History: grew out from 60s garage, 70s punk, and 80s post punk it started in the mid 80s as alternative/college radio music. Once nirvana hit big the alternative genre split: the popular side was just alternative(Smashing Pumpkins, Hole, No Doubt, etc.) and the other half that wasn’t mainstream(by choice or not) became indie rock(Pavement, Sebadoh, Built To Spill, etc).

Some bands have signed to major labels but are still considered indie(Modest Mouse, etc.). Go figure.

Sound: In the begining indie sounded like alternative(because it was) but it grew more experimental and weird. In Britain indie has more of a typical sound like Radiohead, Muse, etc. rather than a definition based on ‘the scene.’

The scene: if you really think all indie kids do is try to be cooler than other people then… well.. you’re mostly right. The main point is, don’t take the scene and the whole hipster attitude seriously. No one does. And if you do, well, then I’m cooler than you.

A more puristic structural definition of “indie” would draw the line further down, not between the “big 4” major labels and others but between the “big indie” labels and smaller labels, considered by purists to be “true” indie labels. These small labels are typically run by a few people, often out of their home or garage, and often coupled with a mail-order service representing other labels. The people running the labels have a close connection to a certain scene; many labels are run partially or wholly by musicians in bands on them. A concern for the purity of the creative mission of the label takes precedence over commercial concerns; many labels close down or go on hiatus when the owners lose interest or (as often happens) run out of money (or sometimes close down when the owners feel their mission has been fulfilled, as happened with Sarah Records). Archetypal examples of such labels include the aforementioned Industrial Records, Sarah Records, Factory Records, Dischord, Kindercore Records, SST and Kill Rock Stars.

The converse of this are independent labels that have been perceived, rightly or wrongly, as being overly “commercial” or exploitative of certain artists or trends. Examples at various times include Fat Wreck Chords, Matador Records, Sub Pop, Victory Records, and Epitaph.

Once again, this is not so much a dichotomy as a continuum; some labels grow from such independent status and gradually become more commercially oriented (often prompted by the success of one of their acts), eventually becoming subsumed by a larger conglomeration or a major label. One example of this was Creation Records, a label Alan McGee started in the 1980s on a small scale, which, in the 1990s had success with Oasis, subsequently becoming much more commercially oriented before being acquired by Sony.

HOPE U LIKE IT

“An independent film, or indie film, is usually a low-budget film that is produced by a small movie studio. Additionally, the term is used to describe less commercially-driven art films which differ markedly from the norms of plot-driven, mainstream classical Hollywood cinema. These films are often produced by subsidiaries of larger studios, such as Sony Pictures Classics, as long as less than half of its budget comes from a major movie studio. In 2005, about 15% of the U.S. domestic box office revenue was from independent studios. Independent films are often distinguishable by their content or style. The writer or director’s original authorial intent or personal creative vision is usually maintained in the final film.”