A couple of days ago, I was chatting with this girl over beers about indie music. She was telling me that indie has gone from a philosophy to just a loosely defined category, and I realised the same thing happened with punk music. When I tried to tell her this, she told me she had no idea what punk music was. Needless to say, the date went poorly after that, but on the train ride home I started thinking: is indie the new punk?
First, we have to start with a definition. Indie literally refers to a band that records, produces, and releases its material outside the major label cabal, so already from that definition you can see how close it is, ideologically, to punk. You probably have a slightly different definition, but I transposed this one from what is traditionally agreed makes a film indie, though in both cases we know there are more elements. Twilight is technically an indie film, but when you think of indie films, you’d have a hard time putting it next to Brick or Clerks or whatever your favourite indie film is, yet they’re all still independently produced.
In 1975, the youth of the two greatest cities of the Western world, London and New York City, were trying to reconnect with rock’s new spirit. Their solution was punk. The music was loud, fast, and aggressive, but also simple. In a 1995 interview, Joey Ramone of the Ramones said “We wanted the kids to feel they could go out and do this too.” The kids felt isolated, but they had a lot to say, and now they had the avenue to say it. This accessibility was lost by the time the ‘80s rolled around. The three chords that were the backbone of punk were replaced with complicated solos and greater emphasis on technical aptitude. The elitism was restored to music. Then came the Millennials. Told they could do anything, that they were all delicate little snowflakes, unique, filled with potential, they ignored the obstacles and the unreality of becoming a famous musician and took up instruments anyway.