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Alternative Rock, Week 2
- 1. Popular Music Studies: Alternative Rock Week 2 The Rise of US Alternative Rock
- 2. Early US Punk • The Ramones • The Stooges
- 3. New Wave • Blondie • Talking Heads
- 4. Hardcore • ‘Punk begat hardcore as a means of staying underground’ • Scenes were at first closely linked to certain cities and locations • California hardcore was important in establishing the sound
- 5. Black Flag • Damaged (1982) • My War (1984)
- 6. SST • Started by Greg Ginn of Black Flag • Home to a large number of hardcore and alternative bands • Became the most important minor label in the US during the 80s.
- 7. D.C. Hardcore • Minor Threat • Bad Brains
- 8. Minnesota • The Replacements • Hüsker Dü • First big indie band to sign to a major label – Warner Bros, 1986 • Hardcore bands who softened up and slowed down, leading stylistically to ‘alt rock’ • Showed that melody could have a key role in a ‘post-punk’ aesthetic
- 9. Minnesota
- 10. Aesthetics of Alt Rock • ‘Like the punk and hardcore scenes, alternative music embraced punk’s return-to-simplicity aesthetic and its directness of expression.’
- 11. Aesthetics of Alt Rock • DIY ethos • Working initially with small, independent labels • Rejection of fame and commercialism
- 12. Aesthetics of Alt Rock • Lo-fi production • Formed on a core of guitar, bass and drums • Largely rejected synth sounds • Retained a relatively fast pace • Heavy guitar fuzz / distortion • Vocals often shouted, rough – delivery, rather than strength or accuracy, most important
- 13. Sonic Youth • “Noise rock”? • Formed in New York, 1982 • Art music background • Well known for alternate tunings, extended techniques, abrasive sounds
- 14. Sonic Youth
- 15. • By the late 80s, hardcore was a spent force • Bands forming who had grown in the 80s, not 70s • Happier to incorporate influences from a wider range of rock music
- 16. Dinosaur Jr. • ‘Heavy guitars with hooks’ • Foregrounded technical lead guitar playing • Apathy and powerlessness set against a powerful musical backdrop
- 17. Dinosaur Jr.
- 18. Pixies
- 19. Production • Steve Albini • Big Black • Underground ethic • Stripped-back production style
- 21. The ‘Seattle Sound’ • Grunge • Was there really a ‘grunge’ sound? • Again, something which worked as a marketing label… • The production of Jack Endino… • The sound of Sub Pop…
- 22. Mudhoney • Superfuzz Bigmuff EP (1988)
- 23. Mudhoney • Flagship band for Sub Pop • Low-key melodic ideas • Quiet-loud dynamic • Changes of time signature
- 24. Nirvana
- 25. Nirvana • Bleach (Sub Pop, 1989) • $606.17
- 26. Nirvana • ‘Nevermind marks the coming of age of alternative rock and the death of some cherished and deep-seated beliefs about authenticity, selling out, and the artistic purity of the rock & roll underground.’ • ‘The beginning of one era… and the end of another.’
- 27. Nirvana • Nevermind (DGC, 1991) • Initial $65,000 budget
- 28. Nirvana • In Utero (1993) • Produced by Steve Albini • MTV Unplugged in New York (1994)
- 29. Kurt Cobain
Editor's Notes
- So what was the initial state of rock in the US? As we saw, corporate rock had become a largely homogenized thing until the punk explosion of the mid-1970s.
- While there was no US album with the impact of Never Mind The Bollocks, the Sex Pistols were big on that side of the water too. A number of US bands like the Ramones, the Stooges, MC5, had created a US punk sound. (Search and Destroy) This begat two main strands of post-punk: the more radio-friendly, less aggressive ‘New Wave’; and the fast, aggressive ‘Hardcore’.
- While New Wave was important, it tended towards the commercial. Hardcore saw an expansion of distorted guitar sounds, a rejection of synthesizers, a fast playing style, a rather more brutal aesthetic and generally more coarse, angst-ridden, both political and personal subject matter.
- Hardcore Covach, p.441 – Punk begat ‘hardcore’ as a means of staying underground. Two important Hardcore scenes can be looked at from the start of the 1980s: California was a really important scene for hardcore, starting with Black Flag, whose founder Greg Ginn also started the SST record label, which was home to any number of important hardcore and alternative groups. (The Minutemen, Husker Du, Soundgarden, Sonic Youth and more).
- Damaged (1982) is seen as the quintessential hardcore record by many, though later efforts intentionally slowed down drastically and incorporated a lot of metal influence. (Damaged)
- An important hardcore scene also formed in Washington DC, with bands such as Minor Threat and Bad Brains. The latter began with jazz-rock fusion, but turned their musicianship to being able to play faster and harder than anyone else. (Pay to Cum – Banned in DC)
- In Minnesota – US music scenes are highly linked to their city or place of origin, and talked about as such – we had the Replacements (see last week) and Husker Du. Husker Du were another hardcore band who softened up, slowed down, and turned into what can stylistically be called alternative rock, much like their ‘rivals’ the Replacements (though they became less mainstream with their sound before breaking up). Showed that melody could have a key role in a ‘post-punk’ aesthetic, leading directly to the Boston scene of the late 80s. Actually the first big US independent band to sign to a major label (Warner Bros., 1986), but didn’t fit the major-label mould – wanted to keep producing, booking and promoting themselves in alternative style. (Husker Du)
- Lo-fi aesthetics – do-it-yourself ideas – worked with small, independent labels – rejected crass commercialism of much popular music, and most of the trappings of fame (the bands were no more important than their fans).
- Rejected synths, based on a core of guitar-bass-drums almost always. Retained the relatively fast pace, albeit slowed down from hardcore, with busy drums and rapidly-sung vocals. Vocals often retained than shouted, rough, maybe not always in tune punk style. Also often difficult to discern words, muffled in the mix. Serious distortion of guitars (as opposed to generally more clean sounds from UK groups) – leading to the key role of certain fuzz pedals in establishing alternative rock and the ‘grunge’ sound. Retained an underground fascination with anti-establishment themes, more shocking or aggressive lyrics. Bass lines often following the constant eight-note patterning of punk.
- “Noise rock” Less a strand than a brief scene of alternative music, taking a quite direct inspiration from the Velvet Underground days and the noisier elements of hardcore, often with an experimental edge. Sonic Youth are the forefront of this style, formed in NY in 1982 and selling indie records. Well-known for alternate tunings, extended techniques and other experimental elements. (early SY) SY were well-known throughout the US underground, and helped a lot of other bands get going; they were also clever in their business dealings. They signed to SST in order to take advantage of the well-organised label’s indie network and credibility, then moved on when a better deal was forthcoming elsewhere. Their departure was the beginning of the end for SST (Azerrard)?
- Signed to SST in 1986 and released EVOL Then Enigma, then Geffen… At the end of the 1980s they signed a deal with Geffen, following the path that had been established for the most popular alternative groups, and released what were – for them – the ‘commercially successfully’ albums. Traced influences from psychedelia, VU and goth ideas, hardcore – fusing them into the earliest semblance of the ‘grunge’ sound, if such a thing exists, or the general sound of alternative rock (certainly in the US for the early 90s) – forerunners of the major breakthrough with Nirvana. Goo, quite accessible – followed by their best-selling Dirty. (Goo) (Dirty)
- By the late 80s, hardcore was a spent force, and bands were coming through who were not reacting to the late 70s – as hardcore had – but were growing from the hardcore scene itself.
- Massachusetts produced Dinosaur Jnr., who were indie for three albums before going mainstream. J. Mascis came from a comfortable background, unlike a lot of the more punk kids and bands who had often lived in near poverty. Playing music simply because they had nothing else to do, Dinosaur Jr. partially gave birth to the ‘slackers’ label which followed many bands and scenes. Their distorted but melodic sound was very much the style for US alt rock at the time, though grounded in classic rock too. ‘Heavy guitars with hooks.’ The less-than-perfect vocal delivery and tuning is another stylistic trait; whereas major labels would often demand polished, produced vocals, indie labels and bands could afford to let singers who were not technically great sing their songs.
- Dinsoaur Jr. set the stage for grunge; Mascis re-introduced technical and foreground lead guitar playing into alternative rock, while his often apathetic, powerless, self-hating lyrics contrasted with the big, powerful three-piece rock sound. They pioneered the quiet-loud dichotomy within songs (despite generally being loud, very very loud).
- Also from Boston – Pixies, who took numerous influences. They released an EP and album with indie label 4AD, before signing major label for Doolittle (1989). This can be seen as one of the first big alt releases on a major label, as with the possible exception of ‘Here Comes Your Man’ they didn’t really change their style so much. Aside from Caribbean, surf-rock, folk, they also liked hardcore and indie rock; Lou Reed is a noticeable vocal influence. They are credited as doing the quiet/loud dichotomy that influenced Nirvana, amongst others.
- Surfer Rosa (1988) was produced by Steve Albini, who was a reasonably big figure in alt rock at the time. Though a recorded artist himself, he made a name as a producer with a definite aesthetic; everything to be recorded quickly, directly, as the band played with no overdubs and not much in the way of mixing or craft (sort of an anti-producer). His prominence with Pixies, Nirvana, PJ Harvey and others just shows how important production is (and, in a way, isn’t) to the alt rock scene of the time. Production as an element of alt rock, the role of producer… (p.93 – Chapter about Steve Albini, his aesthetics, some of the bands he’s mixed – PJ Harvey, Nirvana, Urge Overkill, etc.) An interesting – and highly confrontational, divisive – personality, Albini began by forming his own band called Big Black in 19xx. Big Black were pointedly offensive, writing music about the nastiest people and most unpleasant parts of hidden US life. Albini followed what was a reasonably successful underground playing career – they called it quits with the band before it got too big – with a career as a self-named ‘recordist’. Became a massive figure within US alt rock, despite attacking pretty much everyone and everything. Work ethics and ideas… Production style… He recorded with many well-known bands (and many more you’ve never heard of) and imparted a sound and style to much of the US alternative rock scene from the late 80s into the 90s.
- Honourable Mentions: What came out of the LA Hardcore scene… Jane’s Addiction – added metal and hair rock pomposity Red Hot Chili Peppers – added funk and juvenile humour (Freaky Styley) (Give it Away) Faith No More – added a level of experimentation
- Is there really a ‘grunge’ sound? Something that’s been debated a lot, as it was easily seen as a marketing label rather than stylistic categorization. The ‘big four’ of the grunge scene were all quite different in their sound, and their apparent influences. Nonetheless, it seems that the earlier scene may have had a certain style – not at all dissimilar from earlier hardcore scenes – which was only fractured after Nirvana hit the mainstream as the first of the ‘grunge’ wave. Think back to the life and death cycle or rock in the first lecture; this was a super-fast version of that process, perhaps? The ‘grunge’ sound or ‘Seattle’ sound was really the ‘SubPop’ sound. SubPop had learnt from SST and other indie labels, and was almost the pinnacle of well-organised indie business (perhaps this had a hand in making the breakthrough for Nirvana?)
- Their flagship band – after releases for Sonic Youth amongst others – was always Mudhoney. Mudhoney were the first standard bearers and prime leaders of ‘grunge’, with Superfuzz Bigmuff in 1988 (a tribute to the effects they used to create their sound), released as a full album with singles in 1990. (Bigmuff)
- If I Think exhibits many of the hallmarks of ‘grunge’: the same low-key melodic; the quiet/loud dynamic; even changes of time signature, a musical device used more frequently by later bandslike Soundgarden and the Foo Fighters.
- Influences? Well, harcore and punk – also took on board the melodic ideas of Pixies, Dinosaur Jr and others – the quiet/loud dynamic – but by Nevermind were happily also indulging their pop sensibilities and crafting good songs.
- Bleach (1989) recorded for $606.17 on SubPop. ‘no sin is more heinous than leaving the obscurity of an independent record label… for one of the corporate “majors”.’ p.16 – perhaps because sales were modest – the record was cheaply produced and the band was able to keep its artistic integrity intact. (Bleach)
- (Teen Spirit) Artistic success and commercial success are opposing forces – therefore, Nevermind was an artistic failure? Cobain struggled with this himself – he really wanted to sign a major deal for distribution so that his music could be heard – yet knew that he wanted to retain artistic control and credibility. Makes the point, by quoting song lyrics, that their rejection of fame came ‘structurally’ rather than ‘experientially’ – ie, before they had a big hit! ‘According to the credo of alternative rock, the greater a record’s sales, the greater perforce the artists’ compromise with the public taste.’ Nevermind sold 3million in 6 months after release. The bands’ last two American shows were really good and really bad; he takes this to show that ‘they were anything but the big, slick rock-machine’ that the industry wanted. The anecdote of Kris Novoselic saying he’s Andy Kaufmann highlights an alternative credo, of rejecting celebrity status and being no better than the fans.
- The success of Nevermind resulted in a ‘feeding frenzy’ that pushed huge amounts of money into alternative rock very suddenly. Cobain was happy to sell ‘a quarter as much’ on In Utero than Nevermind, because he liked it and it retained their artistic credibility, rather than having to ‘sell out’ after the former success. Two weeks and $25,000 to record! Albini was chosen because of his credibility – as a statement – because Cobain liked Surfer Rosa Steve Albini and the In Utero affair – the label didn’t want to release it, he claimed – Cobain had parts of it remixed himself, to bring out the more melodic songs. Touring In Utero came complete with an almost Zeppelin-esque acoustic set during the show, which paved the way to MTV’s Unplugged – a full series, but Nirvana’s being ultimately the iconic and best-known.
- Extra-musical ideas? Courtney Love copped a lot of bad attention, and their relationship… Outspoken for gay rights, women’s rights. Cobain’s death A huge blow to the alternative rock world – massive outpouring of grief, akin to only the biggest celebrities The suicide was argued to be as a result of mainstream attention, so he became the ultimate poster-boy for indie rock cred and ethos. Preserved the Nirvana legacy as one of the most important bands ever, and the quintessential alternative rock band.