I Ate Your Microphone

The 1970s was probably the first decade in which the cynicism of a generation was widely reflected in the popular culture and music of that generation. Like most decades, musically the ‘70s could be divided up into five year periods; the first years saw the rise of the influence of indie band the Velvet Underground and a shift away from bubble gum rock of the ‘60s; the Beatles broke up and suddenly everyone was experimenting.

In the garages of the United States and the United Kingdom, kids were figuring out just what the hell they really COULD do with their guitars and their electronic equipment, not to mention a pissed off voice. While the United Kingdom turned out some synthy stuff, the States and several bands in the UK were much more focused on the do it yourself grind that punk music offered. The indie ethos was thus created through the actions of the proto punk bands; they separated themselves from their cultural norms through their outward appearances as much as their music. Richard Hell, the Ramones, and in the UK the Sex Pistols all had their roots in the indie movement, and several of them never left the scene behind. Once again, indie was to have a huge influence on popular, although in the case of punk the major labels would not pick up on the fervor until thelatter half of the 1990s, when (just as in the ‘70s) annoying music again ruled the day.

Another indie development in the 1970s was the creation of progressive rock. Now, this rock was totally at odds with Beatles, Byrds, and all the other peaceful music of the ‘60s. It created its sound using a full range of instruments, and was just as experimental as the electronica movement of the 1990s. Unlike punk, though, progressive rock was to catch big label attention early in its development, and made the jump from indie to “scene” relatively quickly. In fact, a big part of the growth of punk was in reaction to the commercialization of prog rock.

New Wave was the third form of music to develop on the indie scene, and like progressive rock it was quickly usurped and mutilated by labels, who would sign anyone with any connection to the true sound. This type of music was pretty much right in between punk and prog; experimental and edgy at the same time. In fact, some of the most influential artists in the New Wave movement are still cited by label successes such as U2 today; Elvis Costello was known for his pointed lyrics, and Blondie was perhaps the most well-known band of this era (although today they are labeled as disco in many ignorant quarters). Sire Records and Stiff Records were two of the major players in the indie market in the ‘70s.

Of course, when a new sound is created,sooner or later someone will capitalize on the potential money. When the big labels came knocking, it was the Clash and the Cult that answered the door; their New Wave sound was the newest hit on radio in the early ‘80s and signaled the end of New Wave as far as indie scene followers were concerned.

A lot of people will probably try to tell you that Straylight Run is an alternative band, but this label is much too broad to give anyone an idea of what a band sounds like. At the heart of their music, Straylight is an electronica experiment with vocals that channel a range of artists from Terry Jacks to Fred Durst.

The New York band is currently looking for a label to sign with, having ended their stint with Victory Records, with whom they released three different albums; Straylight Run, Prepare to Be Wrong (an EP), and a live album. The band has reported that a new album is finished, slated for release in the spring of 2007.

Anytime you include siblings in a band, you can be sure that an interesting dynamic will be created and projected into the work and on stage. In the case of Straylight, the tension is even more unique as the brother and sister team of Michelle and John Nolan tag team the duties of vocals and piano work. The result is an eclectic range, running from the melodious (if pretentiously titled) “Existentialism on Prom Night” (probably the best sample of the two putting out a track and matching their voices), the hoarse shouts of “Hands in the Sky (Big Shot)” (which features John), and the brand new “The Miracle That Never Happened” (Michelle, singing over instrumentals that are just a little too close to “Seasons in the Sun” for enjoyment).

If Straylight can stick to the formula which helped them sell albums with “Existentialism..” then they should have no problem expanding their audience. There is such a thing as experimenting too much, however.

In the proud tradition of two-man electronica comes experienced duo The Postal Service. The group is comprised of two guys who usually spend their time on other projects, with singer Ben Gibbard (Death Cab for Cutie) and producer Jimmy Tamborello (several indie projects). The first album from the band includes several songs with guest singers who are also well-traveled along the indie circuit.

The Postal Service offers an introspective look at life and American on their album Give Up, a trend which continued throughout their EP releases and their appearances on other artist’s projects (such as with the Flaming Lips). “Sleeping In” is a cross between a modern day “Imagine” and the folk song “The Strangest Dream”, wherein Gibbard ponders what the world would be like if everything actually was “just like it seems”. Historical references abound, including ponderings on the JFK assassination and the war in Iraq. In other work, such as “Pick Up the Phone”, the duo emphasizes a relationship that just can’t seem to go away.

Despite heavy schedules with other projects, the Postal Service have indicated that they are working on a new album (begun in summer of 2006). When this will arrive is still in question, as Gibbard and Tamborello appear in no hurry to rush the creative work. Fans of electronica will no doubt find the caution and the final project well worth the wait.