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

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In popular music, '''indie music''' (from ''independent'') is any number of genres, scenes, subcultures, stylistic and cultural attributes characterised by a level of 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. 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.
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In popular music, '''indie music''' (from ''independent'') is any number of genres, scenes, subcultures, stylistic and cultural attributes characterised by a level of 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. 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?==
 
==Definitions of "Indie": Genre or Status?==
  
"Indie" was first used to differentiate between pop music and independent artists. It's based on the fact that indie artists were on indie record labels; it did not refer to the stylistic qualities of the music. "Indie" as a musical term grew from the confusion that emerged as certain sounds became associated with the term "indie". The musical stylings of the bands overshadowed Indie's original connotation. The term "Indie" would be most effective when used as a descriptive add-on to a musical genre term, making distinctions between the musical and business aspects of music. For example: indie-rock, indie-pop, indie-rap, indie-metal, etc. Misnomers are prevalent, though, and usually describe bands with a post-punk influenced sound. In America, describing a band as such would be valid, but in Britain there are completely different connotations.
+
"Indie" was first used to differentiate between pop music and independent artists. It's based on the fact that indie artists were on indie record labels; it did not refer to the stylistic qualities of the music. "Indie" as a musical term grew from the confusion that emerged as certain sounds became associated with the term "indie". The musical stylings of the bands overshadowed Indie's original connotation. The term "Indie" would be most effective when used as a descriptive add-on to a musical genre term, making distinctions between the musical and business aspects of music. For example: indie-[[rock]], indie-pop, indie-[[rap]], indie-[[metal]], etc. Misnomers are prevalent, though, and usually describe bands with a post-punk influenced sound. In [[America]], describing a band as such would be 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 and beyond, only linked by their independent record label affiliation.
 
"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 and beyond, 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 derived from 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 and 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.  
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In America, indie has a different history. "Indie" and "alternative" were synonymous outgrowths of the post-[[punk]] and new-wave movements, which derived from 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 and 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===
 
===Indie Values===
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*Post-punk revival movement. Popularized by bands such as Franz Ferdinand, Arctic Monkeys, The Libertines, Dirty Pretty Things, Babyshambles, Razorlight, Editors, Bloc Party, The View, 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 70's punk and 80's post-punk rhythms and riffs akin to those played by The Clash, Gang Of Four, Television and Wire.  Often this style has been blended with other genres such as garage rock.
 
*Post-punk revival movement. Popularized by bands such as Franz Ferdinand, Arctic Monkeys, The Libertines, Dirty Pretty Things, Babyshambles, Razorlight, Editors, Bloc Party, The View, 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 70's punk and 80's post-punk rhythms and riffs akin to those played by The Clash, Gang Of Four, Television and Wire.  Often this style has been blended with other genres such as garage rock.
  
 +
==References==
  
 +
* Balling, Rich, ''Revolution on canvas: poetry from the indie music scene'' NY: Warner; London: little, Brown, 2007. ISBN 9-780-44669-7
 +
* Bennett, Andy; Dawe, Kevin, ''Guitar cultures'', Oxford, NY: Berg, 2001. ISBN 0-585-43514-6
 +
* Fonarow, Wendy, ''Empire of dirt: the aesthetics and rituals of British indie music'', Middleton, Conn: Weslayan University Press, 2006. ISBN 0-819-56810-4
  
==References==
+
==Sources==
<div class="references-small">
+
 
* {{cite web | author=Toomey, Jenny | title=Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption | url=http://www.futureofmusic.org/articles/morganinterview.cfm | date=November 15, 1999}}
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* {{cite web | author=Toomey, Jenny | title=Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption | url=http://www.futureofmusic.org/articles/morganinterview.cfm | date=November 15, 1999}} Retrieved May 29, 2007.
  
* {{cite journal | author=Leyshon, Andrew, et al. | title=On the reproduction of the music industry after the internet | publisher=Media, Culture, and Society | volume=27 | page=177-209 | date=2005}}
+
* {{cite journal | author=Leyshon, Andrew, et al. | title=On the reproduction of the music industry after the internet | publisher=Media, Culture, and Society | volume=27 | page=177-209 | date=2005}} Retrieved May 29, 2007.
  
* {{cite web | title=An Independent’s Guide to Digital Music | url=http://www.iodalliance.com/guide.php}}
+
* {{cite web | title=An Independent’s Guide to Digital Music | url=http://www.iodalliance.com/guide.php}} Retrieved May 29, 2007.
  
* {{cite journal | author=Hesmondhalgh, David | title=Indie: the institutional politics and aesthetics of a popular music genre | publisher=Cultural Studies | volume=13 | issue=1 | page=34-61 | date=1999}}
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* {{cite journal | author=Hesmondhalgh, David | title=Indie: the institutional politics and aesthetics of a popular music genre | publisher=Cultural Studies | volume=13 | issue=1 | page=34-61 | date=1999}} Retrieved May 29, 2007.
  
* {{cite news | author=Leeds, Jeff | title=Independent music on move with internet |  url=http://www.iht.com/articles/2005/12/28/features/record.php  | publisher=International Herald Tribune | date=January 10, 2006}}  
+
* {{cite news | author=Leeds, Jeff | title=Independent music on move with internet |  url=http://www.iht.com/articles/2005/12/28/features/record.php  | publisher=International Herald Tribune | date=January 10, 2006}} Retrieved May 29, 2007.
  
* {{cite journal | author=Pfahl, Michael | title=Giving away music to make money: independent musicians on the internet | url=http://www.firstmonday.org/issues/issue6_8/pfahl | publisher=First Monday | volume=6 | issue=8 | date=August 6, 2001}}
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* {{cite journal | author=Pfahl, Michael | title=Giving away music to make money: independent musicians on the internet | url=http://www.firstmonday.org/issues/issue6_8/pfahl | publisher=First Monday | volume=6 | issue=8 | date=August 6, 2001}} Retrieved May 29, 2007.
  
* {{cite news | author=Mansfield, Brian | title=When Free is Profitable | publisher=USA Today | date=May 20, 2004 | url=http://www.usatoday.com/tech/webguide/music/2004-05-20-file-sharing-main_x.htm}}
+
* {{cite news | author=Mansfield, Brian | title=When Free is Profitable | publisher=USA Today | date=May 20, 2004 | url=http://www.usatoday.com/tech/webguide/music/2004-05-20-file-sharing-main_x.htm}} Retrieved May 29, 2007.
  
* {{cite news | author=Ramsay, J.T. | title=Live from the Witch Trials | url=http://pitchforkmedia.com/article/feature/31254/Live_at_the_Witch_Trials | date=April 4, 2006 | publisher=www.pitchforkmedia.com}}
+
* {{cite news | author=Ramsay, J.T. | title=Live from the Witch Trials | url=http://pitchforkmedia.com/article/feature/31254/Live_at_the_Witch_Trials | date=April 4, 2006 | publisher=www.pitchforkmedia.com}} Retrieved May 29, 2007.
  
*{{cite web | author=Sherrard, Stephen | url=http://www.music-tech.com/business.php?subaction=showfull&id=1112329919&archive=&start_from=&ucat=2& | title=Record Deals Versus Independent Releases | date=Retrieved April 26, 2006}}
+
*{{cite web | author=Sherrard, Stephen | url=http://www.music-tech.com/business.php?subaction=showfull&id=1112329919&archive=&start_from=&ucat=2& | title=Record Deals Versus Independent Releases | date=Retrieved April 26, 2006}} Retrieved May 29, 2007.
  
*{{cite web | author=Haverty, Neil | date=Nov. 1, 2002 | url=http://www.exclaim.ca/index.asp?layid=22&csid=1&csid1=1078 | title=Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success}}
+
*{{cite web | author=Haverty, Neil | date=Nov. 1, 2002 | url=http://www.exclaim.ca/index.asp?layid=22&csid=1&csid1=1078 | title=Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success}} Retrieved May 29, 2007.
  
*{{cite web | author=Knab, Christopher | date=April 2006 |url=http://www.guitar9.com/columnist446.html | title=Deals that Await Successful Independent Music Labels}}
+
*{{cite web | author=Knab, Christopher | date=April 2006 |url=http://www.guitar9.com/columnist446.html | title=Deals that Await Successful Independent Music Labels}} Retrieved May 29, 2007.
  
*{{cite news | author=Friends, Stacey | date=October 2003 | url=http://www.performermag.com/IndependentLabels.php | title=Independent Labels: What's the Deal? | publisher=Performer}}
+
*{{cite news | author=Friends, Stacey | date=October 2003 | url=http://www.performermag.com/IndependentLabels.php | title=Independent Labels: What's the Deal? | publisher=Performer}} Retrieved May 29, 2007.
  
*{{cite news | author=Friends, Stacey | date=November 2005 | url=http://www.performermag.com/IndieVSMajorContracts.php | title=Independent Label vs. Major Label Contracts | publisher=Performer}}
+
*{{cite news | author=Friends, Stacey | date=November 2005 | url=http://www.performermag.com/IndieVSMajorContracts.php | title=Independent Label vs. Major Label Contracts | publisher=Performer}} Retrieved May 29, 2007.
  
*{{cite news | author=Ian, Janis | date=May 2002 | url=http://www.janisian.com/article-internet_debacle.html | title=The Internet Debacle: An Alternative View | publisher=Performing Songwriter}}
+
*{{cite news | author=Ian, Janis | date=May 2002 | url=http://www.janisian.com/article-internet_debacle.html | title=The Internet Debacle: An Alternative View | publisher=Performing Songwriter}} Retrieved May 29, 2007.
  
*{{cite web | url=http://www.freeenterpriseland.com/BOOK/MONEYGOROUND.html | title=The Money-Go-Round}}
+
*{{cite web | url=http://www.freeenterpriseland.com/BOOK/MONEYGOROUND.html | title=The Money-Go-Round}} Retrieved May 29, 2007.
</div>
 
  
 
==External links==
 
==External links==
*[http://www.pitchforkmedia.com Pitchfork Media] - A well-known US-based online music magazine covering the indie scene.
+
*[http://www.pitchforkmedia.com Pitchfork Media] - A well-known US-based online music magazine covering the indie scene. Retrieved May 29, 2007.
*[http://www.freeindie.com/ FreeIndie] - Popular indie music website. Provides free and legal samples of albums from independent artists.
+
*[http://www.freeindie.com/ FreeIndie] - Popular indie music website. Provides free and legal samples of albums from independent artists. Retrieved May 29, 2007.
*[http://www.trouserpress.com/ Trouserpress] - Massively influential 1980s US-based indie publication, now an online record guide.
+
*[http://www.trouserpress.com/ Trouserpress] - Massively influential 1980s US-based indie publication, now an online record guide. Retrieved May 29, 2007.
  
 
[[Category:Music]]
 
[[Category:Music]]
 
[[Category:Art, music, literature, sports and leisure]]
 
[[Category:Art, music, literature, sports and leisure]]
  
{{Credit|
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{{Credit|1891363336}}

Revision as of 00:20, 29 May 2007

In popular music, indie music (from independent) is any number of genres, scenes, subcultures, stylistic and cultural attributes characterised by a level of 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. 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" was first used to differentiate between pop music and independent artists. It's based on the fact that indie artists were on indie record labels; it did not refer to the stylistic qualities of the music. "Indie" as a musical term grew from the confusion that emerged as certain sounds became associated with the term "indie". The musical stylings of the bands overshadowed Indie's original connotation. The term "Indie" would be most effective when used as a descriptive add-on to a musical genre term, making distinctions between the musical and business aspects of music. For example: indie-rock, indie-pop, indie-rap, indie-metal, etc. Misnomers are prevalent, though, and usually describe bands with a post-punk influenced sound. In America, describing a band as such would be 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 and beyond, 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 derived from 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 and 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" means than could any specific musical styles or commercial ownership. Indie artists are more concerned about self-expression than commercial considerations. A do-it-yourself (DIY) 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 that 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. The culture of indie is what makes it distinct. Creative freedom and the DIY 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, designating 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 as being overly "commercial" or exploitative of certain artists or trends.

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 their music, 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 beginning. 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 determined to be 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: compilations, 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, however, 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 used as a synonym for all "underground" music, similar in the way alternative was used in the 80s 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, the success of a subgenre could distort the supergenre's meaning, like the success of "grunge" distorted the meaning of "alternative"; the same is likely to happen to indie through one of its subgenres.

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 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 new, 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 home-made 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 any record label.[3] Personalized websites help artists connect more directly to their fans. 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 and have 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] Some services like iTunes.com and BearShare.com charge a per song or monthly service fee, respectively. While being compensated monetarily is a plus, for true indie artists and labels who were never about profit to begin with, the internet revolution is the most advantageous instrument for indie culture. The computer age gives power to the grassroots movements within indie and undermines the restrictions of major labels.

Current Indie Trends

More recently, the term "indie rock" has become a catch-all phrase and so incredibly broad that almost anything from garage rock to alt-country to psychedelic folk and 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:

  • Baroque Pop, an updated take on the folk music of the 1960s, as well as the Beach Boys' pioneering Pet Sounds album, typically identified by its quiet vocals and more ornate, orchestral instrumentation and arrangements. (See: Arcade Fire, Danielson Famile, Sufjan Stevens, The Decemberists, Broken Social Scene, Islands, Stars)
  • New Prog, a complex, experimental, intricate, and meticulous form of rock music. (see: Mew, Muse, Porcupine Tree)
  • New Weird America or Freak Folk, a more experimental take on New Folk that generally revolves around quirky, psych-inflected folk songs and ballads. (See: Devendra Banhart, Joanna Newsom, Animal Collective, Six Organs of Admittance)
  • Psych-Folk, the most heavily psych-influenced 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, Brightblack Morning Light, Wooden Wand and the Vanishing Voice)
  • Psychedelic pop, a revival of 70's psychedelic pop. (See: The Shins, Of Montreal, The Flaming Lips)
  • Disco-Punk/Dance-Punk, a hybridization of New Wave music and punk rock aesthetics. (See: LCD Soundsystem, The Rapture, !!!, Out Hud, Liars, Radio 4, Death from Above 1979, Lost Sounds, The Stiletto Formal)
  • 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 Von Bondies, Eagles of Death Metal, The Vines, Yeah Yeah Yeahs, The Hives, The Black Keys)
  • Twee pop, a genre which is known for simple, sweet melodies and lyrics, often with jangling guitars and a noted emphasis on childlike naivete. The name "twee" comes from the British slang for something overly sweet or knowingly cute. (See: The Boy Least Likely To, Architecture in Helsinki, Belle & Sebastian, Tullycraft, Camera Obscura, Girls in Hawaii)
  • Musical collectives, where a large group of musicians — which may vary significantly from album to album, or even from song to song — collaborate on a project, often while maintaining solo careers as well. (See Broken Social Scene, The New Pornographers, Arcade Fire, The Polyphonic Spree, The Brian Jonestown Massacre, dEUS, The Hidden Cameras, Islands)
  • Post-punk revival movement. Popularized by bands such as Franz Ferdinand, Arctic Monkeys, The Libertines, Dirty Pretty Things, Babyshambles, Razorlight, Editors, Bloc Party, The View, 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 70's punk and 80's post-punk rhythms and riffs akin to those played by The Clash, Gang Of Four, Television and Wire. Often this style has been blended with other genres such as garage rock.

References
ISBN links support NWE through referral fees

  • Balling, Rich, Revolution on canvas: poetry from the indie music scene NY: Warner; London: little, Brown, 2007. ISBN 9-780-44669-7
  • Bennett, Andy; Dawe, Kevin, Guitar cultures, Oxford, NY: Berg, 2001. ISBN 0-585-43514-6
  • Fonarow, Wendy, Empire of dirt: the aesthetics and rituals of British indie music, Middleton, Conn: Weslayan University Press, 2006. ISBN 0-819-56810-4

Sources

  • Leyshon, Andrew, et al. (2005). On the reproduction of the music industry after the internet 27. Retrieved May 29, 2007.
  • Hesmondhalgh, David (1999). Indie: the institutional politics and aesthetics of a popular music genre 13 (1). Retrieved May 29, 2007.

External links

  • Pitchfork Media - A well-known US-based online music magazine covering the indie scene. Retrieved May 29, 2007.
  • FreeIndie - Popular indie music website. Provides free and legal samples of albums from independent artists. Retrieved May 29, 2007.
  • Trouserpress - Massively influential 1980s US-based indie publication, now an online record guide. Retrieved May 29, 2007.

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  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].