Grimes. Photo: Scott Dudelson/WireImage As the 2010s come to a close, the importance of the trajectory of indie music in the 2000s has become increasingly clear and undeniable. The decade served as a bridge-gap between the late-'80s-to-late-'90s era in which "indie" was "indie rock" — connoting both a business ethos and a predominantly guitar-based sound — and the catchall lifestyle music of the 2010s, a decade in which the "rock" element was slowly sheared away and "indie" as a genre designator took on a sonically broad application, often used to define music being released through labels and methods miles away from the DIY of indie's early days. Sitting firmly in the middle of those two eras is the 2000s, a decade in which the rock side of indie was still flourishing while other sounds and subgenres were taking hold in indie's DNA. This period of in-between sea change was a byproduct of the nebulous and increasingly marketing-focused indie culture that was forming, a result of a variety of factors ranging from the proliferation of tastemaking mp3 blogs and buzzy teen-drama TV syncs to the gradual emergence of festival culture (the latter element essentially being exported from the U.K., the music… Read full this story
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