Bring on the Major Leagues

By Ryan Gillespie, PopMatters. Posted January 31, 2006.

The success of the "Garden State" soundtrack and the glut of major label-released "indie" music by bands like Keane, Snow Patrol and the Killers made 2004 the year indie music established itself, proving (finally) that it could be the one thing the marketplace demands: sales.

With the existence of an indie ringtones service, once-indie darlings Death Cab for Cutie's major-label debut landing at No. 4 on the Billboard charts, Bright Eyes having two Top 20 singles, and Fox TV's ever popular "The O.C." driving up music sales, indie music may have reached its pinnacle of popularity.

Or has it? I don't mean to pronounce indie music dead -- writers can be overeager to proclaim the death of emerging genres, as when the British press declared that "punk was dead" concurrent with its birth -- but rather to argue that truly independent music has never really had a day in the sun. Defining bands like Death Cab as "indie" only serves to subjugate truly independent music: albums written, recorded and released without the aid of a record label.

Whether a band is signed to a major like Warner or an "indie" like One Little Indian, whether it's Sony BMG or Sub Pop, really doesn't matter: Neither can be considered truly independent. Though indie rock is still largely perceived as resistant to corporatized methods of production and distribution, and symbolic of anti-establishment sentiments, today's indie music world is becoming impossible to distinguish from the mainstream.

The truth is, many indie record labels are run like any other business: to make money. They pay for hip clothing and fancy press photos, and work like hell to get their bands publicity. The artistic freedom indie labels promise is supposed to distinguish them from the majors, but when was the last time you heard a mainstream rock band complain about its label dictating material?

Now you might be saying, "But what about the great Wilco "Yankee Hotel Foxtrot" drama? A major label turned down an artistically adventurous album!" And yes, Reprise, a Warner imprint, dropped Wilco. The band was then picked up by Nonesuch, a diverse label with solid indie cred, who then released the album. So the indie world saved the day? Perhaps -- if you forget that Nonesuch is also a Warner subsidiary.

Another once-defining element of the indie world is amateurish production values meant to convey a DIY aesthetic, a rejection of slick marketability. Though there are many exceptions, the quick glance at indie's biggest and brightest turns up some of the shiniest, glossiest pop material in the marketplace. Is it any surprise that the slickest sounding bands -- Rilo Kiley, Postal Service -- have the most crossover success?

So in a world where the mainstream sounds like the underground and the underground acts like the mainstream, what happens to truly underground music? When major labels buy indie bands by the cart and the indie labels act and operate like major labels, how does a truly independent release get heard?

Pick up any indie-music magazine or look at any indie-music related website and count how many bands are self-releasing their work. You'd be lucky to find two or three in the entire lot. Of course, indie isn't just about self-releasing, and few would argue that Saddle Creek or K, even with dozens of bands on their rosters, are close to a major label. But such labels, which tenaciously preserve their integrity, are the exception to the rule.

For comparison, let's look at the latest installment from the prime purveyor of so-called indie music to the masses, "Music From the O.C. Mix 5." Of the 12 songs on the album, five are by bands (Subways, Rogue Wave, Youth Group, Of Montreal, Stars) who are on so-called indie labels (Wea, Sub Pop, Epitaph, Polyvinyl, Arts and Crafts, respectively). But none of those five made their most recent record independent of any label influence, i.e., label money.

Ryan Gillespie writes for Popmatters.

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