influence of indie folk on culture
Post on 26-Nov-2014
106 Views
Preview:
TRANSCRIPT
Miller 1
Andrew Miller
Composition
Vicki Sairs
10/27/10
If They Are Now Me, Then Who Am I: and what should I listen to?
Subcultures are always changing. The flappers, the beats, the hippies, and the punks have
all come and gone, indelibly leaving their respective marks both in society and in the arts. What
happens, though, to a genre of music closely associated with a subculture, when that subculture
becomes commercialized to the point that its very heart has become almost irrelevant? How will
the artists and fans respond to the loss of feeling of authenticity in their culture? In a group of
people who chastise and disregard “sell outs,” what happens to its music when the whole culture
is sold out? It’s an old story; a subculture springs up in opposition to mainstream society until
mainstream society catches on to how cool it is to be anti-mainstream, promptly rendering the
subculture mainstream. How will this cultural shift affect the genre of music known as “indie
folk?”
Like all indie subgenres, the term “indie folk” is a little bit ambiguous. It becomes an
especially difficult genre to define considering that both the terms “indie” and “folk” themselves
are very opaque. “Indie Folk” is actually the crossroads of indie rock and folk music, so, to
obtain its definition, the terms “indie” and “folk” must be understood. The term “indie”
originally stemmed from the word “independent,” in reference to the way in which the music
was produced and circulated. However, many people feel that indie music can be defined
stylistically, not just by its method of production. Indie music is generally known for “simplicity
Miller 2
and austerity, a hypervaluation of childhood and childlike imagery, a nostalgic sensibility,
technophobia, and a fetishization of the guitar” (Fonorow 39). Indie music should not be
confused with alternative music. Indie music tends to use “harmonic pop” sounds, whereas
alternative includes “heavy, abrasive” sounds borrowed from nu-metal, grunge and punk
(Fonorow 40). In recent years indie bands have taken small steps away from technophobia,
simplicity and the emphasis on guitar by adding more members and using some electronic
elements. Indie rock was born out of the hardcore, straightedge, grunge and punk scenes after
members of those scenes became disenchanted with them. Several “lo-fi” (low fidelity, or raw
and unpolished) albums were created in response to the prevalence of alternative rock, kicking
off the genre known as “indie rock” (Walton 7). Indie rock in turn spawned many offshoots, such
as twee, indie pop, shoegaze, noise rock, riot grrrl, post-hardcore and, beginning in 2000, indie
folk (Walton 7).
It is virtually impossible to have a discussion about the indie music scene without also
talking about the indie subculture as a whole. Indie as a subculture is even more difficult to
define than indie as a genre. Judging by aesthetics alone, indie culture would bring to mind the
image of a young adult wearing a flannel shirt and skinny jeans, carrying a messenger bag and
sporting any style of glasses, as long as they are not in the style of the mainstream culture. This
college-age individual listens to an ever changing playlist of the latest underground indie bands,
as well as indie staples such as Sufjan Stevens, Modest Mouse, or Belle and Sebastian. However,
problems arise as this image is subverted by the mainstream culture, and the outward signs of
being indie are stripped of their meaning. One author says that, “Indie has historically been a
subculture that operates outside the mainstream, but technology and changing times have made
the line of demarcation between the mainstream and indie almost unrecognizable” (Oakes xiii).
Miller 3
The boundaries between a subculture and culture as a whole become undistinguishable when that
subculture becomes commercialized. Currently, indie culture is being commercialized and sold
to the masses. Since the outward manifestations of being indie are become less and less peculiar
to indie culture, it must be defined by its overarching themes or philosophies. Indie culture has
taken many of its cues from previous subcultures, specifically hippie bohemianism and punk.
From punk, indie inherits its do-it-yourself ethic as well as a rejection of the commercial system
(Walton 7). Like the subcultures before it, the indie view on politics is almost uniformly liberal
with a focus on gender rights, homosexual rights, and social justice, especially for those being
taken advantage of by materialistic society (i.e. child laborers).
Folk music (American and western European) is often understood to have come into
being during the industrial revolution, as the chasm between the urban industrial worker and the
agrarian worker began to widen. Folk music was the music of the common folk of the country,
and related to everyday life, often viewing such serious topics as economic hardship, politics,
infidelity in relationships, and murder with a dark, fatalistic sense of humor, but also focusing on
the simple pleasures of life such as nature. Folk musician Daniel Dye says that “Folk music is
human. It's a story- going off to war, ululating out a dirge, getting freed from prison, dumping
your ex's body into a river, drinking on a Saturday night and begging forgiveness on a Sunday
morning” (Dye). He also states that folk covers such themes as “grace, justice, redemption, hope,
revenge, love, death, joy, and sorrow” and such topics as “[s]urvival, travel, rebellion, politics,
and patriotism” (Dye). Instruments traditionally used in folk are mostly acoustic and include the
guitar, mandolin, banjo, and fiddle, but other instruments are often used, especially in the making
of modern folk music.
Miller 4
Indie folk music is made when artists bring indie philosophies and ideals to the traditions
of folk music, creating independent music that is simple in nature, places a greater emphasis on
being real than being polished, and often tells stories. A few of the indie folk bands that have
recently ascended to popularity include The Avett Brothers, The Decembrists, Mumford and
Sons, and Iron and Wine.
The indie culture is under attack. This may seem like a bold statement, but history has
proven that subcultures follow a very predictable life cycle. This cycle is as follows; a subculture
forms in opposition to an aspect, or aspects, of mainstream culture. This subculture develops
certain signs to identify itself as separate from the mainstream culture. Some of these signs can
have to do with brand associations, or, in other words, certain brands are associated with certain
subcultures (Cummings 2). Objects that once carried a neutral meaning now take on new
meaning to the members of the subculture. According to Kaya Oakes, author of the book
Slanted and Enchanted: the evolution of indie culture, “These trappings had previously been a
signal from one member of the indie subculture to another that we were alike, that we’d have
something to talk about, and, most important, that we might be able to help one another out with
a place to play a gig, crash, or make art. Once these kinds of signifiers cross over into the
mainstream, that context is lost” (xii). Devoid of the meanings originally attached to them, these
signifiers become little more than the latest fad created by the commercial industry to take
advantage of people’s desire to keep up with styles. The philosophy behind the indie culture is
not being transferred, only the external evidences once spawned by it (Oakes xii). As mainstream
culture adopts the trappings of indie culture, the members of indie culture themselves become
disillusioned, because externally, they no longer have a way of distinguishing themselves from
the mainstream culture they were reacting to.
Miller 5
These disillusioned members of the subculture under fire can respond in several ways.
One response is to simply assert originality by claiming to have listened to a band or have worn a
style before it was discovered on the popular level (Walton 12). Another response is to tweak
their culture slightly, so that a style is outdated or a band is irrelevant by the time it reaches the
popular market. A third solution is to abandon the subculture completely, and move on to
another subculture. Many successors of the punk and hardcore scenes moved into the new folk
scene after becoming disenchanted with the newly commercialized grunge scene (Encarnacao 6).
So how will indie music, specifically indie folk respond to this crisis within indie culture?
How will indie music be affected for better or for worse by this phenomenon of
commercialization? If any musical genre is prepared to deal with such a change, it is this one.
The DIY ethic will allow indie folk artists to retain control of the music they are creating. Since
they have the ability to produce music autonomously, they do not answer to mainstream labels in
areas of creativity or distribution. The anti-establishment sentiments inherited from punk and
folk will allow artists to retain their message that crusades for a better world. At the same time,
increased commercialization is a result of, and will be the cause of, increased exposure. While
this may be viewed by some as “selling out,” the truth of the matter is that artists want their
music to be heard. At what point does a band cross over the line from popular within the
appropriate circles, to too popular, or “sold out?” The increased revenue generated by increased
exposure will certainly make touring life a little easier on some bands.
Indie culture will eventually become an irrelevant subculture of the past while retaining
some adherents. Indie folk, however, will continue to thrive as a genre of music, partly due to its
resilient nature. It will lose some of its alternative appeal when people from all facets of culture
begin to follow it. It will probably borrow musical elements from other genres creating synthesis
Miller 6
genres. This, however, is the beauty of music. It is not static, nor is it concrete. As an expression
of the creator’s feelings, it will naturally change with those feelings. Whatever direction indie
folk music takes it will continue to thrive as an artistic extension of the people making it.
Miller 7
Works Cited
Cummings, Joanne. Selling the Indie Scene. Music Festivals, Neo-Tribes and Brand
Communities. Rep. University of Western Sydney. Tasa.org.au. 2007. Web. 3 Nov. 2010.
Dye, Daniel C. Message to Andrew D. Miller. 1 November 2010. E-mail.
Encarnacao, John. "Punk aesthetics in independent "new folk", 1990-2008.." Welcome to
UTSeScholarship - a UTS:Library initiative | UTSeScholarship. University of
Technology Sydney, 5 Jan. 2010. Web. 28 Oct. 2010.
Fonarow, Wendy. Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Music
Culture). Middleton, Connecticut: Wesleyan, 2006. Print.
Oakes, Kaya. Slanted and Enchanted: The Evolution of Indie Culture. 1 ed. New York: Holt
Paperbacks, 2009. Print.
Walton, Kate. 2009. 'I Like Your Old Stuff Better Than Your New Stuff: Neo-Bohemians,
Hipsters, and the Issue of Authenticity in Subcultural Identity'. Unpublished paper.
top related