Seriously, yes, the Slits were my thing, other bands not so much, so that is quite interesting to me. I'm not that much of an indie kid, although I know people from the C86 bands, went to see the Monochrome Set the other night, and was musing yesterday as to who would win in a punch-up between them (C86) and the Pillows and Prayers lot. ( My money would be on P&P). By 1986, however, the politics of the magazine had changed dramatically. C86 was used as a weapon not only in the civil war within the paper, in but in the war between it and other music magazines. There was heavy competition around this time between music publications, with four weekly music mags competing for sales, each trying to pique reader interest by writing about new bands and trends. C86 aimed to create a new genre for NME to profit off, hoping to generate attention by ‘discovering’ and promoting a new genre. In achieving this purpose, the tape was a success. To this day, C86 is recognised as its own legitimate subgenre on RateYourMusic.com. But C86 was also used as a pawn in the so-called ‘Hip-Hop Wars’ going on in NME in the 1980s, a schism between fans of hip hop and guitar music enthusiasts. C86 was a tactic devised to reinvigorate interest in the indie scene, taking attention away from the burgeoning rap game. It was designed to be, as Ex-NME staffer Andrew Collins put it, “the most indie thing ever to have existed”. “The most indie thing that ever existed” Following the success of the three-disc compilation, ‘ The Sun Shines Here’ (which documented the roots of Indie Pop from 1980-84), the prequel to C86, C85 combines “name” bands with many obscurities making their debut on CD. Several acts on C85 would eventually feature on that NME’s C86 collection: Primal Scream, The Wedding Present, the Mighty Lemon Drops, etc, who all had singles released in 1985. So much for that old punk/new wave/alternative ethic. Same old, same old ‘f*** the public’ approach to doing commerce.

C86 - Wikipedia C86 - Wikipedia

The tape that inspired ‘a thousand indie bands’. The tape that launched a whole genre. Even ‘the beginning of indie music’ (it may be taboo here, but for the sake of discussion I will refer to ‘indie’ as a genre category in this article). These are just a few descriptions of C86, a compilation cassette put together by NME in 1986. The tape was intended as a showcase of mid-80s underground guitar pop, but it was more than a just a reflection: it became a genre itself, launching the careers of bands such as Primal Scream, Jesus and Mary Chain and The Wedding Present, as well as becoming the first collection of indie pop songs. The Story of C86As eclectic as C86 is, by no means does it try to encompass the entire British indie scene circa 1986. As Taylor recounts in his liner notes, “The aim […] was to take an aural snapshot of the moment. Were these acts representative of the state of a certain kind of indie music at that time? Very much so. Was C86 intended to be the be-all and end-all of independent music at that time? Of course not”. In fact, some bands refused to be included, fearing it would lead to being pigeonholed—like the June Brides, one of the major players in the admittedly loose-knit scene that C86 gathered together. That’s been rectified by the reissue, with the June Brides’ horn-punched, Burt Bacharach-like gem “Just the Same” serving as the first song on the box set’s first bonus disc. And some bands that were surely nowhere near being seriously considered in the first place— such as Happy Mondays, whose undercooked “Freaky Dancin’” is a minor skirmish of the dancefloor havoc they’d go on to wreak— serve more as a historical curiosity than a corrected omission. I went to see The Flatmates on Saturday night, supported by Helen McCookerybook of proto C86 act The Chefs. Indie never forgets (but The Flatmates have got a different singer since they reformed five or so years ago).

C86 - UNCUT Various Artists - C86 - UNCUT

In fairness, "forgotten" is a rather relative and loose term when there is no qualifier as to who the forgetters are.What he said. Yet, while the pursuit of long-lost musicians can often manifest as earnest hagiography, Tassell’s unique, light-hearted approach makes this a very human story of ambition, hope, varying degrees of talent and what happens after you give up on pop – or, more precisely, after pop gives up on you. It’s a world populated by bike-shop owners, architecture professors, dance-music producers, record-store proprietors, birdwatchers, solicitors, caricaturists and even a possible Olympic sailor – and let’s not forget the musician-turned-actor gainfully employed as Jeremy Irons’ body double… THAT PETROL EMOTION - Mine 22.THE TURNCOATS - One Breath * 23.A RIOT OF COLOUR - Skink (Flexi Version) *The book casts an eye over a period when indie was a passion not a brand, and places its rise firmly in the context of the turbulent political times. Based on primary source material – including scores of forgotten fanzines -it also draws in the views of many of the key players, opening a window on a period that, with its parallels, resonates strongly today. Their title not mine - highly debatable that "indie" could encompass The Slits.Hmm .. so which bit reminded you of me? "Forgotten?""Women of the 80s"? In retrospect, we were probably slightly more established than most of the other bands, even if it didn’t seem like it at the time. We were just honored to be on an NME tape, having read the magazine for years, and perhaps a bit guileless about how it might affect us. But I can understand why, say, the June Brides didn’t want to be on the tape, and how some of the less established bands might be pigeonholed by it, especially when the scene seemed to have run its course. C86 slowly but surely became the NME’s best-selling ever compilation, selling an estimated 40,000 copies and eventually being reissued on LP and cassette by Rough Trade the following year. C86 prompted a week of shows at the ICA and would come to embody a whole musical style and era.

Whatever Happened to the C86 Kids?: An Indie Odyssey - Goodreads

Post Punk is where the action was when the generation of youth who had their minds scorched by Punk started to apply their own interpretation to music and culture. In this creative free for all barriers were broken and a fervent underground existed way beyond the mainstream. Neil Taylor has taken a dive into this bricolage culture and come up trumps as he tries to make sense of the senseless when a generation thought that music could change the world’ The music was actually quite varied. People now see C86 as all jangly indie pop, but Bogshed and Big Flame were nothing like that – they were much harder. I guess we rode that divide: there were elements that were very jangly and Velvet Underground-ish, but we had a much harder edge. Some of the bands, like Primal Scream, went on to achieve global stardom; others, such as Half Man Half Biscuit and the Wedding Present, cultivated lifelong fanbases that still sustain their careers thirty-five years later. Then there were the rest, who ultimately imploded in a riot of paisley shirts, bad drugs and general indifference from the record-buying public.Neil Taylor co-compiled C86 and is the author of Document & Eyewitness: An Intimate History Of Rough Trade. Since the 1990s he has worked in publishing.