The movement of indie music to mainstream music has been
happening for quite some time. Back in the mid 2000s, underground bands not
previously known to mainstream music listeners suddenly found themselves being
discovered---for better or worse. The rise of the Internet made it easy to find
out about new bands, whether or not they were being played on FM radio
stations. TV shows, movies, and businesses started to take notice, and soon
some indie bands saw record sales and downloads of their music.
Joan
Hiller, who was once a publicist at Sub Pop Records, put it this way: “It
was definitely weird a few years ago when it no longer became strange to see
your friends on television, or to be in Nordstrom looking for underpants and
hearing your friends’ bands getting played.”
But moving from indie to mainstream can present problems for
some artists dedicated to the indie ideal. Whereas mainstream music is often
criticized for producing music for money, indie music prides itself for
creating music that values artistic interest over commercial viability. In
other words, these musicians aren’t in it for the money.
One aspect of indie music that’s not often pursued by
mainstream labels like Sony is the release of music on LPs. Only a few labels
still produce LPs for their artists. One
of these is Brooklyn’s Kemado Records, co-founded
by Andres Santo Domingo.*
“I think that vinyl in a way represents slow,” he says of
LPs. “And I think that’s something that’s attractive about it maybe on a
subliminal level for consumers that are maybe on the internet, to get something
that’s really physical, maybe archaic in a way, but the complete antithesis of
what the speed of consuming music on the Internet is.”
And it’s not just consumers that like LPs; it’s the
musicians, too. “I always have said… that I’ll never really feel like a real
band until I can hold a record in my hands and look at it,” saidJenn Wasner of Wye Oak, who recently released their third album digitally, onCD, and as a vinyl LP.
For indie musicians finding themselves in the spotlight,
there are both positive and negative aspects. While they may suddenly have more
than enough money to get by, there’s also more pressure than ever to focus on
their creative expression rather than what FM listeners might want to hear. But
these artists are also seasoned from their time underground, which likely means
they already know where they want to go with their music—and it has nothing to
do with how many people listen to it.
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