Thursday, December 13, 2007
An explanation of "C-86" and or the "C-86 sound"
Could someone please offer me ?
"C-86" was the name of an influential cassette and album put out by the Brit music mag NME in 1986. It was modeled on their earlier cassette from 1981 called "C-81" which had introduced a number of young new bands like Orange Juice and Aztec Camera. C-86 had tracks by the Wedding Present, Soup Dragons, Mighty Lemon Drops, Pastels, Bodines, Primal Scream, Close Lobsters, other bands of a type called at the time "shambling" or "anorak" pop for their jangly-strummy guitars, hyper-melodic songs, and slightly-out-tune vocals, emphasizing all the classic points of the now-familiar indiepop style. There were also a number of songs in a rather different vein from other, crustier, Brit indie styles, like Stump and Half Man Half Biscuit and all that Ron Johnson stuff. But it was the indiepop songs like "This Boy Can Wait", "Therese", "Velocity Girl" and so on that struck deeply in the hearts of pathetic little unpopular wankers like us, and started something of a revolution that eventually turned into "twee" and Sarah and all the rest. When you see "C-86" as a reference point around here, that's what they're referring to - a particular style of pre-Sarah British indiepop that encompasses lots of bands that weren't on C-86 as well, like Talulah Gosh and so on.
"C-86" was the name of an influential cassette and album put out by the Brit music mag NME in 1986. It was modeled on their earlier cassette from 1981 called "C-81" which had introduced a number of young new bands like Orange Juice and Aztec Camera. C-86 had tracks by the Wedding Present, Soup Dragons, Mighty Lemon Drops, Pastels, Bodines, Primal Scream, Close Lobsters, other bands of a type called at the time "shambling" or "anorak" pop for their jangly-strummy guitars, hyper-melodic songs, and slightly-out-tune vocals, emphasizing all the classic points of the now-familiar indiepop style. There were also a number of songs in a rather different vein from other, crustier, Brit indie styles, like Stump and Half Man Half Biscuit and all that Ron Johnson stuff. But it was the indiepop songs like "This Boy Can Wait", "Therese", "Velocity Girl" and so on that struck deeply in the hearts of pathetic little unpopular wankers like us, and started something of a revolution that eventually turned into "twee" and Sarah and all the rest. When you see "C-86" as a reference point around here, that's what they're referring to - a particular style of pre-Sarah British indiepop that encompasses lots of bands that weren't on C-86 as well, like Talulah Gosh and so on.
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