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An independent music scene is a localized independent music-oriented (or, more specifically, indie rock/indie pop-oriented) community of bands and their audiences. Local scenes can play a key role in musical history and lead to the development of influential genres; for example, no wave from New York City, United States; Madchester from Manchester, England; and grunge from Seattle.

Indie scenes are often created as a response to mainstream or popular music. These scenes are created in opposition of mainstream culture and music and often contribute to the formation of oppositional identities among individuals involved in the scene.[1]

Notable scenes

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Asia

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Japan

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The Japanese indie music scene began gaining mainstream success in the late 1990s with the so-called "indie boom".[2] Musicians involved with this scene, referred to as "individual producer-composers," included Haruomi Hosono, Oyamada Keigo (also known as Cornelius), and Oda Tetsuro. Cornelius pioneered an indie music movement called Shibuya-kei and released songs that gained international success, such as the Pizzicato Five.[3] Supercar's 1998 debut album, Three Out Change,[4] has been described as having "almost foundational importance to 21st-century Japanese indie rock."[5]

A Japanese protectionist licensing policy prevents indie music from being sold via major media distribution networks.[6] Indie records are only sold in small retail stores that import foreign records, which are not part of the industrial channels. This relegates Japanese indie music to the context of a global scene.[7]

Current Japanese indie bands include The Pillows,[8] Asian Kung-Fu Generation[9],Straightener,[10] Sakanaction, Acidman, fujifabric, and Beat Crusaders.

South Korea

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The indie scene in South Korea is sometimes referred to as "K-Indie", a neologism derived from K-pop.[11] The center of the Korean indie scene is the Hongdae area.[12] Korean indie has gained international exposure via YouTube. Bands and artists include The RockTigers, 10cm, Yozo, Jang Jae-in, Jang Jae-in, Hyukoh, and Jannabi.

Australasia

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Australia

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New Zealand

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North America

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Canada

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United States

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Europe

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Hungary

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The Hungarian indie scene is mainly active in the capital city, Budapest. In the early 2000s, Hungary's indie revival included Ligeti's The Puzzle from Kaposvár. In 2006 Amber Smith's album RePRINT was released by the German label Kalinkaland Records. In 2007, The Moog's Sold for Tomorrow was released by the US label MuSick Records. Other indie bands include EZ Basic, The KOLIN, Supersonic, The Poster Boy and Dawnstar.

Sweden

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A number of Swedish indie musicians have become famous internationally, mostly singing in English. The Cardigans gained early success in the mid-1990s. Some notable acts include: The Sounds, Lykke Li, Robyn, The Tallest Man on Earth, The Hives, Eskobar, The Soundtrack of Our Lives, Kent, First Aid Kit, Air France, Jens Lekman, The Knife, Shout Out Louds, The Radio Dept., Fever Ray, The Tough Alliance, and Life on Earth.

United Kingdom

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References

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  3. ^ Stevens, Carolyn (2008). Japanese Popular Music: Culture, Authenticity, and Power. London: Routledge. p. 89. ISBN 9780415380577.
  4. ^ Martin, Ian (4 October 2017), "Supercar's 'Three Out Change!!' may be the most stunning debut in Japanese rock history", The Japan Times
  5. ^ Martin, Ian (17 May 2019), "Supercar's Futurama", Metropolis
  6. ^ Novak, David (2013). Japanoise: Music at the Edge of Circulation. Mountain View, CA: Duke University Press. p. 131. ISBN 9780822353928.
  7. ^ Novak, p. 131.
  8. ^ Luster, Joseph (27 September 2022). "INTERVIEW: the pillows on 30 Years of Music, FLCL and the Impact of Overseas Fans". Otaku USA Magazine. Retrieved 20 August 2024.
  9. ^ NBT (29 October 2015). "Interview with ASIAN KUNG-FU GENERATION". JROCK NEWS. Retrieved 20 August 2024.
  10. ^ "Spotify". open.spotify.com. Retrieved 20 August 2024.
  11. ^ Kang, Haeryun (13 July 2020). "Korean Pop, Away From The Hit Factories". NPR Music. Retrieved 5 January 2024.
  12. ^ Shin, Hyunjoon (2011). "The success of hopelessness: the evolution of Korean indie music". Perfect Beat. 12 (2): 147–165. doi:10.1558/prbt.v12i2.147. ISSN 1836-0343.
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