Today, indie-rock, indie-folk, indie-dance, indie-hip-hop and alike indie-classical are accepted agreement acclimated to call the sonically apparent offshoots of an evolving cast already referred to as “indie”.
The appellation derives from “independent” – which is to say a almanac characterization operating apart from commercial, boilerplate almanac companies. Such absolute almanac labels existed continued afore the iconic labels of UK post-punk era music, such as Rough Trade and Creation.
Sam Phillips’ Sun Annal and Berry Gordy’s Motown were absolute labels in the 1950s and 60s; these auteurist founders generally took on A&R, managerial, engineering and assembly duties as able-bodied as administering the accomplishment and administration processes.
But Sun Records’ country and dejection (Johnny Cash, B.B. King) and Motown’s body assize (Smokey Robinson, The Jackson 5) were never declared as indie. And that’s because, aesthetically, indie music has acquired to beggarly added than artlessly an affiliation to an absolute almanac label.
Indie as a accurate agreeable cast descriptor emerged from post-punk, new beachcomber and “alternative” music appear on late-1970s UK absolute labels.
Tony Wilson’s Factory Records, Daniel Miller’s Mute, Chris Parry’s Fiction and, conceivably best famously, Geoff Travis’s Rough Trade were all founded in 1978. From the beginning, indie’s agreeable aesthetics were adamantine to pin down; the dark, heavy, rhythm-centric acuteness of Joy Division’s
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