DIY music scenes are historically rooted in the punk movement and carry a modern mission to highlight authentic and alternative artistic voices; maintaining and uplifting these music communities is never more important than during times of social upheaval.
An article published in “Popular Music and Society” describes DIY as a “music culture wherein emphasis is placed on forming and maintaining spaces for production and distribution which exist outside of, and are positioned as oppositional to, the commercial music industries.”
The importance of DIY is exemplified in the artists who got their start doing it all themselves, from bedroom pop artists like mxmtoon to the titan of alternative hip-hop, Tyler, The Creator. Both of these musicians, and others like them, are examples of how confessional and authentic music can be when the songwriter is the true arbiter of the music's creation and release.
mxmtoon got her start recording lo-fi tracks in her parent’s guest bedroom, resulting in early releases that Paste Magazine described as a “portrait of what it’s like to be lonely, in love and perpetually connected, while at the same time filled with sly, painfully earnest observations.”
In a similar vein, Tyler, The Creator released his first EPs as a part of the DIY rap collective Odd Future Wolf Gang Kill Them All. In 2011, Pitchfork reviewed the artist’s “queasy lo-fi production aesthetic” and the channeling of his “asthmatic rasp through all sorts of weird filters.”
Both mxmtoon’s relatability and Tyler’s outrageous persona were born from the mission of DIY: to encourage artistic idiosyncrasies and autonomy. mxmtoon and Tyler, The Creator have garnered massive followings out of the raw honesty and bold creative decisions that characterized their initial DIY projects.
In addition to allowing artists to express themselves genuinely, DIY music stands in opposition to the capitalist model of the commercial music industry. By steering clear of major record labels and money-hungry talent managers, DIY artists contribute to a future in which anyone can make music and the medium of creativity isn’t puppeteered by corporate greed, the antithesis of true artistry.
The concept that engaging with music shouldn't be reserved for an elite few is most relevant in small college towns like Athens, where a plethora of alternative voices are looking for creative and collaborative outlets.
“Everyone is super positive … out here and everyone is kind of trying to do the same thing, so it’s super easy not only to find music but also to find people that would want to do artwork and posters and photography,” KJ Mueller,* a junior studying contemporary music digital instruments and music production and recording industry, said.
Mueller got his start in the Athens DIY scene by attending house shows, and now he plays in two bands – the local Cranberry Casket and Cleveland-based Kid Primitive – as well as hosts shows at his house.
Similarly, Kate Tocke, a junior studying journalism, has been attending small DIY house shows since her freshman year and said it was a remarkably welcoming experience.
“There’s so many different styles and varieties, and it’s very experimental in Athens,” Tocke said. “... I think the DIY scene is important because it makes people want to do music and start a band.”
Tocke’s early experience attending house shows eventually led her to playing in a band of her own: Hourglass, an alternative indie rock group that debuted last month. The shows Tocke has played have been communal and welcoming for both performers and audience members.
“Even people who aren’t crazy about finding underground music and whatnot, I feel like it’s just important for your soul to go see small shows and see local music,” Mueller said. “... It just drives creativity and competition, and without the small local scene most of the big names you hear would never be there.”
DIY music scenes branched out of the punk revolution of the late 20th century, a community inherently rooted in anti-establishment and anti-capitalist themes. This style of music that encourages rebellion in both style and execution provides an alternative platform for small communities to autonomously amplify their voices, allowing for true creative authenticity and defiance of political, social and artistic norms.
Sophia Rooksberry is a junior studying journalism. Please note that the views and opinions of the columnist do not reflect those of The Post. Want to talk more about it? Let Sophia know by tweeting her @sophiarooks_.
