Cassette culture
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The cassette culture (also known as the tape/cassette scene or cassette underground
Scope of the article
It is necessary at the outset to make clear what “cassette culture” refers to in regard to this article. It is not a general article on the cultural history of the compact audio cassette and its technology. The article does not cover the use of the compact audio cassette as a music medium per se, or, in general, the use of the cassette tape as a means for the cheap reproduction and direct distribution of music by artists or other individuals. The subject of this article does not refer to the use of the cassette for making illegal copies of commercially released music, or for recording broadcast music, and it does not refer to so-called "mix tapes", the creation of compilations of music by individuals on cassette tape. It does not refer to the distribution of bootleg recordings on cassette, to the use of the cassette for making demo recordings, to the distribution on cassette of music banned by the authorities or otherwise hard to source, or to tape trading.
“Cassette culture”, as regards this article, refers to an international music scene that developed in the wake of punk in the second half of the 1970s and continued through into the first half of the 1980s (the "postpunk" period), and in some territories into the 1990s, in which a large number of amateur musicians outside the established music industry, usually recording in their homes and usually recording to cassette-tape devices, produced music, very often of a non-mainstream or alternative character, that was then duplicated on cassette in very limited quantities and distributed free or sold at low cost to others involved in the scene and those who followed it. Often, these cassette-only albums of original music were completely self-produced by the artists, but small companies or labels also flourished during the period, producing cassette-only releases in small runs, both single-artist albums and compilations by various artists (in a few cases these labels also released vinyl). Numerous artists who first emerged at this time remain active today, some of them now releasing through commercial companies, others continuing with the DIY ethic of self-releasing on CD and the Internet. Since 2000 there has been a revival of the use of the cassette tape for the release of independent music (very often in conjunction with digital release) and a new “cassette scene” has sprung up, however this article concentrates on the original “cassette culture” as it first emerged in the late 1970s at the historical moment at which it was first enabled by developments in consumer electronics.
Initiating factors, historical background and periodization
Technological factors enabled the rise of cassette culture. Improvement in the recording quality of cassettes and the availability of sophisticated cassette decks, as well as stereo "
Particularly in North America,
The cassette culture can be traced back to the early 1970s, when
The "cassette culture" is a historical phenomenon, primarily in the late 1970s and the 1980s. Following the anti-establishment shock of punk a very creative period followed in popular music, the postpunk period (as documented in Rip It Up and Start Again: Postpunk 1978–1984, by Simon Reynolds). In the United Kingdom synth-pop was in the ascendant and industrial and postindustrial music was the vanguard of musical experimentation. Many (though by no means all) cassette artists, in Europe and elsewhere, drew on this new avant-garde for their inspiration. Popular-music papers such as Sounds and NME in the UK were marked by a new type of journalism, which discussed music (perhaps sometimes over-earnestly) as a serious art-form. In terms of broader developments, the Cold War and the nuclear arms-race were still a reality. In both the UK and the USA the political Right assumed power in the form of the governments of Margaret Thatcher and Ronald Reagan. In the UK this was accompanied by a widespread culture of opposition and dissent, often informed by radical Left ideology. The cassette-culture scene emerged in, was embedded in, this broader cultural landscape, enabled by new developments in electronic technology, and many of the artists shared a countercultural ethos in relation to the mainstream music of the time and towards contemporary society more broadly. The scene could not have existed before and the period of its flourishing gradually came to an end in the 1990s with the arrival of inexpensive digital technology for the production of both music and graphics and, of course, the arrival of the World Wide Web. Successor underground and DIY scenes have naturally arisen to take its place, but they are no more to be identified with the cassette culture that arose in the late 1970s than the postpunk revival is to be identified with the original postpunk period.
As with any other music scene, artists involved in the scene and others who followed it amassed, sometimes very substantial, collections of independent cassette music. The sense of cassette culture in all its diversity as, nevertheless, a coherent international musical subculture has been reinforced since 2000 by a major revival of interest in the cassette artists of the 1970s and 1980s and the reissue of much music on LP and CD for a small but enthusiastic market (see below).
"Cassette culture" is a coinage that post-dates the scene itself. "Cassette scene" was a contemporary term.
United Kingdom
In the United Kingdom cassette culture was at its peak in what is known as the
Cassette culture received something of a mainstream boost when acknowledged by the major music press. The
Tim Naylor of Record Collector magazine has published articles in the 2000s on the cassette culture of the '70s/'80s, including "C30, C60, C90, C21!" (Record Collector, 393, September 2011) and "Home Taping is Thrilling Music" (Record Collector, 462, January 2017). Memoirs written by people involved in the UK cassette scene include Permanent Transience (2015), by Bendle of the band The Door and the Window, and The Luxury of Dreams: An Autobiography (2017), by Mark Automaton of the band The Instant Automatons.
Continental Europe
European artists involved in the cassette scene include:
Two of the more important cassette labels in Europe were Germany's Datenverarbeitung, run by Andreas Müller, and Belgium's Insane Music, run by Alain Neffe. Along with material recorded by himself in various configurations, Neffe curated and released numerous compilations featuring tracks sent to him from artists all over the world.
United States
![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/06/R._Stevie_Moore_%286141175995%29.jpg/220px-R._Stevie_Moore_%286141175995%29.jpg)
In the US, cassette culture activity extended through the late 1980s and into the 1990s. Although larger operators made use of commercial copying services, anybody who had access to copying equipment (such as the portable tape-to-tape cassette players that became common in the early 1980s) could release a tape, and publicize it in the network of fanzines and newsletters that served the scene, such as OP Magazine, Factsheet Five and Unsound. The cassette culture became an inexpensive and democratic way for artists to make available music that was never likely to have mainstream appeal, and many found in the scene music that was more imaginative, challenging, beautiful, and groundbreaking than much of what was being released by the established music industry.
In the United States, cassette culture was associated with
The American cassette-culture scene has been quite well-served by documentary-makers, in contrast with the scenes in the UK and Europe. In 2009 Andrew Szava-Kovats, who was involved in the US scene under the name
Other territories
There were many cassette artists outside the United Kingdom, the US and Europe. There was a very active scene in Japan, as can be seen from the list of contributors to the International Sound Communication series of compilations.
Creative packaging
The packaging of cassette releases, whilst sometimes amateurish, was also an aspect of the format in which a high degree of creativity and originality were displayed. For the most part packaging relied on standard plastic cases with a photocopied "J-card" insert, but some made more of an effort. Anusol by the
Decline, revival of interest and the new cassette scene
In the United Kingdom the cassette culture seemed to wane in the second half of the 1980s, and by the mid-1990s the scene in the United States was also in decline, with the appearance of new technologies and methods of distribution:
On 1 January 2018 Frank Bull of
Since the Millennium there has also been a revival in the use of the cassette by independent artists, with the rise of partly or wholly tape-based labels such as Burger Records, POST/POP, Memorials of Distinction, Tuff Enuff Records, Truant Recordings,[17] First Base Tapes[18] and Gnar Tapes.[19] In 2007 (12–26 May) an exhibition was held at Printed Matter in New York City devoted to current American cassette culture entitled "Leaderless: Underground Cassette Culture Now."
Notable compilations since 2000
A number of compilations devoted to or including significant representation of cassette-culture music of the 1970s and 1980s have been released since the revival of interest in the scene. The most ambitious collection of material is a trilogy from
The interested reader is referred to the extensive output of vinyl editions for collectors released since 2004 on the German company
See also
- Bullshit Detector
- C81
- C86
- Demo tape
- Punk ideology
- Mix Tape: The Art of Cassette Culture
- Noise music
- post punk
- Richard Youngs
- Scratch Video
Notes
- ^ Jones 1992, p.6
- ^ Produce 1992, p.4-5.
- ^ a b Jones, 1992, p.9.
- ^ Pareles, 1987
- ^ Minoy 1992, p.61-62
- ^ James 1992, p.ix-x.
- ^ McGee 1992, p.vii-viii
- ^ a b NME 11 September 1982
- ^ "Dusted Reviews: The Instant Automatons - Not So Deep As a Well". www.dustedmagazine.com.
- ^ "The Living Archive of Underground Music: Sean T. Wright". The Living Archive of Underground Music.
- ^ Reynolds, Simon (24 April 2005). "Vision on". the Guardian.
- ^ Unterberger, Richie (1999). "Cassette Culture". AllMusic. Archived from the original on 12 March 2018. Retrieved 4 February 2018.
- ^ "Archived copy". Archived from the original on 28 July 2014. Retrieved 19 July 2014.
{{cite web}}
: CS1 maint: archived copy as title (link) - ^ Pareles, Jon (11 May 1987). Cassette Underground, The New York Times
- ^ Tim Naylor, "C30, C60, C90, C21!", Record Collector, no. 393, 4 September 2011. Retrieved 29 October 2020. The sequel to the article is: Tim Naylor, "Home Taping is Thrilling Music", Record Collector, no. 462, 4 January 2017. Retrieved 29 October 2020.
- ^ VOD Records, Discogs. Retrieved 25 October 2020. See also: Interview with Frank Bull, The Wire, 18 April 2018. The founder of VOD Records talks about the label and about his cassette-culture online archive, Tape-Mag. Retrieved 25 October 2020.
- ^ Recordings, Truant (4 October 2019). "Cassette Tape Release of ØxØ in 2019".
- ^ Perry, Adam (18 May 2016). "First Base Tapes Forges a Young Boulder Scene in Old-School Style".
- ^ "Rhizome". 19 August 2009. Retrieved 22 November 2015.
Works cited
- James, Robin, 1992. Introduction. In Robin James (Ed.) Cassette mythos. Brooklyn, NY: Autonomedia.
- Jones, Steve, 1992. The Cassette Underground. In Robin James (Ed.) Cassette mythos. Brooklyn, NY: Autonomedia.
- McGee 1992. Cause and Effect. In Robin James (Ed.) Cassette mythos. Brooklyn, NY: Autonomedia.
- Minoy 1992. Mail Art and Mail Music. In Robin James (Ed.) Cassette mythos. Brooklyn, NY: Autonomedia.
- Pareles, Jon, Record-it-yourself Music On Cassette, New York Times, 11 May 1987.
- Produce, A., A short History of the Cassette. In Robin James (Ed.) Cassette mythos. Brooklyn, NY: Autonomedia.
- Staub, Ian Matthew, Redubbing the Underground: Cassette Culture in Transition (2010). Honors Theses - All. Paper 418. http://wesscholar.wesleyan.edu/etd_hon_theses/418
General references
- Thomas Bey William Bailey, Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society, Belsona Books Ltd., 2012
- Palmer, Robert, Pop Life: Electric Guitars, New York Times, 25 September 1985.
- Marvin @ Freealbums Various Artists - Tellus 1 & 2
- Goldsmith, Kenneth, Poetry Foundation Podcast: The Tellus cassettes Archived 31 July 2008 at the Wayback Machine
- Walls of Genius 1998. In Richie Unterberger's "Unknown Legends of Rock'n'Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More". Backbeat Books, San Francisco, also in Robin James (Ed.) Cassette Mythos. Brooklyn, NY: Autonomedia
- Weidenbaum, Marc, Classic Tellus Noise
External links
- Tape-Mag.com Launched at the beginning of 2018, an extremely extensive online archive of cassette-culture and related material.
- VOD Records Archived 1 August 2021 at the Wayback Machine Details of the company's extensive reissue programme of cassette-culture music from the 1970s and '80s.
- The Living Archive of Underground Music US cassettist Don Campau's site on the history of cassette culture.
- HalTapes US cassettist Hal McGee's site, including catalogues of a number of significant US tape labels.
- Xerox music: UK DIY and cassette culture, 1977-84 Facebook group
- 1980s-1990s Cassette Culture Archives Facebook group
- 2015 article on contemporary US cassette labels
- 2016 article on contemporary cassette label art