Indie is most simply the abbreviation of independent, signifying artists who don’t subscribe to management or production by major record labels or corporations.

It is a term used far more loosely than that however, and now refers to a whole scene, encompassing not only the musician’s culture and ethos, but is indicative of a particular sound and music genre and indeed a very identifiable fashion.

“Indie Kids” as they have been termed, can, in their most classical form be spotted in super skinny jeans, Ray Ban wayfarers — interchangeable with bold reading glasses, despite many adherents to the trend having perfect 20/20 vision — often a generous handful of piercing and tattoos, and a profound respect for all things vintage.

One particular YouTube video is not afraid to poke fun at the quintessential indie kid, making a mockery of the culture with lines like “indeterminate sexual preference, something retro, around my necklace…”  and equally as comical images to match. (see the link below)

But according to The Indie Update, the scene is not a recent musical or social uptake, and the trend can be seen bubbling furiously in the 1960s, particularly with bands such as The Velvet Underground.

Though the band had only modest album sales by comparison to other super bands of the era, the style, pace and melodies varied frequently, and the sound generally was distinct from other studio albums. The bands members also remain some of the most influential (and controversial) artists of all time, with particular reference to Lou Reed.  

“Their messages switched from songs about drug use to individual takes on law enforcement. In short, they sang about everything everyone else did not… If you listen to a Velvet Underground song, you might be surprised that it was created in the era of the Beatles instead of the era of Cobain, and that is what indie music is all about; the pioneers,” claims writer Greg Aldrich.

Though Aldrich goes deeper and traces the roots of indie music as far back as the minstrels of the medieval era, insisting they risked “more then their livelihoods if they did not kowtow to the demands of the tyrants in charge,” and this spirit, though not generally death defying, is still present in the indie scene today.

* * *

Indonesia has never lacked a passion for music, and has certainly always celebrated artists locally and abroad, most notably with the annual International Java Jazz Festival. Artists like George Benson, Kenny Loggins (responsible for the insatiably catchy Footloose) and guitar master Carlos Santana will take to the stage this year in March for the festivals three-day duration.

Triski Nurani, (Kiki) who works as a graphic designer for Maksimedia by day, and devotes almost every extra minute to supporting, following and photographing the indie music scene in Jakarta, spoke of why she thinks the indie scene is uprising.

“We were getting tired of having to travel abroad, to places like Singapore to see indie bands. So slowly but surely we’re trying to make them come to Jakarta…now I’d say you could see two or three international bands a month here.”

Kiki also runs much of the media faction for a night event called Blackout, a mobile party held at various venues throughout Jakarta. The group claim that “Blackout is an indie dance club with variety show concepts,” and encourages attendees to “scream loud... dance the offbeat... and state your mind.” Blackout Party has hosted notorious international DJs such as New York’s The Misshapes and Miami Horror from Australia.

She recalls plunging into work there shortly after approaching founders Donna Reysita, Bob Bobi and Andri Ashari.

“I said to them, ‘I think I like this concept, can I make you guys a MySpace page? And can I take pictures?’ They both agreed and since then I do a lot of media for them…”

Kiki is passionate about the survival of indie, and insists that “real indie is about a fighting spirit,” though also identifies a lurking paradox.

“Indie is like this,” she says, making the shape of a fork in the road with her hands. “Some people are true about it, and others are just coming along for the ride, or for fashion,” she says pointedly. And ironically, “indie is becoming mainstream.”

Alternately pragmatic economist Helmi Arman, an economist at Bank Danamon, holds a rising affluence among Indonesian inhabitants partly responsible for indie scene’s uprise. According to the report, Indonesia Economic Outlook 2011: Another Good Year? “Over the past decade, Indonesian households have been experiencing a significant increase in purchasing power… we calculate that the median expenditure per capita of Indonesians has been growing steadily despite a number of cyclical disruptions during the economic downturns of 2006 and 2009.”

Furthermore, “the number of middle-income individuals has been rising significantly…for 2010, we expect there to have been further increases in the portion of middle class households, judging from the robust growth in sales of non-discretionary products.”

This includes purchases like motorcycles, cars and clothing, and yes, also the occasional concert or festival tickets.

And, consideration for a number of external influencing factors granted, trends look to continue in 2011.

Credit too must be given to independent labels like Aksara Records, who have supported local artists for over five years, and given drive to the indie scene, directly and indirectly encouraging international artists to visit their Indonesian clique. Askara has had the noble duty of recording and distributing the creative produce of bands like Ape on the Roof, Goodnight Electric, and White Shoes & the Couples Company.

* * *

The last few years have also signified a rise in the number of local indie artists making their mark on Jakarta’s musical canvas. In 2010 alone, Belle and Sebastian, Vampire Weekend, Camera Obscura, 2many DJs, Diplo and MGMT graced the city with their presence.

However the continuation and development of major festivals that celebrate indie music could be considered in jeopardy as questions about the legitimacy of tours sponsored by cigarette companies continues to make headlines.

Java Rockin’ Land, the festival that in 2010 brought artists like The Smashing Pumpkins, Datarock, Stereophonics and Wolfmother to the shores of Carnaval Beach in Ancol proudly tags itself “the biggest rock festival in Southeast Asia,” and was sponsored principally by cigarette company Gudang Garam.

In mid-January too, N.E.R.D. made their inaugural tour of Jakarta with heavy sponsorship from L.A. Lights. Lead singer of Bloc Party, Kele’s DJ set was also ignited by PT Djarum’s subsidiary, L.A. Lights “Cool Moments”.

Though the festival deserves praise for bringing a wide variety of artists to Indonesia, whether it can continue to do so under close scrutiny is another question.

However, on a more optimistic note, in coming months Jakarta can look forward to seeing indie darlings Two Door Cinema Club and The Temper Trap (thanks to Ismaya Live), with Soundshine Events also presenting MGMT and Whitest Boy Alive as part of Beatfest in March.

Such a commitment to the indie scene and eagerness to tour bands through Indonesia’s capital is further expressed by promotion companies Ismaya Live and Soundshine Events who regularly ask fans and followers via Facebook and Twitter to request the artists they would most like to see tour Indonesia.

Jakarta Indie Musician’s Association (JIMA) also uses Facebook to affect their support for local independents. Their mission statement is that, “for Orang Indonesia and Orang Expat alike, the Jakarta Indie Musician Association (JIMA) is where Jakarta’s Indie musicians gather to discuss local Indie events, likes, dislikes and influences, and collaborate on local music projects.”

Founder Jason Blair said the following when asked about the elements influencing this indie
revolution.

“Without question, many younger Indonesians, certainly those in Jakarta, are becoming more and more unsatisfied with much of the music being churned out by Indonesian artists who are following trends and styles of other successful Indonesian artists, and even Western artists… An Indie revolution is the perfect description for such a predicament, and it’s high time for one.”

Acutely aware of her global citizenship, Kiki acknowledges that it has undoubtedly helped her access people from all corners of the globe. She encourages those sheltering in the underground scene or working independently on their music to “sell yourself like crazy, don’t be shy to make friends all over the world, and never close yourself in.

“Indonesians’ are very talented,” says Kiki, “and I hope one day our local indie bands will be big internationals. Indonesia can be big,” she reiterated.

• Watch indie cool dissipate on the above mentioned YouTube video: http://www.youtube.com/watch?v=lVmmYMwFj1I
• The Indie Update
http://www.indieupdate.com/about/
• Follow the adventures of Blackout Party
http:/www.facebook.com/group.php?gid=5867924039
• JIMA’s official webpage
http://www.facebook.com/group.php?gid=25479982376&ref=ts

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