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Martin The year is 2019.
Try to think of the most exciting, culturally relevant music happening in Japan or the rest of the world is right now and the chances are it's not an indie カジノカーニバルゴアのレビュー band you're thinking of.
Hip hop, dance music, pop, and even idol music regularly throw new and unexpected ideas out into the world.
Meanwhile, indie rock and rock music more generally has retreated from the conversation and now occupies a position similar to jazz, where experimentation is possible within its niche, but its influence beyond ウェルカムボーナス888カジノ is fragmentary, referenced and sampled with what is often a wistful air of nostalgia カジノカーニバルゴアのレビュー more culturally relevant musical forms.
Looking back over the indie rock highlights of 2018, the shadow of the 1990s looms long, with Yo La Tengo, The Breeders, Guided By Voices, Kristin Hersh, Low, Jeff Tweedy and Stephen Malkmus all releasing well-regarded albums.
Indie rock has many farmers and very few cowboys.
That doesn't make these artists wrong or even nostalgic in a negative sense.
Guided By Voices are openly nostalgic in how they hearken back to The Who, Cheap Trick and other classic rock of the past, but the way they operate is also disdainful of rock's tendency to turn itself into a monument.
Rock, for GBV's ridiculously prolific man songwriter Robert Pollard, is a constantly moving thing, and his guiding ethos remains a radical one: that writing rock songs is easy and anyone can do it.
It's ironic too, perhaps, but nostalgia can also remind us of future visions that we dreamed of in the past.
What happened to the future that this music originally promised us?
This raises the important question that if indie rock is immediately recategorised as soon as it does something different, how can it ever hope to become more than it is now?
It manages to be as subtle and understated as anything Low have done in their long career, while at the same time dazzling, thrilling, explosively fresh.
To understand how indie rock can be relevant in 2019, it's worth taking some time to think about what indie rock is for to begin with.
There are perhaps three things it can do to be of value.
The first is that it provides a space away from mainstream pop culture and its obsessive, bullying, top-down dictates to consume.
Pop culture is exhausting: it's a machine that eats up, grins down and spits out the empty husks of all who enter its metal jaws.
At its birth in the 1980s, indie rock picked up where punk left off by building an alternative albeit imperfect and PC用レゴアベンジャーズゲーム無料ダウンロード troublesome in its own way infrastructure, ethos and aesthetic.
https://deposit-top-free-games.site/1/128.html, this world away from カジノカーニバルゴアのレビュー mainstream needs to be an attractive alternative.
It needs to show that things don't have to be the way they are in a way that feels relevant to people, and for that, music alone isn't always going to be enough.
Music is just as much about representation and identification as it about the actual sunds the musicians are making.
The reason David Bowie, more than any other rock カジノカーニバルゴアのレビュー, remains relevant is in large part because of how he helped redefine masculinity in an age where gender norms were particularly conservative.
With 2018 year-end critics' polls lauding gender-fluid electronic alien visitations like Sophie and Yves Tumor, it's clear that in many ways Bowie's legacy has outrun the rock genre.
When indie rock began to come of age in the 1980s, it did so by wedding the DIY ethos and contempory sense of place and time of punk to a nostalgic reappropriation of the music of the 1960s and '70s.
The contrast of the kitchen-sink drabness of a band name like The Smiths with Morrissey's gladioli-waving camp and Johnny Marr's chiming guitar lines expressed a join. カジノ秘密ルーレット excellent longing for beauty amid the grey housing estates and suburbs of 1980s Manchester.
The Smiths meant such a lot because the music and image articulated both the lived reality and the romantic aspirations of people who had never felt recognised before.
In the West, rock is increasingly easily dismissed as merely the traditional cultural folk expression of white people, with indie rock taking the even more dubious role of folk expression of the white middle classes.
The sea カジノカーニバルゴアのレビュー white faces that populates indie music events like the UK's End of the Road festival makes it clear that the music doesn't speak to the diversity of an increasingly culturally and racially heterogeneous nation.
The music of LA-based singer-songwriter Moses Sumney is more often described as soul than indie rock, despite being informed by influences of both.
There has been a backlash to rock's whiteness, with London's Decolonise festival seeking to カジノカーニバルゴアのレビュー the legacy of punk for nonwhite artists, and this may yet spill over into indie rock via bands like Trash Kit and Big Joanie.
While there's nothing particularly radical about her well-crafted guitar rock, the fact that her music comes from the perspetive of a nonwhite, female artist combined with her skill at articulating herself in a fresh, funny and emotionally honest way makes her a powerful voice for audiences tired of the aggressively white, male world America seems to have become.
While she is unafraid of dwelling on her own frailties, Mitski's lyrics also offer a worldview that is on some level empowering.
The critique of indie rock as being something fundamentally white and male is less straightforward when we look at music in an Asian nation like Japan.
If Western audiences are coming to value inclusiveness and heterogeneity more, Japan could have a lot to offer the world.
However, electronic and pop-adjacent acts are still driving the agenda, while Japanese indie rock is still in many ways tied to the apron strings of British and American music, its artists hung up on trying to imitate and match the aesthetics of their Western idols.
Probably the best Japanese indie rock album of 2018 was Luby Sparks' self-titled debut album — a beautiful and charming カジノカーニバルゴアのレビュー that nonetheless sounds like it could have been made in the UK in 1995.
These are both bands who bring something exotic and fresh to the music scene in Japan, but at the expense of offering the West little musically that it doesn't already have in spades.
Drawing more from Japan's own powerful tradition of psychedelia and noise-rock, bands on the fringes of indie rock like Klan カジノカーニバルゴアのレビュー and Qujaku offer an alternative to the J-Pop mainstream more recognisably rooted in Japanese music culture, but bands like these remain as yet very much a niche within a niche.
One reason indie rock might struggle in Japan without an umbilical relationship with Western music could be related the third aspect of indie rock's value.
If indie rock is to offer a space away from the mainstream, and if that place is to offer an attractive alternative to the way things are, it is by definition entering into what is, at just click for source on some level, an antagonistic relationship with the mainstream.
Needless to say, this is something few artists in Japan seem willing to do.
More broadly, despite what someone like Robert Pollard says, indie rock in Japan and elsewhere is no longer a particularly accessible form of music to make.
People's lives don't have the free time to gather as a group to write and practice.
People don't have the money to spend on rehearsals, recording and in Japan pay-to-play live shows.
The most accessible music, and therefore the kind that absorbs new talent most readily, is the music that you can make alone in your room on a laptop.
Indie rock is clearly not as ダウンロードする無料スロットマシンのゲーム as it was in source heyday in the 1980s and '90s, but it needn't consign itself completely to history.
If artists can スロットファラオの方法は、アンドロイドのダウンロードをだまします up to the world around them, engage with it, confront it, criticise it, articulate people's alienation from it and work to build alternatives — whether reviving lost dreams from the past or forging fresh ones of their own — indie rock will continue to connect with people and give them a musical space they can call home.
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