Editing Indie rock (section)

===Development===
[[File:Bilinda Butcher (cropped 2).jpg|thumb|left|150px|[[My Bloody Valentine (band)|My Bloody Valentine]] pioneered the indie rock subgenre [[shoegaze]].]]
In the United Kingdom, ''[[NME]]'' released the ''[[C86]]'' compilation cassette, which consisted of tracks by groups including [[Primal Scream]], [[the Pastels]] and [[the Wedding Present]]. Intended to showcase the UK's current independent music scene, the album was made up of groups combining elements of jangle pop, post-punk and [[Phil Spector]] indebted [[Wall of Sound|Walls of Sound]]. In 2006, [[Bob Stanley (musician)|Bob Stanley]] called it "the beginning of indie music".<ref>{{Citation|last=N. Hasted |title=How an NME cassette launched indie music |journal=Independent.co.uk |date=27 October 2006 |url=https://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html |archive-url=https://web.archive.org/web/20120727024017/http://www.independent.co.uk/arts-entertainment/music/news/how-an-nme-cassette-launched-indie-music-421802.html |archive-date=27 July 2012 |url-status=dead }}.</ref> C86 became a descriptor in its own right, describing not only the bands on the tape but also bands who it influenced, often used alongside terms like "anorak pop" and "shambling".<ref>{{cite web |title=C86 |url=https://www.allmusic.com/style/c-86-ma0000011816 |website=[[AllMusic]] |access-date=18 June 2023}}</ref> Some C86 bands found significant commercial success: [[the Soup Dragons]] went on to sell out [[Madison Square Garden]]; Primal Scream were critically acclaimed, receiving the first ever [[Mercury Prize]] in 1992; the Wedding Present charted eighteen times in the Top 40; however many bands in its twenty-two track runtime also fell into obscurity.<ref>{{cite news |last1=Tassell |first1=Nige |title=Reel lives: how I tracked down the class of NME's C86 album |url=https://www.theguardian.com/music/2022/aug/08/reel-lives-how-i-tracked-down-the-class-of-nmes-c86-album |website=[[The Guardian]] |date=8 August 2022 |access-date=18 June 2023}}</ref>

In the United States, the popularity of R.E.M. allowed those disliking of [[hardcore punk]]'s aggression to become a part of the underground music scene. This empowered an array of musicians, particularly those in what would become the [[post-hardcore]] scene as led by [[Minutemen (band)|the Minutemen]].<ref>{{Cite book |last=Azerrad |first=Michael |title=[[Our Band Could Be Your Life|Our Band Could Be Your Life : Scenes from the American Indie Underground 1981-1991]] |date=2 July 2002 |isbn=9780316787536 |edition=First Back Bay paperback |location=Boston |pages=94}}</ref> Furthermore, major labels began to pursue underground bands, with both [[Hüsker Dü]] and [[The Replacements (band)|the Replacements]] releasing albums on majors in the middle of the decade. While these albums did not see the same success as R.E.M., and major labels soon lost interest in the scene, they did have a large impact on younger bands. In the following years, [[Sonic Youth]], [[Dinosaur Jr.]] and [[Unrest (band)|Unrest]] began to release music on independent labels indebted to these bands, and soon too picked up the categorisation of indie rock.<ref>{{cite journal |last1=Aaron |first1=Charles |title=Notes from the Underground |journal=[[Spin (magazine)|Spin]] |date=October 2005 |volume=21 |issue=10 |quote=R.E.M., in their way, made the country seem less foreboding and more inclusive, replacing hardcore's iconoclasm with a warm invitation to less-hip kids who didn't live in California or the Northeast. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life, as they were for all the members of our band," said Bob Nastanovich, of '90s indie-rock doyens Pavement... "They were the first [underground] band that the frat guys looked at and didn't say, 'Oh, let's beat up some fags.""...<br>By the mid-'80s, the raw sprawl of post-hardcore "underground rock" was coalescing, and after R.E.M.'s success, a number of bands started to think they could also buy in. Major-label reps were showing more interest... Still, in 1985, the most incorrigibly ill-behaved rock band in America, Minneapolis' the Replacements, signed to Sire and released their major-label debut, Tim, a perfectly ragged collection of anthemic pleas written by singer/guitarist Paul Westerberg... Former hardcore punks Hüsker Dü (Minneapolis natives like the Replacements) recorded their major-label debut, Candy Apple Grey, for Warner Bros., a ten-song stunner of punk-pop head trips, but it never earned a nod from commercial radio. The moment's hopeful ambition faded...<br>As major labels moved on to hump the L.A. hair-metal ass party, underground rockers began to lose their craving for mainstream validation. The new role models became uncompromising label owners like Greg Ginn of Southern California's SST, and Ian MacKaye of Washington, D.C.'s Dischord. SST, which had started in the late '70s with Ginn's pioneering Black Flag, was a relentless force, signing up the most significant underground bands of the early to mid-'80s, including Minutemen, Hüsker Dü, Meat Puppets, Sonic Youth, Dinosaur Jr....<br>As this shift took place in the underground scene, a new tag for the music began to crop up: "indie rock"... Unrest mixed winsome, strummy love songs with a brash, pop-culture irony that would later become a defining indie-rock trait}}</ref> As the 1980s closed, both Sonic Youth and [[the Pixies]] signed to major labels.<ref>{{cite journal |last1=Aaron |first1=Charles |title=Notes from the Underground |journal=[[Spin (magazine)|Spin]] |date=October 2005 |volume=21 |issue=10 |quote=Bookending this period were two bands: Sonic Youth spent the pre-indie era as a cooler-than-you, downtown New York art-noise clique before developing into a R.E.M.-like presence through the mid-to late '80s; and Boston's Pixies, who bypassed the U.S. indie circuit, first finding success for their abstract pop squall in the U.K. Both were led by male-female duos-Sonic Youth's Thurston Moore and Kim Gordon, Pixies' Black Francis and Kim Deal-and their music could feel like an ongoing 3 A.M. heart-to-heart, flipping from eerie whispers to alien croons to gnomic shouts. So when they signed to major labels-Pixies to Elektra in 1988 and Sonic Youth to Geffen in 1989-it was an acknowledgment that indie's reinvigorated version of rock might finally be market ready.}}</ref>

In the late 1980s, the indie rock subgenre [[shoegaze]] emerged, as a continuation of the wall of sound production being used by groups like the Jesus and Mary Chain. The genre merged this with influences from [[Dinosaur Jr.]] and the [[Cocteau Twins]], to create a dark and droning style so cacophonous that instruments were often indistinguishable. The genre was pioneered by [[My Bloody Valentine (band)|My Bloody Valentine]] on their early EPs and debut album ''[[Isn't Anything]]''.<ref name=AMShoegaze>{{Citation|title=Shoegaze |journal=Allmusic |url=https://www.allmusic.com/explore/style/shoegaze-d2680 |archive-url=https://web.archive.org/web/20110224064714/http://www.allmusic.com/explore/style/shoegaze-d2680 |archive-date=24 February 2011 |url-status=dead }}.</ref> The band's style influenced a wave of bands in London and the [[Thames Valley]] area including [[Chapterhouse (band)|Chapterhouse]], [[Moose (band)|Moose]] and [[Lush (band)|Lush]]. This scene was collectively termed "the Scene That Celebrates Itself" by ''[[Melody Maker]]'s'' [[Steve Sutherland (DJ)|Steve Sutherland]] in 1990.<ref name="Larkin">{{cite book |last=Larkin |first=Colin |title=The Guinness Who's Who of Indie and New Wave Music |year= 1992 |publisher=Guinness Publishing |isbn=0-85112-579-4 }}</ref>

[[file:Stone Roses-17-07-2012 Milan.JPG|thumb|[[The Stone Roses]]' 1990 [[Spike Island (concert)|Spike Island]] concert was the highest attendance performance by an independent artist of its time.]]
[[Madchester]] was another style and scene that originated in the late 1980s. Defined by its merger of  C86 indie rock, [[dance music]] and [[Hedonist]] rave culture, particularly its emphasis on the use of psychedelic drugs, the scene was centred in [[Manchester]].<ref name="Barnett 2020">{{cite news |last1=Barnett |first1=David |title=Spike Island at 30: the Stone Roses gig was scary, shambolic – and pure bliss |url=https://www.theguardian.com/music/2020/may/27/spike-island-at-30 |website=[[The Guardian]] |date=27 May 2020 |access-date=17 June 2023}}</ref><ref>{{cite book |last1=Lashua |first1=Brett |last2=Spracklen |first2=Karl |last3=Yavuz |first3=M. Selim |last4=Wagg |first4=Stephen |title=Sounds and the City Volume 2 · Volume 2 |date=24 October 2018 |publisher=[[Springer Publishing]] |page=305 |quote=The 'Madchester' scene was defined by what Redhead describes as 'hedonism in hard times' (1993). The emphasis was on partying in the post-industrial, 'no future' city. At the centre of this partying was the newly arrived drug, ecstasy (3,4-methylenedioxymethamphetamine or MDMA). The 'spectacular' drug taking of Happy Mondays and the ravers of Manchester's club culture were part of the fuel that sparked nationwide moral panics and the subsequent regulation of 'rave' lifestyles (culminating in the 1994 Criminal Justice Act). Sarah Champion, Manchester-based music journalist during the Madchester era, summarised Madchester in the following way, 'White scallies put down guitars, picked up the groove. Indie bands released 12 inchers; clubs spun rock tunes. Happy Mondays' "Hallelujah", The Stone Roses' "Fools Gold"....' (1992: 41), and acknowledges ecstasy, which induces euphoria, empathy and heightened sensations, as being a centrally important driving force behind the Madchester scene, and highlights the fusion of 'indie' rock music with dance music.}}</ref> The scene was based around [[the Haçienda]] nightclub, which opened in May 1982 as an initiative of [[Factory Records]]. For the first few years of its life, the club played predominantly club-oriented pop music and hosted performances by artists including [[New Order (band)|New Order]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Culture Club]], [[Thompson Twins]] and the Smiths.<ref>John Robb, ''The North Will Rise Again'', Aurum Press, London, 2009, p 233</ref> The Madchester movement burgeoned by 1989, with the success of [[the Happy Mondays]] second album ''[[Bummed]]'' and [[the Stone Roses]]' [[The Stone Roses (album)|self-titled debut]], which became the most influential work in the scene. In the following years, addition high profile acts included [[The Charlatans (English band)|the Charlatans]], [[808 State]] and the [[Inspiral Carpets]].<ref>{{Cite news |title=Chapter Three – Madchester |url=http://www.manchester.com/music/features/music5.php |work=manchester.com |access-date=25 November 2011 |archive-url=https://web.archive.org/web/20160604190208/http://www.manchester.com/music/features/music5.php |archive-date=4 June 2016 |url-status=dead }}</ref> 

The Madchester scene's distinct combination of indie rock and dance music became termed [[indie dance]] by critics, or more specifically the subgenre [[baggy]].<ref>{{cite news |last1=Muggs |first1=Joe |title=Twisting my melon, man! The baggy, brilliant indie-rave summer of 1990 |url=https://www.theguardian.com/music/2020/jul/07/1990s-indie-dance-boom-happy-mondays-primal-scream |website=[[The Guardian]] |date=7 July 2020 |access-date=17 June 2023}}</ref> Madchester and baggy's most infamous moment was the 27 May 1990 [[Spike Island (concert)|Spike Island]] concert headlined by the Stone Roses. With an attendance of around 28,000 and lasting twelve hours, it was the first event of its size and kind to be hosted by an independent act.<ref>{{cite news |last1=Stanley |first1=Bob |title=A cold night of chemical hair: the reality of the Stone Roses at Spike Island |url=https://www.theguardian.com/music/musicblog/2015/may/27/stone-roses-spike-island-the-reality |website=[[The Guardian]] |date=27 May 2015 |access-date=17 June 2023}}</ref>

In [[Stourbridge]], a scene of indie bands who took influence from [[electronic music|electronic]], punk, [[folk music|folk]] and [[hip-hop music]] emerged, dubbed [[Grebo (music)|grebo]] by critics. Fronted by [[Pop Will Eat Itself]], [[the Wonder Stuff]] and [[Ned's Atomic Dustbin]], "grebo" was broadly defined, and was used more as a name for the Stourbridge scene than as a genre label. However, the bands quickly gained attention: Pop Will Eat Itself's 1989 singles "[[Wise Up! Sucker]]" and "[[Can U Dig It?]]" both entered the UK Top 40 and Stourbridge briefly became a tourist attraction for young indie rock fans. The seminal albums from the scene were released between 1989 and 1993: the Wonder Stuff's ''[[Hup (album)|Hup]]'' and ''[[Never Loved Elvis]]''; Ned's Atomic Dustbin's ''[[God Fodder]]'' and ''[[Are You Normal?]]''; and Pop Will Eat Itself's ''[[This Is the Day...This Is the Hour...This Is This!]]'' and ''[[The Looks or the Lifestyle?]]''. In this period, the scene's bands became fixtures, sometimes headliners, at [[Reading Festival]], sold millions of albums and were frequently featured on the covers of magazines like ''NME'' and ''[[Melody Maker]]''.<ref name="Guardian Grebo">{{cite news |title=Wise up suckers! How grebo rivalled Britpop as the sound of 90s indie |url=https://www.theguardian.com/music/2018/mar/29/wise-up-suckers-how-grebo-rivalled-britpop-as-the-sound-of-90s-indie |website=[[The Guardian]] |date=29 March 2018 |access-date=17 June 2023 |last1=Sword |first1=Harry }}</ref> Grebo bands were distinct from prior indie rock groups not only because of their broad influences, but their subversion of the twee or unhappy moods of most other bands in the genre, and their pursuit of a heavier sound and aesthetic. The scene  came to include the stylistically similar bands of nearby Leicester: [[the Bomb Party]], [[Gaye Bykers on Acid]], [[Crazyhead]], [[the Hunters Club]] and [[Scum Pups]].<ref>{{cite web |last1=Banks |first1=Joe |title="A Burst Of Dirty Thunder": The Rise And Fall Of Grebo |url=https://thequietus.com/articles/30791-rich-deakin-grebo-the-loud-and-lousy-story-of-gaye-bykers-on-acid-and-crazyhead-interview |website=[[The Quietus]] |date=6 November 2021 |access-date=17 June 2023}}</ref>