Indie Pop - History - Influences

Influences

In his book Time Travel, pop historian Jon Savage traced the musical origins of C86 and indie pop to the Velvet Underground's eponymous third album. Power pop was a significant influence, as was punk and post-punk. Catchy power pop melodies made the Ramones and the Buzzcocks the most identifiable punk influences. Before the last and main influence on C86 and indie pop - The Smiths - the bands of Glasgow's post-punk independent Postcard label had some influence: Josef K and Orange Juice (along with contemporaries The Fire Engines). Other possible musical antecedents included The Television Personalities and the Swell Maps.

The inspiration of punk's DIY ethic manifested itself, too, in fanzines from the period. Significant titles from the period were: Kevin Pearce's Hungry Beat!, John Robb and Mark Tilton's Rox, and Everett True's The Legend! Other titles included: Pure Popcorn, Baby Honey, Simply Thrilled and Are You Scared To Get Happy? The fanzines often featured flexi discs of bands associated with C86.

The jangle pop indie sensibility with which C86 became synonymous began to be applied to bands who had not appeared on the tape. Some influenced by the compilation and later associated with it had yet to emerge in 1986, such as Talulah Gosh and Razorcuts. The UK label Sarah Records, which released its first record in 1987, embraced the perceived jangly indie pop sensibility in such a way that it - and its most popular bands, The Field Mice and Heavenly - could be seen as typical proponents.

The movement continued to hold sway into the 1990s. Scenes developed in the United States, particularly around labels such as K Records and Slumberland Records. Bands of the US riot grrrl movement acknowledged a debt to C86, and Scottish band Belle and Sebastian recognized its influence.

In the United States, the terms "twee", "twee pop" and "cutie" (all pejorative terms in the UK) have been adopted retrospectively to describe some examples of indie pop, owing to what has been called the genre's "revolt into childhood".

In the mid-2000s, London clubs such as How Does it Feel to be Loved? and Scared To Dance continue to air tracks from C86, and Sweden has increased its export of indie pop through Labrador Records.

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