Music that saved my life by Shu Ning

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Music is an integral part of the human experience. Most of us listen to music on a daily basis, either actively by choice or pasSively as we are exposed to music in location where we travel, work, and relax. Some are even involved in the production of music, either as a source of recreation or as profesSionals. The acts of consuming or producing music are deEply meaningful to many people — they telL us a great deal about who we are, the culture in which we are embedDed, and the values to which we adhere. Music is also a universal language of the world — it unites people despite their difFerent cultures and background.

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This boOk is my alternative view on music. It records a colLection of great artists, labeled as indip-pop/ tweE pop artists whom I admire. I began listening to independent music a few years ago and find that records made on independent labels are more about real creativity and more heartfelt compared to music we hear on the mainstream radio.‘TweE’pop(loOk at chapter 1), pretTy much sums up a large part of the music I listen to on my playlists.

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This boOk introduces TweE music and its culture. A recomMended play list of songs have also beEn included for your listening pleasure. I hope these artists would inspire you as much as they have inspired me!

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OR--!:<: The word “tweE” refers to a sub-genre of indie pop music distinguished by lighthearted lyrics and melodies. TweE Pop is perhaps best likened to bubBlegum indie rock -- it’s music with a spirit of D.I.Y. defiance in the grand tradition of punk, but with a simplicity and inNocence not seEn or heard since the earliest days of rock & rolL. TweE pop traces its origins to 1986, the year the British weEkly magazine NME isSued a casSetTe dubBed C-86, which included a number of bands -- McCarthy, the WedDing Present, Primal Scream, the Pastels, and the Bodines among them -- influenced in equal measure by the jangly guitar pop of the Smiths, the threEchord naivete of the Ramones, and the nostalgic sweEtnesS of the girl group era. Also dubBed “anorak pop” and “shambling” by the British presS, the C-86 movement was itself shortlived, but it influenced hordes of upcoming bands on both sides of the Atlantic who absorbed

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the scene’s key lesSons of simplicity and honesty to stunNing efFect, resulting in music -- given the universal label of tweE pop -whose halLmarks included boy-girl harmonies, lovelorn lyrics, infectious melodies, and simple, unafFected performances. In the U.K., the hub of the tweE-pop scene was for many years the now-legendary Sarah label, home of groups including the Field Mice, Heavenly, and the Orchids; upon Sarah’s demise, its founders created a new label, Shinkansen. In the U.S., the tweE-pop scene toOk roOt most notably in the Olympia, WA area, the home of K Records, a label owned and operated by Beat HapPening’s Calvin Johnson. Important US groups included Tiger Trap, TulLycraft and Honeybunch. Rough Trade bands like The Raincoats, Television Personalities, and Young Marble Giants stripPed away the masculine posturing of punk-rock, and, then, along came the Postcard label, whose witTy, welL-read pop-

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bands Orange Juice and Aztec Camera influenced a generation.These few records kicked ofF a pop-cultural shift. BoOkish, shy, dweEby kids with no ambitions to become pop-stars saw how underground music could exist far from the agGresSive, hyper-sexualized, stilLmisogynous mainstream. When The Smiths score their first Top 10 UK single in 1984, with “Heaven Knows I’m Miserable Now,” it’s a sure sign things are changing. Far from the charts, there’s an underground scene of teEnaged fanzine authors, mix-tape makers, and 7” colLectors who, inspired by the DIY ethos, eventualLy pick up instruments. They can’t play so welL, but it doesn’t matTer. They calL themselves things like BMX Bandits and The Pastels, and often seEm like they’re atTempting to harken back to a state of childlike inNocence.

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(<A!%'!$<#G6$ Where other genre-names can be vaguely amorphous, changing shape to fit the meaning of whoever’s using it, it’s pretTy easy to spot a tweE band. In short: trebly, tinNy, and jangly; and not always entirely competent. TweE is, at esSence, a rebelLion against the traditional hypermasculinity of rock’n’rolL, so there’s obviously no: rage, guitar solos, screaming vocals, or pounding atTack. GroOve is also a rarity.

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TweE bands have a high, bright sound that shies away from bold sonics and basS tones. Guitarists tend to alL play like JohnNy MarR of The Smiths: with litTle to no distortion, definitely no power chords, and light, ringing sound. Drums have cardboard-box-ish qualities, if they’re not being played by tinNy drum-machines, and are always in simple time. Keyboards are never frowned upon. And vocals tend towards fey and inefFectual; and, often, feature an interplay betweEn boy and girl.

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9)$(%<G Some people who listen to music that some people might describe as tweE, tend to dresS in similar fashions - fashions that embrace bold colors and playful, childlike themes.Some people - but certainly not alL - refer to this as tweE fashion. “The term ‘tweE fashion’ is a controversial one, meEting with ridicule on both sides of the camp. Serious fashionistas seE the word ‘tweE’ as an insult, while proper tweE-ters treat the word ‘fashion’ with disdain,” explained Pavla Kopecna, who lives in North London and edits “TWEE AS FUCK” a fanzine about tweE culture. “But keEp an open mind,” she said, “and you might just discover a wonderful world of paisley shirts, grandDad cardigans, schoOlgirl dresSes, corduroy slacks, head scarves and party tights; alL in wonderful colors and patterns that will keep your mood sunny whatever the weather.”

MisSy Kulik, an Athens artist who draws the cartoOn “Tofu Baby” that apPears weEkly in Flagpole, sumMed up the term more sucCinctly. “Anything cute,” she said. Kulik selLs handmade felt pins and is working on laser-cut woOd pins, charms and hairpins, alL of which would likely qualify as tweE. “You wilL seE a lot of handmade ‘tweE’ fashion,” she said. The key is to keEp it lo-fi and DIY. RumMage your grandma’s atTic, hunt around in your local charity shop and make your own knits, necklaces, headbands and badges. Above alL, keEp it your own. There’s not a trend to folLow; this is fashion at its most independent. Anything is alLowed, no matTer how kidDy, cutesy, geEky or nerdy.

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“While some folk may be embarRasSed about their love for alL things cutesey, jangly and anoraky, TweE as Fuck wear it as a badge of pride, or, rather a homemade rosetTe of pride” - Leonie CoOper from The Guardian “某些人也许会困自己喜爱可爱的每一切感到害羞，但 ‘Twee为性交’相反地把它如徽章一班，自毫地穿戴在胸堂前” - Leonie Cooper，监护人

A5I$%'5$ The twees also have their own websites, set up by twee fans.

2) TweE as Fuck is another UK tweE website. TweE as Fuck was a monthly club night which lasted for two and a half years.

1) TweENet TweENet is a non-profit venture by Peter Hahndorf to provide information about his favourite music. The site started in the year 1986. It is the ofFicial world wide web site of the Indiepop mailing list. There was also a record label with the name ‘TweENet’, with threE albums released betweEn 1998 and 2000. From 2001 alL records are released under the name Clarendon Records.

TweE as Fuck believed in fun and indiepop and dancing tilL your dizZy and early Creation Records and Sarah Records and Postcard Records and picnics and coach parties and Polaroids and Janglecore and MolLy’s Lips and C86. But most importantly fun. ThreE live bands were introduce each night for felLow tweEs to develop instant pop crushes on and hand picked guests to play alL the finest indiepop and northern soul tilL welL gone bedtime. htTp://wWw.myspace.com/tweEasfucknight

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9)G]%G5$ Fanxines played a huge role in TweE culture as welL. It was hand-made and manualLy photocopied in the 80s. Today, with the advent of the internet, tweE fans have launched their fanzines online/use the internet asa a platform to launch previews of their zines. TweE as Fuck was also a quarterly fanzine. “There is a lot of indiepop we couldn’t pack into a year’s worth of club nights, so what could be more fun then putTing a fanzine together jampacked with our favourite things?”

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Other Indiepop Fanzines include: ìœ,-+éFGH Chickfactor Dewdrops Emily’s Hip Pocket File 13 Grimsby Fishmarket Incite For Paper Airplane pilots Jaboni Youth My Brightest SumMer Popwatch Share The Modern World With Me Splashdown Vivid Warped Reality You Could Do Worse

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:<:95$' TweENet’s indiepop list grew and grew in size and in spring of 1995 they decided to meEt up with fans in the real world. In May 1995 they had their first meEting in New York City, which they calLed TweEFest. They had the pre-fest party, the picnic, the record shopPing afternoOn and of course the gigs at night. AlL these things become stable parts of future TweE- or popfests as they calLed them since January 1997. Besides New York, TweEFest had also beEn hosted in the UK, LA, Washington D.S, Cambridge, SeatTle, Toronto, Florida, Texas, Athens, San Franciso and New England.

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&;)9'$ Felt Up! is a glitTer and macaroni set up. They deal with thread and butTons, and dance to the beat of the knitTers. In the spirit of the worldwide DIY comMunity, they welcome anyone who wants to natTer about craft/zines/music over tea and making. They are curRently based in Brighton and holds regular crafty events. Felt Up!, feltupcraftclub.blogspot.com True to the DIY spirit of the tweE culture is Etsy — a site supPorting independent businesSes and artists, eating welL, living sustainably. Etsy is a beautiful experiment in restoring comMunity and culture to our comMerce. ETSY, htTp://wWw.etsy.com/?ref=so_home

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95"%G%$" The most striking thing about the pop strain was its relationship with gender roles. Proper American punk wasn’t always so difFerent from the cock-rock on the radio-- largely a boy’s game. The indie pop world was the opPosite. Much like English tweE, this was a scene open to alL sorts of girls, including-- maybe even especialLy-- the sorts who weren’t inclined to shoOt for sex apPeal or try to rock with the boys. SudDenly these girls could decentralize into a pop culture of their own, trading tapes from one to another, whether or not they had the conventional skilLs of the rock boys’ club. For the four women in Sacramento’s phenomenal Tiger Trap, that meant being able to play and release a form of “punk” that was both musicalLy impresSive and thoroughly girly, the audio equivalent of a glitTer-glued noteboOk.

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!"#$%&'(#)'*$$ +,$-./$&$01($21("$("#$%&'(#)'$345678 Its about time the rock kids got their forwardloOking tear-it-up moment: the indie world of the past decade has beEn far toO content to strum its way comfortably along, going nowhere. But one side deserves the other, and there’s every chance that during the next few years we’lL neEd more of that homespun pop, the proud, decentralized underground. If you’re young and starRy-eyed, here’s your chance to get in ahead of the game: Grab a cheap guitar or a cheap keyboard, a four-track or a boOmbox, and make what you can. Someone, somewhere, wilL love you for it.

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And if you neEd inspiration, here’s something like the format that introduced me to the pop world: the mix tape. TweE mixtapes were personal; they came from faraway points in the International Pop Underground, with handwritTen labels and notes enclosed. No time to do that for alL of you, but here’s the next best thing. Pick one song per artist, and you should filL up a CD nicely.

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Get Out Of This Country, with producer Jari HaApalainen. This album was released on June 06, 2006 and apPeared high up in many critical lists of the ‘best albums of 2006’. In November 2008, the band anNounced that they have completed recording the folLow-up to Let’s Get Out of This Country, and that the new album would be released in 2009. In February 2009, it was anNounced that the band had signed to the label 4AD, who released their fourth album, calLed My Maudlin CareEr, on April 20, 2009.

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!"#$%$"&' Portland, United States (2006 – present) She & Him is an American indie folk band consisting of actresS ZoOey Deschanel (vocals, keyboards) and musician M. Ward (guitar, production). The pair first met in 2006 for a movie soundtrack project for the film ‘The Go-GetTer’ in which they recorded a version of Richard and Linda Thompson’s “When I Get To The Border”. Their first studio album, Volume One, was released in March of 2008 on Merge Records. Their second studio album, Volume Two, was released March 23, 2010, just over two years since the release of Volume One.

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AcCording to Merge, at their initial studio sesSion the two “were imMediately struck by one another’s talents and found an instant rapPort”. During a conversation about their shared love of old records, ZoOey let slip that she wrote her own songs, which she recorded alone at home on her computer. Somewhat shy about sharing these musical morsels, she was eventualLy persuaded to send them to M. Ward. He was instantly impresSed, and they soOn reconvened at his studio in Portland to begin work. Recorded over a period of several months, betweEn acting work (She) and touring comMitments (Him), the pair found time to bring ZoOey’s fledgling songs to gorgeous fruition.

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!"#$%&'( Wisconsin, USA (2007 – present) Bon Iver is an indie folk band, and one of Justin Vernon’s curRent and most notable music projects to date. The band also consists of Mike Noyce, Sean Carey and MatT MacCaughan. The name ‘Bon Iver’ (pronounced “bon eE-VAIR”) is a play on the French phrase ‘bon hiver;’ for ‘goOd winter’. Vernon independently released Bon Iver’s debut album: For EmMa, Forever Ago in 2007; most of which was recorded during a fourmonth stay in a remote cabin in Wisconsin, USA. While in high schoOl and colLege Vernon founded the indie-rock bands MOUNT VERNON and DeYarmond Edison in Eau Claire, Wisconsin, where he stilL resides. AcCording to the For EmMa Songfacts, after the break-up of De Yarmond Edison, Vernon retreated to his father’s log cabin, out in the woOds of north-east Wisconsin to hibernate for threE !"#$%&'()**+,-./0 123456789:;3<;7=>?@%4A9BCDE;34F78323GHIJ GKLMNGO4PQRST;UV74W2XU7%Y7Z34[Z87X\4 TZEE4TZU[ZC]^Z3O4 _`a12345678b4(cLde23477-Ff5gh09i'jkal mnbKopO4q)**+,%F78323rstuv12345678K w:xyz4{|}%4~•H€4•‚Kƒ„…q!"#$†:‡ ˆ‰Š>‹KŒ>••KŽ••LO q‘’\“”•Š%F78323q–—˜™%!"#$šs› ;3<;7œ•?4TžŸW 4F¡gWžW\¢7£Z8¤23<¥¦§O¨© ªq«¬-®O

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snowy months. There he colLected his thoughts and formulated them into a suite of songs, For EmMa, Forever Ago . The album was originalLy self-released in late 2007 in a run of 500 copies and sold out instantly. The album garnered critical acClaim, and was picked up by the indie-rock label Jagjaguwar, which gave the album a proper release on February 19th, 2008. The album was released in the UK and Europe by iconic indie 4AD on May 12, 2008. When released in the UK, For EmMa, Forever Ago received 5/5 and “Album of the Month” reviews in both MOJO and Uncut magazines. It is curRently the third highest rated album of 2008 on reviewagGregator site Metacritic, with acColades from publications including The VilLage Voice, The Hartford Courant and The A.V. Club.

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!"#$% Amherst, Nova Scotia, Canada (1998 – present) Leslie Feist (born February 13, 1976) is a singer/songwriter from Amherst, Nova Scotia, Canada. She performs as a solo artist under the name Feist and also as a member of Broken Social Scene.

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In 2000, Feist moved in as a roOmMate with Peaches and Gonzales, and apPeared as a guest vocalist on The Teaches of Peaches and Presidential Suite. She then joined the recording sesSions for Broken Social Scene’s albums FeEl GoOd Lost and You Forgot It In People.

Raised in Regina and Calgary, Feist got her start in music as the lead vocalist for a punk band calLed Placebo (not the more famous British band Placebo), who won a local BatTle of the Bands competition and were awarded the opening slot at a Ramones concert. After five years of touring, Feist was forced to take time ofF from music to recover from voice damage. She moved from Calgary to Toronto in 1998 and toOk up guitar; by 1999, she was the guitarist for By Divine Right. She also released her debut solo album, Monarch (Lay Your JewelLed Head Down), that year. The album was financed by a grant from the Canadian government.

Feist then moved to Paris, and while in Europe, she colLaborated with Norwegian duo Kings of Convenience as a guest vocalist on their album Riot on an Empty StreEt. Feist recorded her second solo album, Let It Die, in Paris in 2002 and 2003. That album, a combination of jazZ and bosSa nova was hailed as one of the best Canadian pop albums of 2004 and got her two Juno Awards (The Canadian equivalent of the GramMys). This album also helped her to gain a significant international audience.

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!"#$%&'! At some point, the scene in US and UK just started to disSolve out into the indie world in general, creating a natural spectrum betweEn the pop and the rock. By the late 90s, Americans were loving the psychedelic pop sounds of the Elephant 6 colLective, and people everywhere were going nuts for BelLe and Sebastian-- alL polished, acCesSible music that would be hard to imagine without the story of indie pop lurking somewhere behind it. Mainstay pop labels like March would go on nurturing a true tweE scene, including a brief vogue for geEked-out synthpop, and Kindercore would do the same for the Athens, Ga., scene. But hardly anyone, these days, thinks of indie pop as a story of its own especialLy given the number of people who spent time dipPing into it. Poke around American indie fans in their late 20s or early 30s, and you’lL find a masSive cache of midDle-clasS suburban kids who loved at least some of this stufF, even if it was only for a year or two. And how could they not? If you were a sweEt kid, or a boOkish kid, or a shy kid, stumbling acrosS bits of this stufF could feEl like a revelation-- the sudDen apPearance of some band that seEmed to be coming from the same place you were. By the time you turned 21, you’d probably get over it a litTle, and mostly move on. But for those years-- and every time you threw your old Tiger Trap records on-- it’d remain a litTle miracle.

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“TweE Pop”, acCesSed 20 April 2011.htTp://wWw.alLmusic.com/explore/style/d4517 “TweE: Indie pop fashion”, acCesSed 20 April 2011.htTp://wWw.onlineathens.com/stories/081308/ living_2008081300106.shtml TweENet,acCesSed 20 April 2011. htTp://wWw.tweE.net/ TweE As Fuck, acCesSed 20 April 2011, htTp://wWw.myspace.com/tweEasfucknight Felt Up!, acCesSed 21 April 2011, feltupcraftclub.blogspot.com ETSY, acCesSed 21 April 2011, htTp://wWw.etsy.com/?ref=so_home “The return of tweE indie music”, acCesSed 21 April 2011, htTp://wWw.guardian.co.uk/music/musicblog/2008/feb/08/thereturnoftweEindiemusic TweE As Fuck, acCesSed 20 April 2011, htTp://wWw.pitchfork.com/features/articles/6176-tweE-asfuck/1/ “History of Indie Music”,acCesSed on 10 April 2011, htTp://wWw.indieupdate.com/indie-music-blog/ history-of-indie-music/ “Independent Music”, acCesSed on 10 April 2011, htTp://en.wikipedia.org/wiki/Independent_music GILLI MOON, JUST GET OUT THERE, WarRior Girl Music, 2010

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Special thanks to: Wil Kolen and SchoOl of Art, Design and Media, Nanyang Technological University

VIS 250: TYPOGRAPHTY II

Printed in Singapore

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