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An Alternative Indie

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An Alternative Indie An Alternative Indie Why does Meindert Talma’s Werkman resist consensus categorization? Name: Steven Vincent Vrouwenvelder Student number: 6049400 Thesis Master Musicology Supervisor: Prof. Dr. Julia J.E. Kursell Second Reader: Dr. Oliver Seibt Date: 6 June 2016 Vrouwenvelder 2 Contents Introduction ............................................................................................................................................. 3 1. Werkman ......................................................................................................................................... 3 2. Categorization ................................................................................................................................. 5 3. An Alternative Indie ......................................................................................................................... 6 Categorization ......................................................................................................................................... 9 1. Music like the sea .......................................................................................................................... 10 2. Genre and Style ............................................................................................................................. 13 3. Genre Ideology .............................................................................................................................. 15 Indie ....................................................................................................................................................... 18 1. Independent labels and distribution ............................................................................................. 20 2. Guitars, guitars, ‘jangly’ guitars ..................................................................................................... 24 3. Elitism ............................................................................................................................................ 29 4. Canon ............................................................................................................................................. 32 5. Indie as a Genre ............................................................................................................................. 33 Werkman ............................................................................................................................................... 37 1. Indie or not? .................................................................................................................................. 39 2. Werkman’s Saxorgan ..................................................................................................................... 40 Conclusion ............................................................................................................................................. 45 Appendix ................................................................................................................................................ 48 Works Cited ........................................................................................................................................... 50 Vrouwenvelder 3 Introduction 1. Werkman Meindert Talma released a record in 2015 entitled Werkman. What can I, as a fan of Talma’s previous music, expect? The CD’s front cover (See Appendix: figure 1) shows a pile of papers with large blue captions on it reading “Werkman.” This album is clearly one of the projects launched to honor the memorial year of visual artist Hendrik Nicolaas Werkman (1882-1945). Beneath the blue captions are the names of the performers, printed in white. The first of these is the Dutch musician Meindert Talma. Talma’s musical output is often combined with non-musical products and events, such as a collection of poems, a novel, museum exhibitions and a world championship football. Werkman seems like another multi- disciplinary project. The back cover reveals that Excelsior Recordings, an Amsterdam-based record label, released the album. Excelsior, a so-called independent record company, is also Talma’s home record label. So far, there are no surprises. The collaborative artists, on the other hand, are new. Talma used to record music with the bands The Negroes and De Rode Kaarten (The Red Cards). In comparison to the humorous or at least ironic names of these bands, The Melisma Saxophone Quartet, which is the other name on the front cover, indicates a different and perhaps more serious path. This seems to be in accordance with the historical theme of the record: Werkman was killed in World War 2. The name of the ensemble suggests that this quartet normally plays so-called classical music. It mentions the organisation (quartet), the means (saxophone) and an obscure word drawn from music theory (melisma). This evokes a connection with a culture that is inaccessible to those without specialized musical knowledge. A quick look at their website confirms this; it mentions another recording featuring works of Grieg, Bach, Ligeti, and Lago. These are all composers who are considered to be canonical in European classical music. Remarkably, the quartet does not mention Werkman on their website,1 as if they do not want to be associated with it. 1 Accessed on March 22, 2016. Vrouwenvelder 4 The booklet’s layout confirms that the CD commemorates the life of the titular visual artist as his picture is printed next to a “Concise biography of H.N. Werkman.”2 Except for the last few pages, the booklet only features the lyrics of the songs. The final pages reveal that Talma arranged this project; his email address and website are mentioned, and he thanks several people for giving him the idea to collaborate with the saxophone quartet. The text also informs me that the album was commissioned by Stichting H.N. Werkman, the corporation that initiated the memorial year, together with Geert Lameris, who oversaw all of the projects. At the back of the booklet, there is a photograph of the five musicians with Talma sitting in the centre, holding a saxophone. This picture suggests that Talma controls the music, even though he does not play this (or indeed any) instrument on the recording. According to the credits in the back of the booklet, he is only the composer of the music. After inspecting the visual materials included with the album, I wonder how the music sounds. The first song on the album, “Leens,” commences with a sole sustained sound on the alto sax, but is quickly joined by the soprano sax, which plays a fifth on top of the sustained tone of the former, creating a solid sound. The tone of the saxophones is rich and clean, unaccompanied by air noise, growling or vibrato. Hence, the sounds of the two saxophones blend. They play an ostinato; repeating the same limited set of tones again and again. This ostinato functions as an accompaniment for Talma’s voice, which is calm, evoking recitation rather than singing. With the arrival of the chorus, a third saxophone blends in; towards the end of the song the last (and lowest) baritone sax joins the others. The resulting sound is perceived as a unity, because the saxophones do not make individual sounds. Together with the slow tempo, this creates a serene and static sound. I experience this song as an oddity. The earnestness of the text and the calmness of the music contrast with Talma’s previous work. The strangeness is intensified because Talma sings from a first person perspective, adopting the role of Werkman, while deviating from his usual way of singing. The singer’s Northern accent, which is immediately apparent to Dutch ears, confuses the listener: it sounds like Werkman is singing himself. Both Werkman and Talma were born and raised in the same region and could therefore have the same accent. The slow ostinato and the unity of the saxophones establish the atmosphere for the first 2 All translations in this thesis are mine. Vrouwenvelder 5 episode in Werkman’s life. The tranquil opening of the album seems apt; as a listener, I imagine that I can hear Werkman describing his oldest and most distant memories. I now understand that the concise biography, which is printed in the booklet, is not only an introduction to Werkman as a historical figure, but also introduces the content of this recording. Is this what I, or any other listener, expected when putting the record on? 2. Categorization Music journalists certainly did not know what to expect. As a fan, I like to investigate whether my own impressions match the opinions of music journalists, or whether professional critics shed a different light on the music which could enrich a subsequent listening. Talma’s website compiles all of the articles that mention him, including album reviews. These sources are many and varied, both in medium and in aesthetic judgement, so they offer views from varying perspectives. The reviews are mostly published by regional newspapers or by popular music media.3 Regional papers discuss the album, because both Werkman and Talma hail from the border region of the two northern provinces of the Netherlands and both moved to Groningen, which is the largest city in the area. Music media, on the other hand, review the album because Talma’s work often falls within the limited genres and styles they cover. Two websites, 3voor12 and Muziekweb, observe that the album deviates from Talma’s other music, which they call “indierock” (Jeuring; Koning).
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