birth of the flattened cool: the origins of the indie voice?

as for actually influential, i didn't notice modern lovers era jonathan richman mentioned yet.

Yeah, Ian Curtis is much more dramatic. He's not operatic, obviously, but I think his style comes from some kind of Romantic traditions. I thought about Neil Young, but I hesitated to include him (in what is a pretty subjective and flawed classification system) because I don't think there's anything "cool" about his singing. I don't get detachment or irony or anything like that from him. I'd put him more squarely in the naive/primitivist camp.

And Mose Allison is a great call -- maybe as a successor to the Hoagy Carmichael technique discussed above?

(xpost)
But was Billie's singing self-conscious? A limited range, yeah, but I guess she's always seemed pretty heart-on-sleeve to me. Maybe I'm hearing her wrong.

Billie & self-consciousness: I thought about the whole "irony" thing before posting her, but I wonder if its an essential aspect of the indie voice. So much of indie is unbearably earnest...though I'm more than willing to admit I may have missed the memo that gave earnestness solely to emo.

Also, Billie could certainly deliver a knowing wink when a song called for it...is that close enough? ;)

Dave Gilmour's voice (Pink Floyd) is often described as "drab" or
"monotone." I don't hear that, but maybe he's an influence, nevertheless

I'm inclined to think that the "indie voice" is not a genuine phenomenon.
Instead, what you might call "indie" singing comes from some bigger
democratizing principle in modern music. It's okay to be not be that talented,
in some respects. Weekend poets, karaoke fans, and other average joes
who would normally remain nonsingers have latched onto this DIY attitude
and stepped up to the mic. I think today you see a laxness (which is really
just a diverseness; the dedicated, Singers with a capital S are still out there
too) in quality control all across the genre board. I think duke sprinkler used
the word "unashamed."

Of course, I'm sure there ARE plenty of singers who sing "indie" on
purpose. But how many are in truth like Pavement's Steve Malkmus,
who has confessed that he sings "indie" because he can't really
sing in tune.

The emo voice is the possibly worst thing to happen to music in the past few years, along with the "nasal, whiny pop-punk voice". I'll take the "flat, disaffected indie voice" any day.

Oh yeah, and they just couldn't sing.

The evolution of the "Heroin voice" could be traced also, the relaxed, "I am just about to fall head first into my pudding but I must deliver this phrase before the producer will let me do it" voice (See Billie Holliday, Lou Reed, Mazzy Star, SP* etc)

this comment way way upthread confused me. i'm wondering how you think lennon was distanced from either of the two songs you mentioned, or from other songs of that era. "rain" sounds to me like a sincere delivery of a rather straightforward lyric. "norwegian wood" is a slightly more puzzling lyric, but what is it in the vocal that you read as distancing?

i'd argue quite the opposite -- that paul was the one who was distanced from a lot of his beatles material. he was often great, but at his worst, on something like "rocky raccoon," he comes across to me like he thinks his own songs are jokes, and he's just trying to put one over on us.

but i wouldn't put either john or paul into the "flattened cool" category, whatever we're trying to make it mean. they both had considerable vocal gifts, and they used them to full effect most of the time. they were singing!

i do think he's forebear to this kind of thing which i think spittle was getting at, but maybe just in attitude/appearance.

Yeah, of course the Beatles were singing. I never meant to imply that anybody wasn't "singing", it's more the how of it. (It's true that several of the people referenced had limited ranges, but that's not exactly a requirement.) I think mid-period-Beatles is when Lennon starts to get arch and disaffected -- it's his moodiest, most mysterious phase (and my favorite Beatles stretch). And I think his singing changed -- partly under Dylan's influence, which he acknowledged, but more generally in what he was conveying with his voice. His sneer on "Rain" is almost punkish ("they might as well be dead"), and "Norwegian Wood" and "Girl" in particular operate from a sort of jaded, knowing vantagepoint -- again, not just in the lyrics but in the vocal approach -- that I think does connect to this other (at that time, emerging) style.

By the way, am I the only one who thinks he burns the house down at the end of "Norwegian Wood"? People always look at me weird when I ask that.

but for flat, affectless singing, noodle vague nailed it by bringing up nico.

Magnetic Fields are obviously a motherlode of flattened indie affect.

yes, totally, and what i meant to refer to specifically before. he even put on a few pounds then, right? he got to be a bored 'bad boy', still probably looking for the next inspiration, but:
"oh, i guess i write really good songs, guess i'm making history, zzzzzzz"
and then yes, orbit, on to heroin eventually.

the "flat, cool" sound was not an accident, imho. i mean the examples of flat and cool given here are so obvious, i mean nico for god's sake....

Yeah but the indie singing we're talking about is a limited voice NOT stretched to its limits through the application of ingenuity and craft. I don't think the typical indie singing style sounds anything like Billie Holiday.

I suspect Orbit is right about the importance of heroin.

Amen.

"clipped diction" = good name for pop punk band

they couldn't sing; or they were too blissed out to have intonation (the pudding theory) and that is what became "cool", emulated, repeated, associated with hip--and now we have the result: flat indie voice[tm]