BY POH SHU NING

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:;<8<=#5Music is an integral part of the human

experience. Most of us listen to music on a

daily basis, either actively by choice or

pa!ively 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 profe!ionals. The

acts of consuming or producing music are d"ply

meaningful to many people — they te# us a great

deal about who we are, the culture in which we

are embe$ed, and the values to which we adhere.

Music is also a universal language of the

world— it unites people despite their di%erent

cultures and background.

This b&k is my alternative view on music. It

records a co#ection of great artists, labeled

as indip-pop/ tw" 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.‘Tw"’pop(l&k at chapter 1),

pre'y much sums up a large part of the music I

listen to on my playlists.

This b&k introduces Tw" music and its culture.

A reco(ended play list of songs have also b"n

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 “tw"” refers to a sub-genre of indie

pop music distinguished by lighthearted lyrics

and melodies.

Tw" Pop is perhaps best likened to bu)legum

indie rock -- it’s music with a spirit of D.I.Y.

defiance in the grand tradition of punk, but

with a simplicity and i*ocence not s"n or

heard since the earliest days of rock & ro#.

Tw" pop traces its origins to 1986, the year

the British w"kly magazine NME i!ued a ca!e'e

du)ed C-86, which included a number of bands

-- McCarthy, the We$ing Present, Primal

Scream, the Pastels, and the Bodines among

them -- influenced in equal measure by the

jangly guitar pop of the Smiths, the thr"-

chord naivete of the Ramones, and the nostalgic

sw"tne! of the girl group era. Also du)ed

“anorak pop” and “shambling” by the British

pre!, the C-86 movement was itself short-

lived, but it influenced hordes of upcoming

bands on both sides of the Atlantic who absorbed

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the scene’s key le!ons of simplicity and

honesty to stu*ing e%ect, resulting in music

-- given the universal label of tw" pop --

whose ha#marks included boy-girl harmonies,

lovelorn lyrics, infectious melodies, and

simple, una%ected performances. In the U.K.,

the hub of the tw"-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 tw"-pop scene t&k r&t most notably in the

Olympia, WA area, the home of K Records, a label

owned and operated by Beat Ha+ening’s Calvin

Johnson. Important US groups included Tiger

Trap, Tu#ycraft and Honeybunch.

Rough Trade bands like The Raincoats,

Television Personalities, and Young Marble

Giants stri+ed away the masculine posturing

of punk-rock, and, then, along came the

Postcard label, whose wi'y, we#-read pop-

bands Orange Juice and Aztec Camera influenced

a generation.These few records kicked o% a

pop-cultural shift. B&kish, shy, dw"by kids

with no ambitions to become pop-stars saw

how underground music could exist far from

the a,re!ive, hyper-sexualized, sti#-

misogynous 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 t"naged fanzine authors, mix-tape

makers, and 7” co#ectors who, inspired by the

DIY ethos, eventua#y pick up instruments.

They can’t play so we#, but it doesn’t ma'er.

They ca# themselves things like BMX Bandits

and The Pastels, and often s"m like they’re

a'empting to harken back to a state of child-

like i*ocence.

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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 pre'y easy to spot a tw" band.

In short: trebly, ti*y, and jangly; and not

always entirely competent. Tw" is, at e!ence,

a rebe#ion against the traditional hyper-

masculinity of rock’n’ro#, so there’s obviously

no: rage, guitar solos, screaming vocals, or

pounding a'ack. Gr&ve is also a rarity.

Tw" bands have a high, bright sound that shies

away from bold sonics and ba! tones. Guitarists

tend to a# play like Joh*y Ma- of The Smiths:

with li'le to no distortion, definitely no

power chords, and light, ringing sound. Drums

have cardboard-box-ish qualities, if they’re

not being played by ti*y drum-machines, and

are always in simple time. Keyboards are never

frowned upon. And vocals tend towards fey and

ine%ectual; and, often, feature an interplay

betw"n boy and girl.

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9)$(%<GSome people who listen to music that some people

might describe as tw", tend to dre! in similar

fashions - fashions that embrace bold colors

and playful, childlike themes.Some people - but

certainly not a# - refer to this as tw" fashion.

“The term ‘tw" fashion’ is a controversial

one, m"ting with ridicule on both sides of the

camp. Serious fashionistas s" the word ‘tw"’

as an insult, while proper tw"-ters treat the

word ‘fashion’ with disdain,” explained Pavla

Kopecna, who lives in North London and edits

“TWEE AS FUCK” a fanzine about tw" culture.

“But k"p an open mind,” she said, “and you

might just discover a wonderful world of

paisley shirts, gran$ad cardigans, sch&l-

girl dre!es, corduroy slacks, head scarves

and party tights; a# in wonderful colors and

patterns that will keep your mood sunny

whatever the weather.”

Mi!y Kulik, an Athens artist who draws the

cart&n “Tofu Baby” that a+ears w"kly in

Flagpole, su(ed up the term more su.inctly.

“Anything cute,” she said. Kulik se#s handmade

felt pins and is working on laser-cut w&d pins,

charms and hairpins, a# of which would likely

qualify as tw".

“You wi# s" a lot of handmade ‘tw"’ fashion,”

she said.

The key is to k"p it lo-fi and DIY. Ru(age

your grandma’s a'ic, hunt around in your local

charity shop and make your own knits, necklaces,

headbands and badges. Above a#, k"p it your

own. There’s not a trend to fo#ow; this is

fashion at its most independent. Anything is

a#owed, no ma'er how ki$y, cutesy, g"ky or nerdy.

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1 8

“While some folk may be emba!a"ed

about their love for a# things

cutesey, jangly and anoraky, Tw$ as

Fuck wear it as a badge of pride, or,

rather a homemade rose%e of pride”

- Leonie C&per 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.

1) Tw"Net

Tw"Net is a non-profit venture by Peter Hahn-

dorf to provide information about his favourite

music. The site started in the year 1986. It is

the o%icial world wide web site of the Indiepop

mailing list.

There was also a record label with the name

‘Tw"Net’, with thr" albums released betw"n

1998 and 2000. From 2001 a# records are re-

leased under the name Clarendon Records.

h'p:///w.tw".net/

2) Tw" as Fuck is another UK tw" website. Tw"

as Fuck was a monthly club night which lasted

for two and a half years.

Tw" as Fuck believed in fun and indiepop and

dancing ti# your di0y and early Creation

Records and Sarah Records and Postcard Records

and picnics and coach parties and Polaroids

and Janglecore and Mo#y’s Lips and C86. But

most importantly fun. Thr" live bands were

introduce each night for fe#ow tw"s to

develop instant pop crushes on and hand picked

guests to play a# the finest indiepop and

northern soul ti# we# gone bedtime.

h'p:///w.myspace.com/tw"asfucknight

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9)G]%G5$Fanxines played a huge role in Tw" culture as

we#. It was hand-made and manua#y photocopied

in the 80s. Today, with the advent of the inter-

net, tw" fans have launched their fanzines on-

line/use the internet asa a platform to launch

previews of their zines.

Tw" 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 pu'ing a fanzine

together jampacked with our favourite things?”

Other Indiepop Fanzines include:

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Chickfactor

Dewdrops

Emily’s Hip Pocket

File 13

Grimsby Fishmarket

Incite

For Paper Airplane pilots

Jaboni Youth

My Brightest Su(er

Popwatch

Share The Modern World With Me

Splashdown

Vivid

Warped Reality

You Could Do Worse

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:<:95$'Tw"Net’s indiepop list grew and grew in size

and in spring of 1995 they decided to m"t up

with fans in the real world. In May 1995 they had

their first m"ting in New York City, which they

ca#ed Tw"Fest. They had the pre-fest party,

the picnic, the record sho+ing aftern&n and

of course the gigs at night. A# these things

become stable parts of future Tw"- or popfests

as they ca#ed them since January 1997.

Besides New York, Tw"Fest had also b"n hosted

in the UK, LA, Washington D.S, Cambridge,

Sea'le, Toronto, Florida, Texas, Athens, San

Franciso and New England.

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Felt Up! is a gli'er and macaroni set up. They

deal with thread and bu'ons, and dance to

the beat of the kni'ers. In the spirit of the

worldwide DIY co(unity, they welcome anyone

who wants to na'er about craft/zines/music

over tea and making. They are cu-ently based in

Brighton and holds regular crafty events.

Felt Up!, feltupcraftclub.blogspot.com

True to the DIY spirit of the tw" culture is

Etsy — a site su+orting independent busine!es

and artists, eating we#, living sustainably.

Etsy is a beautiful experiment in restoring

co(unity and culture to our co(erce.

ETSY, h'p:///w.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 di%erent from

the cock-rock on the radio-- largely a boy’s

game. The indie pop world was the o+osite.

Much like English tw", this was a scene open

to a# sorts of girls, including-- maybe even

especia#y-- the sorts who weren’t inclined

to sh&t for sex a+eal or try to rock with the

boys. Su$enly these girls could decentralize

into a pop culture of their own, trading tapes

from one to another, whether or not they had

the conventional ski#s 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 musica#y

impre!ive and thoroughly girly, the audio

equivalent of a gli'er-glued noteb&k.

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“Juno’s soundtrack has come out of

nowhere to hit the top spot in the

American charts. Let’s hear it for

g&d, old-fashioned, tw" pop.”

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Its about time the rock kids got their forward-

l!king tear-it-up moment: the indie world

of the past decade has b"n far t! 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’# n"d more of that homespun pop, the proud,

decentralized underground. If you’re young

and sta$y-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 b!mbox, and make

what you can. Someone, somewhere, wi# love you

for it.

And if you n"d inspiration, here’s something

like the format that introduced me to the

pop world: the mix tape. Tw" mixtapes were

personal; they came from faraway points in the

International Pop Underground, with handwri%en

labels and notes enclosed. No time to do that

for a# of you, but here’s the next best thing.

Pick one song per artist, and you should fi# up a

CD nicely.

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The sw!testthing

French Navy

Honey in the sun

Swans

I love my jean

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Glasgow, Scotland (1996-present)

Camera Obscura is an indie pop band which formed

in 1996 in Glasgow, Scotland. Cu"ently the

band consists of Tracya#e Campbe$ (vocals,

guitar), Ke#y McK!ve (guitar), Carey Lander

(keyboards), Gavin Dunbar (ba%) and L!

Thomson (drums).

The band was formed in 1996 by Tracya#e

Campbe$, John Henderson, and Gavin Dunbar

and released their debut album Bi&est Bluest

Hi-Fi in 2001. Camera Obscura released a second

album, Underachievers Please Try Harder, the

fo$owing year, and in September, 2005, the band

started recording their next album, named Let’s

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Get Out Of This Country, with producer Jari

H'palainen. This album was released on June 06,

2006 and a(eared high up in many critical lists

of the ‘best albums of 2006’.

In November 2008, the band a#ounced that they

have completed recording the fo$ow-up to Let’s

Get Out of This Country, and that the new album

would be released in 2009. In February 2009, it

was a#ounced that the band had signed to the

label 4AD, who released their fourth album,

ca$ed My Maudlin Car!r, on April 20, 2009.

0,1

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Portland, United States (2006 – present)

She & Him is an American indie folk band

consisting of actre! Z"ey 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-Ge#er’ 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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your face today

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A$ording to Merge, at their initial studio

se!ion the two “were i%ediately struck by

one another’s talents and found an instant

ra&ort”. During a conversation about their

shared love of old records, Z"ey 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 eventua'y persuaded to send them to M.

Ward. He was instantly impre!ed, and they

s"n reconvened at his studio in Portland to

begin work. Recorded over a period of several

months, betw(n acting work (She) and touring

co%itments (Him), the pair found time to bring

Z"ey’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 cu!ent and most notable music

projects to date. The band also consists of Mike

Noyce, Sean Carey and Ma" MacCaughan.

The name ‘Bon Iver’ (pronounced “bon #-VAIR”)

is a play on the French phrase ‘bon hiver;’ for

‘g$d winter’. Vernon independently released

Bon Iver’s debut album: For E%a, Forever Ago in

2007; most of which was recorded during a four-

month stay in a remote cabin in Wisconsin, USA.

While in high sch$l and co&ege Vernon founded the

indie-rock bands MOUNT VERNON and DeYarmond Edison

in Eau Claire, Wisconsin, where he sti& resides.

A'ording to the For E%a Songfacts, after the

break-up of De Yarmond Edison, Vernon retreated

to his father’s log cabin, out in the w$ds of

north-east Wisconsin to hibernate for thr#

snowy months. There he co&ected his thoughts

and formulated them into a suite of songs, For

E%a, Forever Ago . The album was origina&y

self-released in late 2007 in a run of 500 copies

and sold out instantly.

The album garnered critical a'laim, 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 E%a, Forever Ago

received 5/5 and “Album of the Month” reviews in

both MOJO and Uncut magazines. It is cu!ently

the third highest rated album of 2008 on review-

a(regator site Metacritic, with a'olades from

publications including The Vi&age 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 sing-

er/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.

Raised in Regina and Calgary, Feist got her

start in music as the lead vocalist for a punk

band ca!ed Placebo (not the more famous British

band Placebo), who won a local Ba"le 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 o# from

music to recover from voice damage. She moved

from Calgary to Toronto in 1998 and t$k up

guitar; by 1999, she was the guitarist for By

Divine Right. She also released her debut solo

album, Monarch (Lay Your Jewe!ed Head Down),

that year. The album was financed by a grant

from the Canadian government.

In 2000, Feist moved in as a r$%ate with Peaches

and Gonzales, and a&eared as a guest vocalist on

The Teaches of Peaches and Presidential Suite.

She then joined the recording se'ions for

Broken Social Scene’s albums F(l G$d Lost and

You Forgot It In People.

Feist then moved to Paris, and while in Europe,

she co!aborated with Norwegian duo Kings of

Convenience as a guest vocalist on their album

Riot on an Empty Str(t. Feist recorded her

second solo album, Let It Die, in Paris in 2002

and 2003. That album, a combination of ja) and

bo'a nova was hailed as one of the best Canadian

pop albums of 2004 and got her two Juno Awards

(The Canadian equivalent of the Gra%ys). This

album also helped her to gain a significant

international audience.

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1) Understand what tw! is

2) Get some tunes

3) Dre" the part

4) Have the state of mind. Be ha#y!

5) Ride a bike

6) Take Polaroid pictures

7) Spend hours creating a mixed tape for someone

special. And put it on ca"e$e

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!"#$%&'!At some point, the scene in US and UK just

started to di!olve out into the indie world in

general, creating a natural spectrum betw"n

the pop and the rock. By the late 90s, Americans

were loving the psychedelic pop sounds of the

Elephant 6 co#ective, and people everywhere

were going nuts for Be#e and Sebastian-- a#

polished, a$e!ible 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 tw" scene,

including a brief vogue for g"ked-out synth-

pop, 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

especia#y given the number of people who spent

time di%ing into it. Poke around American indie

fans in their late 20s or early 30s, and you’#

find a ma!ive cache of mi&le-cla! suburban

kids who loved at least some of this stu', even

if it was only for a year or two. And how could

they not? If you were a sw"t kid, or a b(kish

kid, or a shy kid, stumbling acro! bits of this

stu' could f"l like a revelation-- the su&en

a%earance of some band that s"med to be coming

from the same place you were. By the time you

turned 21, you’d probably get over it a li)le,

and mostly move on. But for those years-- and

every time you threw your old Tiger Trap records

on-- it’d remain a li)le miracle.

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!"#$%&'#()'*)%'+&#",-&"'+.

“Tw! Pop”, a"e#ed 20 April 2011.h$p://%w.a&music.com/explore/style/d4517

“Tw!: Indie pop fashion”, a"e#ed 20 April 2011.h$p://%w.onlineathens.com/stories/081308/

living_2008081300106.shtml

Tw!Net,a"e#ed 20 April 2011. h$p://%w.tw!.net/

Tw! As Fuck, a"e#ed 20 April 2011, h$p://%w.myspace.com/tw!asfucknight

Felt Up!, a"e#ed 21 April 2011, feltupcraftclub.blogspot.com

ETSY, a"e#ed 21 April 2011, h$p://%w.etsy.com/?ref=so_home

“The return of tw! indie music”, a"e#ed 21 April 2011, h$p://%w.guardian.co.uk/music/mu-

sicblog/2008/feb/08/thereturnoftw!indiemusic

Tw! As Fuck, a"e#ed 20 April 2011, h$p://%w.pitchfork.com/features/articles/6176-tw!-as-

fuck/1/

“History of Indie Music”,a"e#ed on 10 April 2011, h$p://%w.indieupdate.com/indie-music-blog/

history-of-indie-music/

“Independent Music”, a"e#ed on 10 April 2011, h$p://en.wikipedia.org/wiki/Independent_music

GILLI MOON, JUST GET OUT THERE, Wa'ior Girl Music, 2010

!"#$

/)0

Special thanks to:

Wil Kolen and

Sch!l of Art, Design and Media,

Nanyang Technological University

VIS 250: TYPOGRAPHTY II

Printed in Singapore

Special thanks to:

Wil Kolen and

Sch!l of Art, Design and Media,

Nanyang Technological University

VIS 250: TYPOGRAPHTY II

Printed in Singapore

Music is an integral part of the human

experience. Most of us listen to music on a daily

basis, either actively or pa!

ively as we are

exposed to music when we travel, work and relax.

This b"k records a co#

ection of Tw$

Pop

artists whom I admire, and also discu! how Tw$

Pop music had led to its own culture from the

early emergence of fanzines, Tw$

fashion to

their identifying Tw$fest.

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