Indie music

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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.

Definitions of "indie"

Indie and commerciality

A more puristic structural definition of "indie" would draw the line further down, not between the "big 4" major labels and others but between the "big indie" labels and smaller labels, considered by purists to be true indie labels. These small labels are typically run by a few people, often out of their home or garage, and often coupled with a mail-order service representing other labels. The people running the labels have a close connection to a certain scene; many labels are run partially or wholly by musicians in bands on them. A concern for the purity of the creative mission of the label takes precedence over commercial concerns; many labels close down or go on hiatus when the owners lose interest or (as often happens) run out of money (or sometimes close down when the owners feel their mission has been fulfilled, as happened with Sarah Records). Archetypal examples of such labels include the aforementioned Sarah Records, Factory Records, Dischord, Kindercore Records, SST and Kill Rock Stars.

The converse of this 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.

Once again, this is not so much a dichotomy as a continuum; some labels grow from such independent status and gradually become more commercially oriented (often prompted by the success of one of their acts), eventually becoming 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, which, in the 1990s had success with Oasis, subsequently becoming much more commercially oriented before being acquired by Sony.

Indie and genres

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.

Cultural and philosophical attributes of indie

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 and technology

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.[1]

Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.[2] 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.[3] 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.[4] 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.[5] 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.[6] Acts such as Wilco have chosen to make their new albums available for streaming before they are released.[7]

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.[8] 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.[9] 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.[10]

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

Major label contracts

Most major label artists earn a 10-15% royalty rate. However, before a band is able to receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour support, and video production. An additional part of the recoupable expenses are the artist’s advance. An advance is like a loan. It allows the artist to have money to live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist’s debt carries over to their next album, meaning that they see little to no royalties.

Major label advances are generally much larger than independent labels can offer. If an independent label is able to offer an advance, it will most like be somewhere in the range of $5,000-$125,000. On the other hand, major labels are able to offer artists advances in the range of $150,000-$300,000. Instead of offering an advance, some independent labels agree to pay for a certain amount of the artist’s recording costs. This money is recoupable. There are advantages and disadvantages of an advance. If an artist gets no advance, that means they owe their record company less money, thus allowing them to earn royalties more quickly. However, since the label recoups so many costs, an artist’s advance might be the only money they are able to make for quite some time.[11]

In a contract, options are agreed upon. Options allow the label to renew their contract with the artist and release more of their albums. Options lie with the label, and the label has the choice whether or not to record more with the artist. Some artists consider this unfair because the label has the right to not distribute an artist’s project and extend their contract by one more album if they deem the music as commercially or artistically unacceptable. Record labels effectively own the artist’s product for the duration of their contract.[12]

Independent label contracts

Many times, a deal from an independent 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.

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.

Publishing

If a band or artist writes their own material, publishing can be one of the best ways to earn a profit. It is one of the few guaranteed ways to earn revenue for artists. Even touring is not a sure way to make money because it is possible that no one will attend the shows. Basic copyright law protects songwriters by giving them exclusive rights to grant or deny the reproduction, distribution, or performance of their work. The majority of a band’s publishing income comes from its mechanical and performance rights. Mechanical rights cover the reproduction of a song on a record. In the standard contract between a band and a label, the label is required by law to pay the composer a fixed rate per song simply for the right to use the composition on commercially sold recordings. The mechanical licensing rate in 2006 for the U.S. and Canada is 9.1 cents per song.[13] With the performance rights, a song’s copyright covers every time it appears on radio and television.

If an artist prefers to receive up-front money for their songs instead of waiting for the money to come in over time, it can choose to assign its copyright to a music publisher. The music publisher pays a cash advance for what they decide is the value of the copyright. It is common for a band to sign a copublishing deal. This means that the publisher offers the artist an advance in exchange for half the publishing income. When the advance is paid back, the music publisher retains 25% of the income. Since an artist has no guarantees whether or not their song will be popular, some may prefer to have a cash advance that guarantees them money regardless of how well the song does.

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.

Definitions of "indie"

Indie and commerciality

A more puristic structural definition of "indie" would draw the line further down, not between the "big 4" major labels and others but between the "big indie" labels and smaller labels, considered by purists to be true indie labels. These small labels are typically run by a few people, often out of their home or garage, and often coupled with a mail-order service representing other labels. The people running the labels have a close connection to a certain scene; many labels are run partially or wholly by musicians in bands on them. A concern for the purity of the creative mission of the label takes precedence over commercial concerns; many labels close down or go on hiatus when the owners lose interest or (as often happens) run out of money (or sometimes close down when the owners feel their mission has been fulfilled, as happened with Sarah Records). Archetypal examples of such labels include the aforementioned Sarah Records, Factory Records, Dischord, Kindercore Records, SST and Kill Rock Stars.

The converse of this 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.

Once again, this is not so much a dichotomy as a continuum; some labels grow from such independent status and gradually become more commercially oriented (often prompted by the success of one of their acts), eventually becoming 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, which, in the 1990s had success with Oasis, subsequently becoming much more commercially oriented before being acquired by Sony.

Indie and genres

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.

Cultural and philosophical attributes of indie

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 and technology

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.[14]

Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.[15] 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.[16] 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.[17] 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.[18] 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.[19] Acts such as Wilco have chosen to make their new albums available for streaming before they are released.[20]

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.[21] 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.[22] 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.[23]

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

Major label contracts

Most major label artists earn a 10-15% royalty rate. However, before a band is able to receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour support, and video production. An additional part of the recoupable expenses are the artist’s advance. An advance is like a loan. It allows the artist to have money to live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist’s debt carries over to their next album, meaning that they see little to no royalties.

Major label advances are generally much larger than independent labels can offer. If an independent label is able to offer an advance, it will most like be somewhere in the range of $5,000-$125,000. On the other hand, major labels are able to offer artists advances in the range of $150,000-$300,000. Instead of offering an advance, some independent labels agree to pay for a certain amount of the artist’s recording costs. This money is recoupable. There are advantages and disadvantages of an advance. If an artist gets no advance, that means they owe their record company less money, thus allowing them to earn royalties more quickly. However, since the label recoups so many costs, an artist’s advance might be the only money they are able to make for quite some time.[24]

In a contract, options are agreed upon. Options allow the label to renew their contract with the artist and release more of their albums. Options lie with the label, and the label has the choice whether or not to record more with the artist. Some artists consider this unfair because the label has the right to not distribute an artist’s project and extend their contract by one more album if they deem the music as commercially or artistically unacceptable. Record labels effectively own the artist’s product for the duration of their contract.[25]

Independent label contracts

Many times, a deal from an independent 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.

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.

Publishing

If a band or artist writes their own material, publishing can be one of the best ways to earn a profit. It is one of the few guaranteed ways to earn revenue for artists. Even touring is not a sure way to make money because it is possible that no one will attend the shows. Basic copyright law protects songwriters by giving them exclusive rights to grant or deny the reproduction, distribution, or performance of their work. The majority of a band’s publishing income comes from its mechanical and performance rights. Mechanical rights cover the reproduction of a song on a record. In the standard contract between a band and a label, the label is required by law to pay the composer a fixed rate per song simply for the right to use the composition on commercially sold recordings. The mechanical licensing rate in 2006 for the U.S. and Canada is 9.1 cents per song.[26] With the performance rights, a song’s copyright covers every time it appears on radio and television.

If an artist prefers to receive up-front money for their songs instead of waiting for the money to come in over time, it can choose to assign its copyright to a music publisher. The music publisher pays a cash advance for what they decide is the value of the copyright. It is common for a band to sign a copublishing deal. This means that the publisher offers the artist an advance in exchange for half the publishing income. When the advance is paid back, the music publisher retains 25% of the income. Since an artist has no guarantees whether or not their song will be popular, some may prefer to have a cash advance that guarantees them money regardless of how well the song does.

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

  • 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.

Definitions of "indie"

Indie and commerciality

A more puristic structural definition of "indie" would draw the line further down, not between the "big 4" major labels and others but between the "big indie" labels and smaller labels, considered by purists to be true indie labels. These small labels are typically run by a few people, often out of their home or garage, and often coupled with a mail-order service representing other labels. The people running the labels have a close connection to a certain scene; many labels are run partially or wholly by musicians in bands on them. A concern for the purity of the creative mission of the label takes precedence over commercial concerns; many labels close down or go on hiatus when the owners lose interest or (as often happens) run out of money (or sometimes close down when the owners feel their mission has been fulfilled, as happened with Sarah Records). Archetypal examples of such labels include the aforementioned Sarah Records, Factory Records, Dischord, Kindercore Records, SST and Kill Rock Stars.

The converse of this 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.

Once again, this is not so much a dichotomy as a continuum; some labels grow from such independent status and gradually become more commercially oriented (often prompted by the success of one of their acts), eventually becoming 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, which, in the 1990s had success with Oasis, subsequently becoming much more commercially oriented before being acquired by Sony.

Indie and genres

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.

Cultural and philosophical attributes of indie

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 and technology

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.[27]

Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.[28] 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.[29] 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.[30] 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.[31] 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.[32] Acts such as Wilco have chosen to make their new albums available for streaming before they are released.[33]

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.[34] 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.[35] 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.[36]

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

Major label contracts

Most major label artists earn a 10-15% royalty rate. However, before a band is able to receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour support, and video production. An additional part of the recoupable expenses are the artist’s advance. An advance is like a loan. It allows the artist to have money to live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist’s debt carries over to their next album, meaning that they see little to no royalties.

Major label advances are generally much larger than independent labels can offer. If an independent label is able to offer an advance, it will most like be somewhere in the range of $5,000-$125,000. On the other hand, major labels are able to offer artists advances in the range of $150,000-$300,000. Instead of offering an advance, some independent labels agree to pay for a certain amount of the artist’s recording costs. This money is recoupable. There are advantages and disadvantages of an advance. If an artist gets no advance, that means they owe their record company less money, thus allowing them to earn royalties more quickly. However, since the label recoups so many costs, an artist’s advance might be the only money they are able to make for quite some time.[37]

In a contract, options are agreed upon. Options allow the label to renew their contract with the artist and release more of their albums. Options lie with the label, and the label has the choice whether or not to record more with the artist. Some artists consider this unfair because the label has the right to not distribute an artist’s project and extend their contract by one more album if they deem the music as commercially or artistically unacceptable. Record labels effectively own the artist’s product for the duration of their contract.[38]

Independent label contracts

Many times, a deal from an independent 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.

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.

Publishing

If a band or artist writes their own material, publishing can be one of the best ways to earn a profit. It is one of the few guaranteed ways to earn revenue for artists. Even touring is not a sure way to make money because it is possible that no one will attend the shows. Basic copyright law protects songwriters by giving them exclusive rights to grant or deny the reproduction, distribution, or performance of their work. The majority of a band’s publishing income comes from its mechanical and performance rights. Mechanical rights cover the reproduction of a song on a record. In the standard contract between a band and a label, the label is required by law to pay the composer a fixed rate per song simply for the right to use the composition on commercially sold recordings. The mechanical licensing rate in 2006 for the U.S. and Canada is 9.1 cents per song.[39] With the performance rights, a song’s copyright covers every time it appears on radio and television.

If an artist prefers to receive up-front money for their songs instead of waiting for the money to come in over time, it can choose to assign its copyright to a music publisher. The music publisher pays a cash advance for what they decide is the value of the copyright. It is common for a band to sign a copublishing deal. This means that the publisher offers the artist an advance in exchange for half the publishing income. When the advance is paid back, the music publisher retains 25% of the income. Since an artist has no guarantees whether or not their song will be popular, some may prefer to have a cash advance that guarantees them money regardless of how well the song does.

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

  • 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.
  1. Toomey, Jenny. Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption. [1].
  2. Leyshon, Andrew, et al. “On the Reproduction of the Music Industry After the Internet.” Media, Culture, and Society, Vol. 27. 177-209.
  3. “An Independent’s Guide to Digital Music.” [2].
  4. 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].
  5. Leeds, Jeff. “Independent music on move with internet.” January 10, 2006. International Herald Tribune. [3].
  6. Pfahl, Michael. “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.
  7. Mansfield, Brian. “When Free is Profitable.” USA Today. May 20, 2004. [4].
  8. Haverty, Neil. “Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success.” [5].
  9. Knab, Christopher and Bart Day. “Deals that Await Successful Independent Music Labels.” [6].
  10. Friends, Stacey. “Independent Labels: What’s the Deal?” [7].
  11. Friends, Stacey. “Independent Label vs. Major Label Contracts.” [8].
  12. Ian, Janis. “The Internet Debacle: An Alternative View.” Performing Songwriter Magazine, May 2002. [www.janisian.com/article-internet_debacle.html].
  13. “New Songwriter/Publishing Mechanical Royalties for 2006.” [9].
  14. Toomey, Jenny. Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption. [10].
  15. Leyshon, Andrew, et al. “On the Reproduction of the Music Industry After the Internet.” Media, Culture, and Society, Vol. 27. 177-209.
  16. “An Independent’s Guide to Digital Music.” [11].
  17. 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].
  18. Leeds, Jeff. “Independent music on move with internet.” January 10, 2006. International Herald Tribune. [12].
  19. Pfahl, Michael. “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.
  20. Mansfield, Brian. “When Free is Profitable.” USA Today. May 20, 2004. [13].
  21. Haverty, Neil. “Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success.” [14].
  22. Knab, Christopher and Bart Day. “Deals that Await Successful Independent Music Labels.” [15].
  23. Friends, Stacey. “Independent Labels: What’s the Deal?” [16].
  24. Friends, Stacey. “Independent Label vs. Major Label Contracts.” [17].
  25. Ian, Janis. “The Internet Debacle: An Alternative View.” Performing Songwriter Magazine, May 2002. [www.janisian.com/article-internet_debacle.html].
  26. “New Songwriter/Publishing Mechanical Royalties for 2006.” [18].
  27. Toomey, Jenny. Future Prospects for Music and Technology: Musictech’s Ben Morgan on the Paradigm Shift in Music Consumption. [19].
  28. Leyshon, Andrew, et al. “On the Reproduction of the Music Industry After the Internet.” Media, Culture, and Society, Vol. 27. 177-209.
  29. “An Independent’s Guide to Digital Music.” [20].
  30. 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].
  31. Leeds, Jeff. “Independent music on move with internet.” January 10, 2006. International Herald Tribune. [21].
  32. Pfahl, Michael. “Giving Away Music to Make Money: Independent Musicians on the Internet.” <www.firstmonday.org>.
  33. Mansfield, Brian. “When Free is Profitable.” USA Today. May 20, 2004. [22].
  34. Haverty, Neil. “Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success.” [23].
  35. Knab, Christopher and Bart Day. “Deals that Await Successful Independent Music Labels.” [24].
  36. Friends, Stacey. “Independent Labels: What’s the Deal?” [25].
  37. Friends, Stacey. “Independent Label vs. Major Label Contracts.” [26].
  38. Ian, Janis. “The Internet Debacle: An Alternative View.” Performing Songwriter Magazine, May 2002. [www.janisian.com/article-internet_debacle.html].
  39. “New Songwriter/Publishing Mechanical Royalties for 2006.” [27].