Difference between revisions of "Indie music" - New World Encyclopedia

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In popular music, '''indie music''' (from ''independent'') is any of a number of genres, scenes, subcultures, stylistic and cultural attributes characterised by perceived independence from commercial pop music and mainstream culture and an autonomous, do-it-yourself (DIY) approach.  Over the years, it has come to change connotations from a demarcation of status to musical style.  Regionally "Indie" has different meanings, the main difference arising between England and the United States.  Indie as a term has evolved since its beginnings in the early 80s.  The story of indie is one of semantic mutation.
 
In popular music, '''indie music''' (from ''independent'') is any of a number of genres, scenes, subcultures, stylistic and cultural attributes characterised by perceived independence from commercial pop music and mainstream culture and an autonomous, do-it-yourself (DIY) approach.  Over the years, it has come to change connotations from a demarcation of status to musical style.  Regionally "Indie" has different meanings, the main difference arising between England and the United States.  Indie as a term has evolved since its beginnings in the early 80s.  The story of indie is one of semantic mutation.
  
==Definitions of "indie"==
+
==Definitions of "Indie": Genre or Status?==
  
Indie's origins as a musical term originates in the fact that indie artists were on indie record labels. Yet, confusion emerged as certain sounds became associated with the term indie. No longer a term of commercial distinction, it became a genre title. The term "Indie" is most effective when used as a descriptive add-on to a musical genre term.  For example: indie-rock, indie-pop, indie-rap, indie-metal, etc. A full description of an artist or band is achieved by stating their musical style and label status. Misnomers are prevalent, though, and are used to describe bands with a post-punk influenced sound.  In America, describing a band as such is valid, but in Britain there are completely different connotations.
+
Indie's origins as a musical term originates in the fact that indie artists were on indie record labels. Yet, confusion emerged as certain sounds became associated with the term "indie". The musical stylings of the bands overshadowed the term's original connotation. The term "Indie" is most effective when used as a descriptive add-on to a musical genre term.  For example: indie-rock, indie-pop, indie-rap, indie-metal, etc. A full description of an artist or band is achieved by stating their musical style and label status. Misnomers are prevalent, though, and are used to describe bands with a post-punk influenced sound.  In America, describing a band as such is valid, but in Britain there are completely different connotations.
  
"Indie" music charts have existed in the United Kingdom since the early 80s. The sounds that dominated the charts, then, were guitar-based alternative music from the C86 movement, Sarah Records' twee pop sound, and other indie pop artists. Yet, beyond those initial indie influences, the sounds of indie music became as wide and varied as those of the commercial market.
+
"Indie" music charts have existed in the United Kingdom since the early 80s. The sounds that dominated the charts, then, were guitar-based alternative music from the C86 movement, the Sarah Records' twee pop sound, and other indie pop artists. Yet, beyond those initial indie influences, the sounds of indie music became as wide and varied as those of the commercial market, only linked by their independent record label affiliation.
  
In America, "Indie" has a different history. "Indie" and "alternative" were synonymous outgrowths of the post-punk and new-wave movements. The genre that resulted was an alternative to commercial radio music and was deemed "College Rock" because of its availability solely on college radio stations. When alternative rock broke out of the underground scene into the general market, a division happened within the alternative scene. Two factions emerged: the artists who went to major labels and those that stayed underground. The artists who remained underground were called "indie" while alternative became the catch-all phrase to describe popular music. Nirvana and grunge became the commercial face of the genre; bands like Pavement created the blueprint for 90s indie rock.
+
In America, "Indie" has a different history. "Indie" and "alternative" were synonymous outgrowths of the post-punk and new-wave movements, which were outgrowths of the 70s punk movement. The genre that resulted was an alternative to commercial radio music and was deemed "College Rock" because of its presence solely on college radio stations. When alternative rock broke out of the underground scene into the general market in the early 90s, a split occured in the alternative scene. Two factions emerged: the artists who went to major labels and those that stayed underground. Nirvana and similar grunge bands became the commercial face of alternative rock; bands like Pavement created the aesthetic and stylistic blueprint for 90s indie rock. The artists who remained underground were called "indie" while "alternative" became the catch-all phrase to describe popular music.  
 +
 
 +
The term "indie" represents the culture of separation from the commercial music scene. Though many cross over, though its name may change, the culture of indie is what makes it distinct.  Creative freedom and the DIY (do-it-yourself) attitude, inherited from punk rock, make up the culture that will always stands in contrast to popular trends. Genre and label status both fail to encompass the definition of "indie". "Indie" is short for "Independent" and that attitude of independence is what determines if an artist is indie or not.
  
 
==Indie vs. Major Labels==
 
==Indie vs. Major Labels==
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====Independent label contracts====
 
====Independent label contracts====
Many times, a deal from an independent record label is quite similar to that of a major label.  In cases where an independent label is distributed by a major label, the independent label itself will have to have a major-label deal. In this case, the independent label would want to be sure that their [[contract]] with their artists covers the same issues as the independent’s own contract with the major label.  In other cases, independent labels offer similar contracts to major labels because they want to look more professional.  An independent label that thinks it will eventually be dealing frequently with major labels will have a similar contract in order to avoid having to redraft contracts in the future.  There are also plenty of cases in which independent labels have contracts that do not resemble major label contracts in any way.  In general, independent labels that are not affiliated with a major label are more willing to take chances and are able to be more flexible in their deals.
 
  
Though some independent labels offer a royalty rate of 10-15% like the major labels, it is becoming increasingly more common for independent labels to offer a profit-sharing deal in which as much as 40-75% of the net profits go to the artist. In this type of contract, the net gain after all expenses have been taken out are split between the label and artist by a negotiated percentage.  However, deals in this form can take longer for an artist to gain any profits since all expenses – such as manufacturing, publicity, and marketing – are also taken into account.  As an independent artist becomes more popular, deals of this type are more advantageous.
+
Many times, a deal from an independent record label is quite similar to that of a major label. While independent labels do give advances, major label advances are generally much larger than independent labels can offer. Instead of offering an advance, some independent labels agree to pay a certain sum, which is recoupable, for recording costs.  In general, independent labels that are not affiliated with a major label are more willing to take chances and are able to be more flexible in their deals. It is more common for independent labels to offer a profit-sharing deal in which as much as 40-75% of the net profits go to the artist. Labels that are affiliated with major labels tend to resemble major labels.
 +
 
 +
Independent labels often rely heavily on free promotional goods: compilation, promotional copies of albums, etc. These free materials create the buzz and word-of-mouth upon which the independent scene thrives, but artists do not receive royalties on the free merchandise; since compilation albums by independent labels are often given away, the artists receive no royalties. Major label compilations are more often sold than given away, and the artist still does receive royalties.
  
Independent labels often rely heavily on free goods, or the records that are given away in promotion of an album.  Artists do not receive royalties on merchandise that is given away for free.  Additionally, since compilations made by independent labels are often given away, the artist receives no royalties.  Major label compilations are more often sold than given away, and the artist does receive royalties.
 
  
====Touring====
 
When a band goes on tour, it may or may not have the financial backing of its label.  An artist receives a fixed fee or a percentage of the tickets sold by the [[venue]] owner or promoter.  Touring is an expensive process.  A moderate estimate of touring costs with a bus and small crew can easily reach $15,000 a week.  If an artist tours with the support of their label, the expenses are all recoupable, thus potentially increasing a band’s debt.  Many successful bands tour without the support of their label so that they can keep all of their touring revenue.  An independent band would have more difficulty than a highly successful one in being self-sufficient on tour.
 
  
 
===Creative Distinctions===
 
===Creative Distinctions===

Revision as of 00:24, 19 May 2007

In popular music, indie music (from independent) is any of a number of genres, scenes, subcultures, stylistic and cultural attributes characterised by perceived independence from commercial pop music and mainstream culture and an autonomous, do-it-yourself (DIY) approach. Over the years, it has come to change connotations from a demarcation of status to musical style. Regionally "Indie" has different meanings, the main difference arising between England and the United States. Indie as a term has evolved since its beginnings in the early 80s. The story of indie is one of semantic mutation.

Definitions of "Indie": Genre or Status?

Indie's origins as a musical term originates in the fact that indie artists were on indie record labels. Yet, confusion emerged as certain sounds became associated with the term "indie". The musical stylings of the bands overshadowed the term's original connotation. The term "Indie" is most effective when used as a descriptive add-on to a musical genre term. For example: indie-rock, indie-pop, indie-rap, indie-metal, etc. A full description of an artist or band is achieved by stating their musical style and label status. Misnomers are prevalent, though, and are used to describe bands with a post-punk influenced sound. In America, describing a band as such is valid, but in Britain there are completely different connotations.

"Indie" music charts have existed in the United Kingdom since the early 80s. The sounds that dominated the charts, then, were guitar-based alternative music from the C86 movement, the Sarah Records' twee pop sound, and other indie pop artists. Yet, beyond those initial indie influences, the sounds of indie music became as wide and varied as those of the commercial market, only linked by their independent record label affiliation.

In America, "Indie" has a different history. "Indie" and "alternative" were synonymous outgrowths of the post-punk and new-wave movements, which were outgrowths of the 70s punk movement. The genre that resulted was an alternative to commercial radio music and was deemed "College Rock" because of its presence solely on college radio stations. When alternative rock broke out of the underground scene into the general market in the early 90s, a split occured in the alternative scene. Two factions emerged: the artists who went to major labels and those that stayed underground. Nirvana and similar grunge bands became the commercial face of alternative rock; bands like Pavement created the aesthetic and stylistic blueprint for 90s indie rock. The artists who remained underground were called "indie" while "alternative" became the catch-all phrase to describe popular music.

The term "indie" represents the culture of separation from the commercial music scene. Though many cross over, though its name may change, the culture of indie is what makes it distinct. Creative freedom and the DIY (do-it-yourself) attitude, inherited from punk rock, make up the culture that will always stands in contrast to popular trends. Genre and label status both fail to encompass the definition of "indie". "Indie" is short for "Independent" and that attitude of independence is what determines if an artist is indie or not.

Indie vs. Major Labels

Commercial Distinctions

A more puristic structural definition of "indie" would distinguish big Indie labels apart from small Indie labels, deeming the smaller labels as the true indie labels. These small labels are typically run by a few people and connected to a local scene. The converse of the tiny indie labels are independent labels that have been perceived, rightly or wrongly, as being overly "commercial" or exploitative of certain artists or trends. Examples at various times include Fat Wreck Chords, Matador Records, Sub Pop, and Epitaph Records.

Once again, this is not so much a dichotomy as a continuum: when producing music that they love, the indie record producers run the risk of other people loving the music as well, potentially a lot of people. Some labels grow from independent status and gradually become more commercially oriented (often prompted by the success of one of their acts). They most likely become subsumed by a larger conglomeration or a major label. One example of this was Creation Records, a label Alan McGee started in the 1980s on a small scale, that gained success in the 1990s with Oasis and subsequently became more commercially oriented before being acquired by Sony.

A concern for the purity of the creative mission of the label takes precedence over commercial concerns. Archetypal examples of such labels include the Sarah Records, Factory Records, Dischord, Kindercore Records, SST records and Kill Rock Stars. While major labels are economincally-centered, indie labels strive for authenticity in its art.

Major label contracts

Artists on major record labels are funded in two ways: recoupable expenses and advances. Recoupable expenses are production (packaging and artwork), advertising, and possibly touring expenses that the artist must repay to the label, leaving the artist in debt from the start. Advances are like loans that take care of living and recording expenses. However, before the artists can gain any royalties from their songs, the advance must be paid back in full to the record label. Most artists see little to no royalties.

In most contracts, options are agreed upon by the label and the artist; they can opt to renew contracts or drop support for the artist. The label even holds the right to refuse distribution to an artist’s work if it is deemed commercially or creatively unacceptable. [1]

Independent label contracts

Many times, a deal from an independent record label is quite similar to that of a major label. While independent labels do give advances, major label advances are generally much larger than independent labels can offer. Instead of offering an advance, some independent labels agree to pay a certain sum, which is recoupable, for recording costs. In general, independent labels that are not affiliated with a major label are more willing to take chances and are able to be more flexible in their deals. It is more common for independent labels to offer a profit-sharing deal in which as much as 40-75% of the net profits go to the artist. Labels that are affiliated with major labels tend to resemble major labels.

Independent labels often rely heavily on free promotional goods: compilation, promotional copies of albums, etc. These free materials create the buzz and word-of-mouth upon which the independent scene thrives, but artists do not receive royalties on the free merchandise; since compilation albums by independent labels are often given away, the artists receive no royalties. Major label compilations are more often sold than given away, and the artist still does receive royalties.


Creative Distinctions

The word "indie" is often used to refer specifically to various genres or sounds in a realm of music that runs parallel to more commercial music. During the 1980s, "indie" was synonymous in Great Britain with jangly guitar pop of the C-86 movement. During the 1990s "indie" music became more expansive and established as a growing number of musicians and fans began seeking alternatives to the mainstream music establishment. Entire genres and sub-genres found representation from new acts, like the Red House Painters, The Sea and Cake, and Polvo. More recently, the word "indie" is sometimes used as a synonym for all "underground" music, similar in the way alternative was used previously before it actually became just a specific genre of corporate, mainstream music in the 90's. Such usages of "indie" may be considered inaccurate for various reasons: for one, stylistic qualities are often not accurately correlated to commercial independence or adherence to indie principles (this is particularly true when a sound becomes popular, its leading exponents are signed by major labels and more success-oriented bands and production teams attempt to imitate the style; this ultimately culminates in commercially driven artists sporting the same stylistic traits the "indie" artists of a year ago had). Secondly, however pervasive any style of music may become at a particular time, it by definition cannot embody all of indie music, as, by indie's nature, there will be indie artists, labels and entire local scenes operating outside of this style and its definitions.

Indie Values

There are a number of cultural and philosophical traits which could be more useful in pinpointing what "indie" is about than specific musical styles or commercial ownership. Indie artists are concerned more with self-expression than commercial considerations (though, again, this is a stance that is affected by many artists, including hugely commercially successful ones). A do-it-yourself sensibility, which originated with punk in the 1970s, is often associated with indie, with people in the scene being involved in bands, labels, nights and zines. Indie often has an internationalist outlook, which stems from a sense of solidarity with other fans, bands and labels in other countries who share one's particular sensibilities; small indie labels will often distribute records for similar labels from abroad, and indie bands will often go on self-funded tours of other cities and countries, where those in the local indie scenes will invariably help organize gigs and often provide accommodation and other support. In addition, there is also a strong sense of camaraderie that emerges from a selflessness among indie bands and often results in collaborations and joint tours.

Indie artists of any particular time often go against the prevailing trends (for example, the twee pop movement that started in the 1980s was a reaction against the testosterone-fueled swagger of rock). A 'lo-fi' aesthetic (i.e., an often deliberate lack of polish and a more "authentic" roughness and imperfection) has often been associated with indie, particularly when slick, polished recordings were the preserve of the commercial music industry; this line has since become blurred, in a world where high-quality recordings can be made increasingly easily with inexpensive computer-based recording systems and where commercial production teams often deliberately utilize a "lo-fi" sound.

Indie in the Computer Age

The concept of the album was first introduced with the invention of the phonograph. Artists became dependent on companies with capital because it was too expensive for an artist to produce and distribute an album themselves. Because of this, the choices offered to the public were decided by what the record companies chose to support and distribute. Today, technology is finally at the point where it is affordable for an artist to produce and distribute an album without the assistance of a label. Ironically, this same technology is available to consumers who can easily reproduce the music. This makes it increasingly difficult for an artist to make a living from selling albums alone.[2]

Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.[3] The design of digital music software encourages the discovery of new music. Sites with larger libraries of songs are the most successful. This, in turn, creates many opportunities for independent bands. Royalties from digital services could prove to be an important source of income. If an artist has already paid to record, manufacture, and promote their album, there is little to no additional cost for independent artists to distribute their music online.[4] Digital services offer the opportunity of exposure to new fans and the possibility of increased sales through online retailers. Artists can also release music more frequently and quickly if it is made available online. Additionally, artists have the option of releasing limited edition, out-of-print, or live material that would be too costly to produce through traditional means.

With the arrival of newer and relatively inexpensive recording devices and instruments, more individuals are able to participate in the creation of music than ever before. Studio time is extremely expensive and difficult to obtain. The result of new technology is that anyone can produce studio-quality music from their own home. Additionally, the development of new technology allows for greater experimentation with sound.[5] An artist is able to experiment without necessarily spending the money to do it in an expensive studio.

Most artists maintain their own Web sites as well as having a presence on sites such as Myspace.com. Technological advances such as message boards, music blogs, and social networks are also being used by independent music companies to make big advances in the business.[6] Some sites, such as Garageband.com, rely on audience participation to rate a band, allowing listeners to have a significant impact on the success of a band. This eliminates new talent search and development, one of the most costly areas of the music business. Other sites, such as sessionsound.com allow artists to upload their music and sell it at a price of their choosing. Visitors to the site can browse by genre, listen to free samples, view artist information, and purchase the tracks they want to buy.[7] Acts such as Wilco have chosen to make their new albums available for streaming before they are released.[8]

However, the sale of digital music makes up only 5-10% of the total income generated from music sales. At this point, most people do not have broadband connections to the internet, making it relatively difficult for the general public to access music online. Many digital music services tend to focus overwhelmingly on major label acts. They don’t necessarily have the time or resources to give attention to independent artists.Cite error: Closing </ref> missing for <ref> tag It is possible for an artist to make more money producing and promoting their own CDs than signing with a major label. However, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often one-or two-person operations with almost no outside assistance and run out of tiny offices.[9] This lack of resources can make it extremely difficult for a band to make revenue from sales.

One thing an artist can consider doing if they want to be noticed by a major label is starting their own independent label. A successful independent label with a strong musical reputation can be very appealing to a major label. Major labels rely on independent labels to stay current within the ever-changing music scene.[10] Independent labels are often very good at discovering local talent and promoting specialized genres.

The difference among various independent labels lies with distribution, probably the most important aspect of running a label. A major-label distributed independent label allows the independent label to find, sign, and record their own artists. The independent label has a contract with a major label for promotion and distribution. In some cases, the major label also manufactures and releases the album. Independent labels that are owned by a major label distribute their records through independent distributors but are not purely independent. A purely independent label is not affiliated with a major label in any way. Their records are distributed through independent distributors.[11]

The three main ways for an artist to make money are record deals, touring, and publishing rights.

Genres associated with indie

  • Alternative rock, particularly indie rock, indie pop, post-rock, shoegazing, twee pop, and many others
  • Americana
  • Dark cabaret
  • Down-tempo
  • Electronica
  • Experimental
  • Folk
  • Garage Rock
  • Glitch
  • Hip Hop
  • IDM
  • Post-punk
  • Power-pop
  • Powerviolence
  • Punk rock
  • Shibuya-kei
  • Suomisaundi
  • Trip-hop
  • Underground Hip-hop
  • Yé-yé

See also

  • DIY Culture
  • Underground music
  • Indie music scenes
  • Punk ideology
  • Hipster (contemporary subculture)

References
ISBN links support NWE through referral fees

  • Leyshon, Andrew, et al. (2005). On the reproduction of the music industry after the internet 27.
  • Hesmondhalgh, David (1999). Indie: the institutional politics and aesthetics of a popular music genre 13 (1).

External links

  • Pitchfork Media - A well-known US-based online music magazine covering the indie scene.
  • FreeIndie - Popular indie music website. Provides free and legal samples of albums from independent artists.
  • Trouserpress - Massively influential 1980s US-based indie publication, now an online record guide.

da:Indie (musik) de:Independent es:Indie fr:Rock indépendant it:Musica indie he:אינדי ms:Muzik indie nl:Indie (muziek) no:indie pt:Indie rock ru:Инди (музыка) sv:Indiepop pl:Indie rock In popular music, indie music (from independent) is any of a number of genres, scenes, subcultures and stylistic and cultural attributes, characterised by perceived independence from commercial pop music and mainstream culture and an autonomous, do-it-yourself (DIY) approach.

  1. Ian, Janis. “The Internet Debacle: An Alternative View.” Performing Songwriter Magazine, May 2002. [www.janisian.com/article-internet_debacle.html].
  2. Toomey, Jenny. Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption. [1].
  3. Leyshon, Andrew, et al. “On the Reproduction of the Music Industry After the Internet.” Media, Culture, and Society, Vol. 27. 177-209.
  4. “An Independent’s Guide to Digital Music.” [2].
  5. Hesmondhalgh, David. “Indie: The Institutional Politics and Aesthetics of a Popular Music Genre.” Cultural Studies, Vol. 13, Issue 1, 1999. 34-61. ISSN [0950-2386].
  6. Leeds, Jeff. “Independent music on move with internet.” January 10, 2006. International Herald Tribune. [3].
  7. Pfahl, Michael. “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.
  8. Mansfield, Brian. “When Free is Profitable.” USA Today. May 20, 2004. [4].
  9. Haverty, Neil. “Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success.” [5].
  10. Knab, Christopher and Bart Day. “Deals that Await Successful Independent Music Labels.” [6].
  11. Friends, Stacey. “Independent Labels: What’s the Deal?” [7].