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Old 02-28-2011, 12:32 PM   #271
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I think that the US and UK indie scenes are fairly evenly-matched at the moment. I was perusing a store the other day that had used records divided into US and UK sections, and I found myself admiring or wanting to purchase several from each.
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Old 02-28-2011, 12:34 PM   #272
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I still listen to a good number of UK bands, but most all of them seem to have better sales and more popularity outside of the UK (The Clientele for example).
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Old 02-28-2011, 12:36 PM   #273
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I think that the US and UK indie scenes are fairly evenly-matched at the moment. I was perusing a store the other day that had used records divided into US and UK sections, and I found myself admiring or wanting to purchase several from each.
You should name a few for me to acquire....
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Old 02-28-2011, 12:39 PM   #274
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Shit just got real.
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Old 02-28-2011, 02:09 PM   #275
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There was a time when all I listened to was British Music, to the point that if someone asked me what I listened to, I'd even respond "mostly British bands".
I realized a couple years ago that it no longer the case.
That being said, I still hate when people ask me that question. How are you supposed to answer without sounding like a total a-hole? Can't name bands to most of the people who ask, I refuse to use the term 'indie', can't say alternative because it sounds like you listen to new rock stations, cant say rock because you sound like a huge skid...
to all of this.

2005-2007, I was so deep into Britpop that other genres largely didn't exist. Blur, Pulp, Suede and Supergrass took up a massive chunk of my music listening. But then I started to discover that no one in Britain was making decent records anymore and I eventually ran out of records to get excited about. The British indie scene pales compared to that of the US, and even Canada. Maybe the issue is that the only British bands I hear about are the popular ones and, much like our popular rock bands, they blow with no specific reflection on the indie scene at large.

But I still feel like a dick for insulting entire geographical areas based solely on subjective musical taste.
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Old 02-28-2011, 02:43 PM   #276
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The bad part of being a Oasis fan is having such an idiot for a singer.

About the British, to be quite frankly I'm not a big fan of the american indie scene, especially in the 90's, altough there are bands I really like from there. However, most of the underground bands I love are british indeed. Not that I have any prejudice against those bands, it's just that it's pretty hard for me to find indie american bands that I enjoy. With time I came to notice that the main reason for disliking those bands is the vocals. Don't know if it's just me but they usually turn me off. Again, not saying that there aren't good indie bands from U.S., just that it's harder for me to find them there than in Britain.
Anyway... just some thoughts.

And Primal Scream should release a new album soon.
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Old 02-28-2011, 03:14 PM   #277
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The British indie scene pales compared to that of the US, and even Canada. Maybe the issue is that the only British bands I hear about are the popular ones and, much like our popular rock bands, they blow with no specific reflection on the indie scene at large.
Well, just off the top of my head, you have Bat for Lashes, Los Campesinos, The Horrors, Four Tet, The xx, PJ Harvey, and, of course, Radiohead. The scene is pretty fertile right now, I think.
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Old 02-28-2011, 03:22 PM   #278
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Well, just off the top of my head, you have Bat for Lashes, Los Campesinos, The Horrors, The xx, PJ Harvey, and, of course, Radiohead. The scene is pretty fertile right now, I think.
The latter two have been around for 20 years. America just got Guided By Voices back, ftr.

The problem with that using that particular list of artists to create a "scene" for Britain is that there is no sound or genre associated with them, really, which is important. The sound I tend to associate with Britain is that group of shitty Libertines soundalikes that they've been churning out for a decade.
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Old 02-28-2011, 03:29 PM   #279
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I think most of those, as I mentioned before, seem to have far more popularity outside of the UK than they do on their own home turf.

I mentioned them before, but I highly recommend The Clientele to those of you who like / liked a lot of British music. Senor Shouter is also a pretty big fan. God Save The Clientele is definitely one of my favorite albums from the previous decade. I think you guys might like it.
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Old 02-28-2011, 03:30 PM   #280
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Hey, u2pm. I'm on several panels for this year's JET interviews, this week. Cannot wait to reject every single interviewee. Gonna be a real good time.
Force them to eat nato, umeboshi, and raw uni. Tell them if they gag or make a face on any of them, they're not going to Japan.

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Old 02-28-2011, 03:31 PM   #281
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The problem with that using that particular list of artists to create a "scene" for Britain is that there is no sound or genre associated with them, really, which is important.
Would you say that North American indie does have a collective identity? It seems pretty idiosyncratic to me - music writers, I think, do most artists a disservice by branding them as "chillwave," "disco post-punk," or whatever else. I guess I don't really understand why belonging to a general movement would really matter when one is evaluating a group, but that's just me. I could be misinterpreting your idea, though.
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Old 02-28-2011, 03:35 PM   #282
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I think most of those, as I mentioned before, seem to have far more popularity outside of the UK than they do on their own home turf.
That's an interesting point. The applauded indie bands in the UK tend to be obscured or ignored in the US. When I was in London last year, for example, The Horrors' Primary Colours was riding a huge wave of critical acclaim. I saw it and Lungs plastered all over the indie record shops. In the US, those two barely made a dent.
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Old 02-28-2011, 03:42 PM   #283
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Would you say that North American indie does have a collective identity? It seems pretty idiosyncratic to me - music writers, I think, do most artists a disservice by branding them as "chillwave," "disco post-punk," or whatever else. I guess I don't really understand why belonging to a general movement would really matter when one is evaluating a group, but that's just me. I could be misinterpreting your idea, though.
Well, an area having a quality group of artists at a given point in time is more or less inevitable, isn't it? There's nothing memorable about that, and without a genre or scene to make it so, who's going to look back at Britain in the 2000s and think "wow, what a great time that was"? What will it have influenced? Think America's Elephant Six of the 1990s, or Canada's Broken Social Scene/Arcade Fire/Wolf Parade indie rock scene of the 2000s. Very influential, very high quality, and very memorable. Both had great coherence. Other than that Libertines/Arctic Monkeys/Razorlight/Franz Ferdinand/Kaiser Chiefs post-punk thing, I can't think of anything Britain in the '00s will be remembered for, and that's why I consider its underground pretty weak, relatively speaking.
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Old 02-28-2011, 03:42 PM   #284
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That's cool, I didn't realize The Horrors were getting a lot of press over there. i actually didn't even realize they were Indie there, figured they were on a major label outside the US.

Radiohead wise, Pitchfork gave Give Up the Ghost Best New Music in the tracks section:

Pitchfork: The Playlist: Radiohead - "Give Up the Ghost"

Quote:
Radiohead's "Give Up the Ghost", a highlight from The King of Limbs, is an evaporation song, one that seems to be exiting and entering your consciousness at the same moment. They have a knack for these songs -- "House of Cards" off In Rainbows, was another one. Like "House of Cards", "Ghost" is built on a patiently rocking, palm-muted guitar strum. It's a lulling sound, and it's made even more so by the white noise and bird calls that surround it. Over this luminous haze, Yorke softly repeats a primal sentiment-- "Don't hurt me." The phrase, an echo of a thought that most people carry around with them everywhere they go, slowly melts into the background of the track, becoming part of its heartbeat. A shimmering, reverberant choir of Thom Yorkes pours in, adding new shades to his bare plea-- "Gather up the pitiful/ In your arms." At the edges of the mix, Jonny Greenwood's little patterned finger-picking figures burble away quietly, and the whole song begins to slip subtly, beatifically, out of your grasp, like a conversation half-heard from a far room as you nod off. The second it has shimmered out of view, you lean forward to replay it, convinced that you were a little closer to unlocking its life-affirming point that time around.
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Old 02-28-2011, 08:47 PM   #285
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when people ask me what i listen to, i usually reply "everything but metal and manufactured/radio/forthekids/pop/dross/etc".

there's some damn fine music coming out of Canada. i might want to go back to Vancouver eventually.
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