Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
The Dears are a Canadian indie rock band from Montreal, Quebec. The band is led by the husband-and-wife duo of singer-guitarist Murray Lightburn and keyboardist Natalia Yanchak; the band formed in 1995 and released their first album, End of a Hollywood Bedtime Story, in 2000. Their orchestral, dark pop sound and dramatic live shows established The Dears as part of the then-emerging Canadian indie renaissance; the Dears performed in Toronto in October 2001 with Sloan. In 2001 and 2002, they released the EPs Orchestral Pop Noir Romantique and Protest as well as a collection of unreleased songs, Nor the Dahlias. In 2003 they released their second full-length album No Cities Left, a string of shows at SXSW'04 launched their international career; the Dears toured extensively across Canada, U. S. UK, Europe and Australia supporting the international release of No Cities Left and returned to the studio to record in 2005. Gang of Losers was released in 2006, was well received by the press; the Dears have had high-profile gigs as opening act for Sloan, The Tragically Hip, The Secret Machines and Morrissey, to whom Lightburn is compared.
Their music has been described as a cross between The Smiths and Serge Gainsbourg with Lightburn's singing voice being likened to Morrissey as well as Blur's Damon Albarn. The complexity of the music and arrangements has been compared to Radiohead, Jethro Tull and early Genesis; the Dears' powerful live shows have been described as: "...the sonic equivalent of seeing the face of God."On July 10, 2007, The Dears' album Gang of Losers was named to the shortlist for the 2007 Polaris Music Prize. The follow-up Missiles was released in the United Kingdom on October 20 and in North America on October 21, 2008. On February 15, 2011, The Dears released Degeneration Street; the album was named as a longlisted nominee for the 2011 Polaris Music Prize. Murray Lightburn - vocals, keyboards, bass Natalia Yanchak - keyboards, vocals Jeff Luciani - drums Patrick Krief - guitar, vocals Roberto Arquillo - bass Laura Wills - touring keyboards, vocals Christopher McCarron - touring guitar player Jason Kent - touring guitar, keyboards Yann Geoffroy - touring drummer, keyboards Lisa Smith - touring bass player Rob Benvie - guitar, percussion, vocals George Donoso III - drums, vocals Martin Pelland - bass, vocals Valérie Jodoin Keaton – keyboards, vocals, percussion Jonathan Cohen - guitar Brigitte Mayes - cello, flute Richard MacDonald - guitar John Tod - drums Andrew White - bass 2000: End of a Hollywood Bedtime Story 2003: No Cities Left 2006: Gang of Losers 2008: Missiles 2011: Degeneration Street 2015: Times Infinity Volume One 2017: Times Infinity Volume Two 2001: Orchestral Pop Noir Romantique 2002: Protest 2009: iTunes Live from Montreal 2001: Nor the Dahlias: The Dears 1995-1998 2004: Thank You Good Night Sold Out 2012: The Dears Live at Pasagüero - Mexico City, Mexico, 2010 2004: "We Can Have It" 2004: "Lost in the Plot" 2005: "22: The Death of All The Romance" 2006: "Ticket to Immortality" 2006: "Whites Only Party" 2007: "You and I Are a Gang of Losers" 2008: "Money Babies" 2010: "Omega Dog" 2011: "Thrones" 2015: "I Used To Pray For The Heavens To Fall" 2015: "Here's to the Death of All the Romance" 2017: "To Hold and Have" 2017: "Of Fisticuffs" 2017: "1998" 2017: "I'm Sorry That I Wished You Dead" Syrup & Gasoline Vol. 2 – "Le pauvre chanteur" Acoustic 07 – "You and I Are a Gang of Losers" 2016: No Cities Left - Shortlisted: 2016 Slaight Family Polaris Heritage Prize.
2011: Degeneration Street – Longlisted: 2011 Polaris Music Prize. 2007: Gang of Losers – Shortlisted: 2007 Polaris Music Prize. 2007: Gang of Losers – Nominated: GAMIQ Awards – International Career, Best Indie Rock Album, Best Concert categories. 2006: Gang of Losers – Nominated: CMW Canadian Independent Music Awards – Favourite Group category. 2006: Whites Only Party – Winner: CBC Radio 3's Bucky Awards – Catchiest Beat category. 2004: No Cities Left – Nominated in First Round: New Pantheon Music Award. 2004: No Cities Left – Nominated: Juno Award – Best New Group category. 2004: No Cities Left – Nominated: CMW Canadian Independent Music Awards – Favourite Group category. 2003: No Cities Left – Nominated: CASBY Award – Favourite Indie Release. 2002: Orchestral Pop Noir Romantique – Winner: MIMI Awards – Best Production category. 2001: End of a Hollywood Bedtime Story – Nominated: CMW Canadian Independent Music Awards – Best Alternative Album category. 2001: End of a Hollywood Bedtime Story – Nominated: MIMI Awards – Best Album, Best Concert, Best Pop Artist categories.
Music of Canada Music of Quebec Canadian rock List of Canadian musicians List of Quebec musicians List of bands from Canada Culture of Quebec Official website The Dears on IMDb
The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them one of the most important bands to emerge from the British independent music scene of the 1980s. In 2002, NME named the Smiths "the artists to have had the most influence on the NME". In 2003, four of the band's albums appeared on Rolling Stone's list of the "500 Greatest Albums of All Time". Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, they have released several compilations and numerous non-album singles. They had several singles reach the top twenty of the UK Singles Chart and all four of their studio albums reached the top five of the UK Albums Chart, including Meat Is Murder which hit number one, they remain cult favourites. The band have turned down several offers to reunite.
The band's focus on a guitar and drum sound and their fusion of 1960s rock and post-punk, were a rejection of the then-popular, synthesiser-based dance-pop. Marr's guitar work, using a Rickenbacker, had a jangle pop sound reminiscent of Roger McGuinn of the Byrds. Morrissey's complex, literate lyrics combined themes about ordinary people with mordant humour. On 31 August 1978, a 19-year-old Morrissey was introduced to the 14-year-old Johnny Marr by mutual acquaintances Billy Duffy and Howard Bates at a Patti Smith gig held at Manchester's Apollo Theatre. In May 1982 Marr decided that he wanted to establish a new band, subsequently turned up on the doorstep of Morrissey's house – 384 Kings Road, Stretford – accompanied by mutual friend Steve Pomfret, to ask Morrissey if he was interested in founding a band with himself and Pomfret. A fan of the New York Dolls, Marr had been impressed that Morrissey had authored a book on the band, was inspired to turn up on his doorstep following the example of Jerry Leiber, who had formed his working partnership with Mike Stoller after turning up at the latter's door.
According to Morrissey: "We got on famously. We were similar in drive." Conversing, the two found. The next day, Morrissey phoned Marr to confirm that he would be interested in forming a band with him. A few days Morrissey and Marr held their first rehearsal in Marr's rented attic room in Bowdon. Morrissey provided the lyrics for "Don't Blow Your Own Horn", the first song; the next song that they worked on was "The Hand That Rocks the Cradle", which again was based on lyrics produced by Morrissey. Marr included a tempo, based on the Patti Smith song "Kimberly", they recorded it on Marr's TEAC three-track cassette recorder; the third track that the duo worked on was "Suffer Little Children". Alongside these original compositions, Morrissey suggested that the band produce a cover of "I Want a Boy for My Birthday", a song by the 1960s American girl band the Cookies. By the end of the summer of 1982 Morrissey had chosen the band name "the Smiths" informing an interviewer that "it was the most ordinary name and I thought it was time that the ordinary folk of the world showed their faces".
Around the time of the band's formation, Morrissey decided that he would be publicly known only by his surname, with Marr referring to him as "Mozzer" or "Moz". In 1983 he forbade those around him from using the name "Steven". After remaining with the band for several rehearsals, Pomfret departed acrimoniously, he was replaced by the bass player Dale Hibbert, who worked at Manchester's Decibel Studios, where Marr had met him while recording Freak Party's demo. It was through Hibbert that the Smiths were able to record their first demo at Decibel, doing so one night in August 1982. Aided by drummer Simon Wolstencroft, whom Marr had worked with in Freak Party, the band recorded both "The Hand That Rocks the Cradle" and "Suffer Little Children". Wolstencroft was not interested in joining the band, so auditions were held to find a permanent drummer, which resulted in Mike Joyce joining them. Meanwhile, Morrissey took the demo recording to Factory Records, but Factory's Tony Wilson wasn't interested.
In October 1982 the Smiths gave their first public performance as a support act for Blue Rondo à la Turk during a student music and fashion show, "An Evening of Pure Pleasure", at Manchester's The Ritz venue. During the performance, they played both their own compositions and "I Want a Boy for My Birthday". Morrissey had organised the gig's aesthetic. Maker remained onstage during the performance, relating that "I was given a pair of maracas – an optional extra – and carte blanche. There were no instructions – I think it was accepted I would improvise... I was there to drink red wine, make extraneous hand gestures and keep well within the tight, chalked circle that Morrissey had drawn around me." Hibbert however was unhappy with.
Degeneration Street is the fifth studio album by The Dears, released February 15, 2011 on Dangerbird Records in the United States and Pheromone Recordings in Canada. The album marks the return of several band members who were absent from the band's previous album Missiles, including Patrick Krief, Rob Benvie and Roberto Arquila. Advance promotion for the album included shows in both Montreal and Toronto in which the band played the album in its entirety; the album was named as a longlisted nominee for the 2011 Polaris Music Prize. "Omega Dog" - 5:01 "5 Chords" - 3:34 "Blood" - 4:09 "Thrones" - 4:33 "Lamentation" - 4:20 "Torches" - 1:36 "Galactic Tides" - 4:38 "Yesteryear" - 3:51 "Stick With Me Kid" - 3:28 "Tiny Man" - 5:04 "Easy Suffering" - 4:33 "Unsung" - 4:15 "1854" - 5:23 "Degeneration Street" - 4:57 The BandMurray Lightburn – Vocals, Other Natalia Yanchak – Keyboards, Vocals Rob Benvie – Guitars, Vocals Patrick Krief – Guitars, Vocals Robert Arquilla – Bass Guitars, Vocals Jeff Luciani – Drums, PercussionOther MusiciansMélanie Bélair - Violin Bojana Milinov - Viola François Pilon - Violin Sheila Hannigan - Cello Chris Seligman - French Horn Evan Cranley - Trombone Liam O'Neil - Baritone Saxophone Maia Davies + Anna Ruddick - "Ooh/Aahs"Other PersonnelProduction/Mastering - Tony Hoffer Sound Factory Studio B, Hollywood, CA Assistance - Cameron Lister Mastering - "Big Bass" Brian Gardener Bernie Grundman Mastering, Hollywood, CA Assistance - Marie Lewis Recording - David Shiffman Studio Mixart, Montreal, QC, Canada Assistance - Pierre-Philippe Boulay Art - Construction/Deconstruction - The Dears Art - Layout - Patrick Francis Guay / Rory Wilson / The Dears Photography - Richmond Lam Administration - Kat Sambor / Ben Berry Management - Jeff Castelaz / Dangerbird Management A&R - Jeff Castelaz / Peter Walker Legalment - Craig E. Averill, Esq./Serling Rooks Ferrara McKoy & Worob, LLP Rolling Stone - "A four-part song cycle involving apocalyptic prophecy and frozen hell, Degeneration Street reads as art-rock with a death-metal storyline...
Lightburn's amoebic tenor is still the main attraction: soul crooner one minute, punk shouter the next, he's a prime candidate for rock's next Broadway musical." Pitchfork - "Everything Degeneration Street attempts feels a bit too emphatic. When it rocks, it heads for the arenas; that problem has two-fold consequences. First, it makes many the songs maudlin and melodramatic unbearable. What's more, it makes each Dears approach-- heavy rock insurgencies, sweeping synthesizer ambles, big breezy janglers-- seem that much more polar; the album feels scattered and uneven, like a band without direction or restraint." Paste Magazine - "If Degeneration Street, The Dears’ fifth full-length, is any indication, they don’t seem to give too much of a shit. It’s the most Dears-like thing they’ve produced: an ambitious, insanely layered, eclectic concept album about the thick, looming boundaries that separate Heaven from the Hell we call Earth." BBC Music - "Degeneration Street has more than its fair share of catchy hooks, the usual Dears trademarks of stylistic diversity, with plenty of obvious pop references from the 60s to the 90s.
It will no doubt go down well at their famously torrid live shows, will be popular with drivers. Just don’t expect much in the way of subtlety, humour or lyrics that stand up to much analysis in a home listen context. Lightburn may have been compared to Morrissey, but it’s much more for his vocal tone than any strong sense of irony or wit." NME.com - "Degeneration Street possesses an adventurous spirit – albeit within The Dears’ now defined parameters.'Yesteryear’ juts out with ’60s pop charm, the band’s full-blooded power only blitzkrieging through in its chorus, while opener ‘Omega Dog’ and ‘Stick With Me Kid’ marry undercurrents of nocturnal electronics and coy strings to the more recognizable guitar and vocal traits. Though, its success still falls on Lightburn’s shoulders, a vocalist who’s always straddled the line between impassioned and overwrought, his idiosyncratic faux-British growl is as passionate as ever. Clash Music - "Degeneration Street fits the mould well and is an articulate piece of work.
The former influences have become diluted and the band stands as its own protagonists, inventive for sure but flirting with commercialism en route. Few albums this year will match up to the level of proficiency and commitment here and yet it remains a distinct probability that the world still won’t listen. An album that will shadow most others." The A. V. Club - "Degeneration Street is a credit to Lightburn’s songwriting acumen and stubbornly heightened emotions; the Dears make some bulky records, but no half-hearted ones." The Dears Official Website Dangerbird Records - Degeneration Street Album Release Info The Dears - Degeneration Street on Rdio The Dears - Degeneration Street on Spotify Degeneration Street - "Omega Dog" Music Video on YouTube Degeneration Street - "Omega Dog" Live @ Sonic Boom Records on YouTube Degeneration Street - "Blood" Live in Mexico City on YouTube Degeneration Street - "Yesteryear" Live on KEXP on YouTube
Missiles is the fourth full-length studio album by Canadian indie rock band The Dears, released on October 20, 2008 on Dangerbird Records in the United States and MapleMusic Recordings in Canada. The album was marked by creative tensions within the band. By the time the recording process was complete, most of the supporting musicians had left, leaving only core members Murray Lightburn and Natalia Yanchak. Lightburn subsequently selected several other musicians, including members of Pony Up, as a temporary touring band. George Donoso III - Drums, Background Vocals, Handclaps Roberto Arquila - Bass Guitar, Percussion Murray Lightburn - Guitar, Bass Guitar, Vocals, Percussion Patrick Krief - Guitar, Background Vocals, Percussion Robert Benvie - Guitar, Snyth, Background Vocals, Percussion Adrian Popovich - Guitar Natalia Yanchak - Keyboards, Vocals Aaron Seligman - Handclaps Jonathon Achtman - Handclaps Brian Smith - Handclaps Jason Thomas - Handclaps, Percussion Matt Watkins - Trumpet Chris Seligman - French Horn Evan Cranley - Trombone Jade McNelis - Violin Marika - VLNS Anthony Shaw - VLNS Kristina Koropecki - Cello Rev. William Lightburn - Saxophone Every Kid Choir: Amethyste Baranes, Samuel Baranes, Amelia Bonter, Esme Steadman-Gantous, Simone Steadman-Gantous, Erika Vigneault, Sinna Mouilin-Creyx, Varnen Pareukan, Abby Gilbert, Maria Gabriela RECORDING: Daniel Lagace, Drew Malamud - Studio Plateau, MTL Joseph Donovan, Adrian Popovich - Mountain City, MTL Jace Lasek - Breakglass, MTLMIXING: Roberto Arquila, Murray Lightburn, Drew Malamud - Hotel 2 Tango, MTLMASTERING: Bob Ludwig - Gateway Mastering, Portland, MEArtwork: Edward MaloneyA&R: Jeff Castelaz and Peter WalkerMANAGEMENT: DangerbirdLEGALMENT: Craig Averill, Esq.
Dangerbird Records - Album Release Information The Dears - Missiles - on Rdio The Dears - "Missiles" - on Spotify Missiles - "Money Babies" music video on YouTube Missiles - "Disclaimer" music video on YouTube Missiles - "Lights Off" on YouTube Missiles - "Money Babies" on QTV on YouTube
Murray Lightburn is a Canadian musician, best known as the lead vocalist and principal songwriter for The Dears. Lightburn has been called "the black Morrissey" due to his vocal similarity to the former The Smiths lead singer. Incidentally, The Dears toured as Morrissey's opening act during Morrissey's solo tour in 2006. In 2013 he released the solo album Mass: Light, his second solo album, Hear Me Out, is slated for release in 2019. 2013 - Murray A. Lightburn's MASS:LIGHT 2019 - Hear Me Out 2018 Belleville Blues In 2005, Lightburn married fellow band member, keyboardist/singer Natalia Yanchak, they have a daughter named Neptune Lightburn
Gang of Losers
Gang of Losers is the third full-length album from Montreal band The Dears. It was released on August 29, 2006 in Canada under the Maple Music Recordings label and on October 3, 2006 in the USA under the Arts & Crafts label. On July 10, 2007, Gang of Losers was announced as a finalist for the 2007 Polaris Music Prize, alongside such other acts as Feist, Junior Boys, Chad VanGaalen. All songs written by Murray Lightburn. "Sinthtro" – 1:31 "Ticket to Immortality" – 4:22 "Death or Life We Want You" – 3:19 "Hate Then Love" – 4:44 "There Goes My Outfit" – 3:46 "Bandwagoneers" – 4:40 "Fear Made the World Go'Round" – 3:56 "You and I Are a Gang of Losers" – 4:57 "Whites Only Party" – 3:10 "Ballad of Humankindness" – 4:13 "I Fell Deep" – 4:56 "Find Our Way to Freedom" – 4:27The first 10,000 copies included an unlisted bonus track, "The Highest". The Australian and New Zealand version contained a bonus disc with four tracks, two which were recorded live at Triple J on June 8, 2006. Raise The Dead - 4:03 The Highest - 3:45 There Goes My Outfit - 3:52 Ticket to Immortality - 3:43 George Donoso III – drums Martin Pelland – bass guitar Valerie Jodoin Keaton – synthesizers, vocals Natalia Yanchak – piano, vocals Murray Lightburn - composition, other Patrick Krief – electric guitar, additional piano on "Ballad of Humankindness" Chris Seligman – French horn on "Sinthro" and "Ballad of Humankindness" Rev. William J. Lightburn – tenor saxophone on "Find Our Way to Freedom"