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

From New World Encyclopedia
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===Creative Distinctions===
 
===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 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. More recently, the word "indie" is sometimes used as a synonym for all "underground" music, similar in the way [[Alternative rock|alternative]] was used before it became just a genre tagline for corporate, mainstream music in the 90's. Such uses of "indie" may be considered inaccurate for various reasons: for one, stylistic qualities do not correlate to commercial independence or adherence to indie principles. Secondly, one style cannot embody all of indie music; there are always artists, labels and entire scenes that operate outside of a certain style and its definitions.
+
The word "indie" is often used to refer specifically to various genres or sounds in a realm of music that runs parallel to 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. More recently, the word "indie" is sometimes used as a synonym for all "underground" music, similar in the way [[Alternative Rock|alternative]] was used before it became just a genre tagline for corporate, mainstream music in the 90's. Such uses of "indie" may be considered inaccurate for various reasons: for one, stylistic qualities do not correlate to commercial independence or adherence to indie principles. Secondly, one style cannot embody all of indie music; there are always artists, labels and entire scenes that operate outside of a certain style and its definitions.
  
 
Indie artists of any particular time often go against the prevailing trends. 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 artists of any particular time often go against the prevailing trends. 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.
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With the dawn of the internet, the concepts of distribution, word-of-mouth, and community have gone through ground-breaking transformations. Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.<ref>Leyshon, Andrew, et al.  “On the Reproduction of the Music Industry After the Internet.”  Media, Culture, and Society, Vol. 27.  177-209.</ref> Personalized websites help artists connect more directly to their fans, skipping a need for the fan-club middle-man. Internet communities transform local-based word-of-mouth into an international network of music-listeners. Making music available to download on the internet makes distribution as easy as clicking a button.  
 
With the dawn of the internet, the concepts of distribution, word-of-mouth, and community have gone through ground-breaking transformations. Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.<ref>Leyshon, Andrew, et al.  “On the Reproduction of the Music Industry After the Internet.”  Media, Culture, and Society, Vol. 27.  177-209.</ref> Personalized websites help artists connect more directly to their fans, skipping a need for the fan-club middle-man. Internet communities transform local-based word-of-mouth into an international network of music-listeners. Making music available to download on the internet makes distribution as easy as clicking a button.  
  
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
+
Most artists maintain their own Web sites as well as having a presence on sites such as [http://www.Myspace.com Myspace.com], which has become instrumental in the success of many bands. Some sites, such as [http://www.Garageband.com 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 [http://www.sessionsound.com 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.<ref>Pfahl, Michael.  “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.</ref> 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.<ref>Leeds, Jeff“Independent music on move with internet.”  January 10, 2006International Herald Tribune.  [http://www.iht.com/articles/2005/12/28/features/record.php].</ref>  
in the business.<ref>Leeds, Jeff.  “Independent music on move with internet.”  January 10, 2006.  International Herald Tribune.  [http://www.iht.com/articles/2005/12/28/features/record.php].</ref>  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 [http://www.sessionsound.com 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.<ref>Pfahl, Michael.  “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.</ref> Acts such as [[Wilco]] have chosen to make their new albums available for streaming before they are released.<ref>Mansfield, Brian“When Free is Profitable.”  USA TodayMay 20, 2004.  [http://www.usatoday.com/tech/webguide/music/2004-05-20-file-sharing-main_x.htm].</ref>
 
  
The design of digital music websites encourages the discovery of new music. Sites can offer large libraries of downloadable songs. This, in turn, creates many opportunities for independent bands. Ironically, this same technology is available to consumers who can easily reproduce the music and distribute it. This makes it increasingly difficult for an artist to make a living from selling albums alone.<ref>Toomey, Jenny''Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption.'' [http://www.futureofmusic.org].</ref>
+
The design of digital music websites encourages the discovery of new music. Sites can offer large libraries of downloadable songs. This, in turn, creates many opportunities for independent bands. 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. Acts such as Wilco have chosen to make their new albums available for streaming before they are released.<ref>Mansfield, Brian.  “When Free is Profitable.”  USA Today.  May 20, 2004[http://www.usatoday.com/tech/webguide/music/2004-05-20-file-sharing-main_x.htm].</ref> 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.<ref>“An Independent’s Guide to Digital Music. [http://www.iodalliance.com].</ref> 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.
  
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.<ref>“An Independent’s Guide to Digital Music. [http://www.iodalliance.com].</ref> 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.
+
Ironically, this same technology makes it possible to easily reproduce the music and disseminate it widely, without artist or, more importantly, label consent. The debate over whether such actions are considered "file-sharing" or "pirating" has persisted for years. Regardless, music is widely available and this availability comes with its advantages and disadvantages. This makes it increasingly difficult for an artist to make a living from albums alone.<ref>Toomey, Jenny.  ''Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption.'' [http://www.futureofmusic.org].</ref> Yet, for true indie labels who were never about profit to begin with, this internet revolution is the most advantageous instrument for the indie causeSome services like [http://www.itunes.com iTunes.com] and [http://www.bearshare.com BearShare.com] charge a per song or monthly service fee, respectively. While being compensated monetarily is a plus, it is not a necessity for Indie bands. The computer age gives power to the grassroots movements within indie and undermines the restrictions of major labels, who fight dearly for every penny.
 
 
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 onlineMany 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.<ref>“An Independent’s Guide to Digital Music.”</ref>
 
 
 
Many bands have chosen to forego a record label and instead market and distribute their music through entirely web-based means. Digital marketing firms offer opportunities such as [[Podcast]] creation and promotion and video hosting to their clients. In the case of digital distribution, an artist lends a company the right to distribute their music. The contract is non-exclusive, and the rights to the music continue to belong with the artist. For a small fee, the distributor is in charge of getting an artist’s album to a retailer. Online retailers include [[iTunes]], [[Rhapsody]], and [[Yahoo]].
 
  
 
==Genres associated with indie==
 
==Genres associated with indie==

Revision as of 16:27, 21 May 2007

In popular music, indie music (from independent) is any 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. Indie is more of an ethic than a musical style or label preference.

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 prevalent exposure 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.

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. A do-it-yourself sensibility, which originated with punk in the 1970s, is often associated with indie. Indie often has an internationalist outlook, which stems from a sense of solidarity with other fans, bands and labels in other countries who share the same values. In addition, there is also a strong sense of camaraderie that emerges from the selflessness resultant from collaborations and joint tours.

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 stand 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 determines if an artist is indie or not.

Indie vs. Major Labels

Commercial Distinctions

A 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, 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). 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. Successful indie labels most likely become subsumed by a larger conglomeration or a major label.

Based on indie ethics, 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. Thus, successful indie labels are somewhat rejected from purist acceptance.

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. 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. 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.

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, but 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 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. More recently, the word "indie" is sometimes used as a synonym for all "underground" music, similar in the way alternative was used before it became just a genre tagline for corporate, mainstream music in the 90's. Such uses of "indie" may be considered inaccurate for various reasons: for one, stylistic qualities do not correlate to commercial independence or adherence to indie principles. Secondly, one style cannot embody all of indie music; there are always artists, labels and entire scenes that operate outside of a certain style and its definitions.

Indie artists of any particular time often go against the prevailing trends. 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

Artists used to be dependent on companies with capital because it was too expensive for an artist to produce and distribute an album themselves. Because of this, the musical choices offered to the public were decided by the record companies' decision of which artists 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.

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, so most, if not all, of the newer technology is centered on the home-computer in the form of relatively cheap hardware and software. The result of this new technology is that anyone can produce studio-quality music from their own home. Every homemade recording can be considered an indie recording. Additionally, the development of new technology allows for greater experimentation with sound since the means to do so are made widely available to the general public.[2] After hardware and software costs, the ambitious artist need not worry about more costs, like fees for studio time. As production has been made easier for everyone, distribution and advertising have also received a boost from modern advancements in technology, namely through the internet.

With the dawn of the internet, the concepts of distribution, word-of-mouth, and community have gone through ground-breaking transformations. 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] Personalized websites help artists connect more directly to their fans, skipping a need for the fan-club middle-man. Internet communities transform local-based word-of-mouth into an international network of music-listeners. Making music available to download on the internet makes distribution as easy as clicking a button.

Most artists maintain their own Web sites as well as having a presence on sites such as Myspace.com, which has become instrumental in the success of many bands. 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.[4] 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.[5]

The design of digital music websites encourages the discovery of new music. Sites can offer large libraries of downloadable songs. This, in turn, creates many opportunities for independent bands. 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. Acts such as Wilco have chosen to make their new albums available for streaming before they are released.[6] 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.[7] 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.

Ironically, this same technology makes it possible to easily reproduce the music and disseminate it widely, without artist or, more importantly, label consent. The debate over whether such actions are considered "file-sharing" or "pirating" has persisted for years. Regardless, music is widely available and this availability comes with its advantages and disadvantages. This makes it increasingly difficult for an artist to make a living from albums alone.[8] Yet, for true indie labels who were never about profit to begin with, this internet revolution is the most advantageous instrument for the indie cause. Some services like iTunes.com and BearShare.com charge a per song or monthly service fee, respectively. While being compensated monetarily is a plus, it is not a necessity for Indie bands. The computer age gives power to the grassroots movements within indie and undermines the restrictions of major labels, who fight dearly for every penny.

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. 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].
  3. Leyshon, Andrew, et al. “On the Reproduction of the Music Industry After the Internet.” Media, Culture, and Society, Vol. 27. 177-209.
  4. Pfahl, Michael. “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.
  5. Leeds, Jeff. “Independent music on move with internet.” January 10, 2006. International Herald Tribune. [1].
  6. Mansfield, Brian. “When Free is Profitable.” USA Today. May 20, 2004. [2].
  7. “An Independent’s Guide to Digital Music.” [3].
  8. Toomey, Jenny. Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption. [4].