from the general rule that most of its artists are signed to independent record labels, rather than major record labels. It is not strictly a genre of music (given that musical style and independence are not always correlated), but is often used as an umbrella term covering a wide range of artists and styles, connected by some degree of allegiance to the values of underground culture, and (usually) describable as rock and roll. Genres or subgenres often associated with indie rock include lo-fi, post-rock, shoegazer, garage punk, emo, slowcore, c86, twee pop, and math rock, to list but a few; other related (and sometimes overlapping) categories include alternative rock and indie pop.

Typically, indie artists place a premium on maintaining complete control of their music and careers, often releasing albums on their own independent record labels and relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion. Some of its more popular artists, however, may end up signing to major labels, though often on favourable terms won by their prior independent success.

1 Indie: status or genre?
2 Indie Rock in North America
3 See also
4 External Links
5 References

Indie: status or genre?

In the UK, indie music charts have been compiled since at least the 1980s. These charts initially featured independent bands that emerged from punk and post punk, as well as indie pop artists such as Aztec Camera and Orange Juice, the C86 jangle-pop movement and the twee pop of Sarah Records artists. The bands were distinguished by having their records released by small labels, independently of the major record companies. The 1980s indie scene directly influenced 1990s Britpop artists such as Blur and Suede (though many of these were technically not wholly "indepedent" artists, being signed to major labels).

More recently, the term "indie rock" has become so incredibly broad that almost anything from post punk to alt-country to synth-pop to afrobeat to ambient to noise pop to IDM to psychedelic folk to hundreds of other genres can fall under its umbrella.

In fact, there are likely to be several popular, and wildly varying, strains of indie rock going at any given time. For example, some of the more popular recent strains include:

New Folk, an updated take on the folk music of the 1960s, typically designated by quiet vocals and more ornate, orchestral instrumentation and arrangements. (See: Sufjan Stevens, Iron and Wine)

Freak-folk, a more experimental take on New Folk that generally revolves around quirkly, psych-inflected folk songs and ballads. (See: Devendra Banhart, Joanna Newsom, Animal Collective, Six Organs of Admittance)

New Weird America, the most heavily psych-damaged strain of New Folk, frequently consisting of avant-garde noise, drones, or dissonance, and often employing natural field recordings for added atmosphere. (See: No-Neck Blues Band, Tower Recordings, Wooden Wand and the Vanishing Voice)

Dance-punk, a hybridization of electronic dance music and punk rock aesthetics. (See: LCD Soundsystem, The Rapture, !!!, Out Hud, Radio 4)

Garage rock revival, a throwback to a more primitive 60s rock and roll sound which was heavily influenced by Delta blues. (See: The White Stripes, The Strokes, The Hives, The Von Bondies)

Nu-gaze, an updated version of shoegazer that tends to lean more heavily on synths than its more guitar-focused predecessor. (See: Sigur Ros, Ulrich Schnauss, M83, Serena Maneesh)

Lap-pop, a descendent of electropop that finds a more conventional approach to indie rock or indie pop backed almost exclusively by highly digitized electronic instrumentation. (See: The Postal Service, The Notwist, Manitoba, Dntel)

Also among the most popular strains of indie rock at present is Neo-Wave. Popularized by bands such as Franz Ferdinand, Bloc Party and Futureheads, it is influenced primarily by the New Wave and post-punk movements of the 1980s. The core of this movement has mostly been the resurgence of spiky 80's post punk rhythms and riffs akin to those played by Gang of Four, Television and Wire. Often this style has been blended with other alternative genres such as garage rock (Death From Above 1979), synth rock (The Killers) and post-punk (Interpol). Some would also classify the Scissor Sisters and many others within this genre, which is very popular in the UK, forming the backbone of the Zane Lowe show, a popular evening radio show on Radio 1.

Whether this particular movement embodies the indie ethos is debatable. Many of these bands are signed to independent labels, and express a disdain of the major-label marketing apparatus. (In the 8th January 2005 issue of NME, Alex Kapranos of Franz Ferdinand authored an article championing the genre, saying independent labels 'have character', how they are 'run by people who are passionate about music' and stressing 'why independent record labels are so important' as the saviour of good music.) Critics point out that, while many of the bands are signed to labels technically independent of the Big Four, the movement is highly commercial, image-oriented and market-driven, with millions of dollars spent on marketing and the investment of corporate promoters such as MTV, Clear Channel and Carling; a far cry from the traditional indie world of labels run out of bedrooms by friends of the bands and unconcerned with commercial success. Furthermore, much of this movement has been said to be rigidly formulaic, with a set of aesthetic stances (i.e., the severe black suits and thin ties of bands such as Interpol and Kaiser Chiefs) and sounds imitating a small number of 1970s/1980s post punk and New Wave bands, and thus not particularly independent in spirit. While some artists in this movement may embody the DIY aesthetic and unconcerned attitude of indie more than others, it cannot be said to infuse the entire movement.

Further muddying the waters of the technical definition of "indie" is the fact that independence from major labels and independence from market-driven commercialism are not always correlated. For a time in the late 1990s, three of the most successful artists in the UK indie charts were *NSYNC, the Backstreet Boys and Britney Spears. All three were signed to Zomba, which was technically an independent label at the time. (Zomba has since become part of major label Sony BMG). In contrast, there have been a small number of notable artists (such as Radiohead, Pulp and The Flaming Lips) who have maintained considerable creative independence and won critical acclaim whilst signed to major labels.

Indie Rock in North America

"Scenes" are localized music-oriented communities that exist in many cities, especially in the U.S. and Canada. These have existed for decades now, in one way or another, but it is now commonplace for a city or town to have a punk scene, a metal scene, or many other scenes based on other forms of art. Indie music scenes became important in the early 1980s, when the rest of the country caught up with punk rock music from New York and London. Scenes are important in keeping indie and punk rock fresh and inventive, because it allows people from a wide audience to hear new independent music and contribute their own talents to it. Obviously, depending on what town one is in, the feel of the scene (and therefore the music that comes out of it) may change significantly.

Arguably, the 1980s indie scene in Washington D.C. was pivotal in changing the outcome of punk and indie rock for decades to come. Bands like Minor Threat, the Bad Brains, Fugazi, and Rites of Spring helped to shape the sound of underground music for years to come. Los Angeles was important around this this time as well, producing bands like the Descendents, Bad Religion, and Black Flag.

Around the mid-1980s, as punk and New-Wave's mainstream influence died down considerably, there rose a couple of other important movements. Minneapolis was very important around this time. Bands like Husker Du, the Minutemen, and the Replacements would influence many punk bands after them. People involved in these bands, such as Bob Mould and Paul Westerberg still contribute to the music scene today. During the late 1980s in the Bay Area of California, bands like Operation Ivy, Green Day, and later, Rancid would take form to give a new sound to punk rock. On the opposite end of the country, Frank Black, Kim Deal, and Kristen Hersch were forming bands like the Pixies, Throwing Muses, and eventually The Breeders. These bands would influence the next wave of indie rock, which came from Seattle.

The Seattle scene became popular in the early 1990s, when bands like Nirvana, Soundgarden, Alice In Chains, and the Screaming Trees had immense success with their music. This was unique since it signaled the first time in a long time that punk rock or indie rock had become once again in vogue with the masses. Bands such as the Pixies and Sonic Youth, who were not given much mainstream credibility up to this point, found themselves adored by new fans.

As of the new millenium, there are many new scenes appearing on the radar in North America, all with unique sounds. One is the Omaha-based Saddle Creek Records, which is home to several highly regarded indie rock acts, most notably Bright Eyes and Cursive. Bright Eyes singer/songwriter and Omaha native Conor Oberst, who started the label, has been called the "King of Indie Rock" by Rolling Stone magazine, although his "indie cred" is often less than high. Some publications such as Pitchfork Media are now claiming Montreal as North America's indie rock capital, due to bands such as The Arcade Fire, Wolf Parade, Frog Eyes and The Unicorns. Portland, Oregon has also become a hot spot for indie bands, being the home of such acts as The Decemberists, The Dandy Warhols, Quasi, and the late Elliott Smith.

New York City (notably the neighborhood of Williamsburg, Brooklyn) has also been cited as a major scene for recent indie rock music with such bands as The Walkmen, TV on the Radio, Interpol, the Strokes, the French Kicks and the Yeah Yeah Yeahs. On the other hand, the development of an indie rock scene in New York is seen by some to be hampered by the high cost of living in the city. Los Angeles' indie scene is mostly centered in the gritty Koreatown and the bohemian Silverlake areas of the city, which have given rise to such bands as Moving Units, Autolux, the Midnight Movies, the Movies, Giant Drag, Icebird, and the Blood Arm. The Washington, DC area has also re-emerged as a hotbed of indie music. The area gained notoriety in the 1980s when it became one of the flagship cities of the American hardcore punk movement, with bands such as Minor Threat, Government Issue and Rites of Spring. All of these bands were on Minor Threat frontman Ian MacKaye's own record label, Dischord Records. Now the city is re-emerging as a hotbed of indie rock acts, namely MacKaye's own Fugazi, as well as Q and Not U, Black Eyes, Dead Meadow, Decahedron, and The Evens.