Anti-Folk

Most of any one who has read this blog has heard me rave at some point over the years regarding the music genre known as anti-folk. Welp today I'm gonna BS, as usual about a subject I don't know much about but love to discuss. Most of you are familiar with some of the singles from this genre such as "Loser" and "Satan Gave Me A Taco" by Beck, "Anyone Else But You" by the Moldy Peaches thanks to the movie Juno, and "Samson" and "Oedipus" by Regina Spektor. Some names you might not (or might, what the hell do I know) may be Jeffrey Lewis and the Creeping Brains, Billy Bragg, and Ani Difranco.

The genre is generally a fusion of folk and punk, with other forms such as classical and rock having their influence. The albums themselves have little coherency even within themselves switching between post-punk and folkish/country styles. They are however highly experimental and eccentric and raw. The anti-folk scene though in the Lower East Side of NYC when Lach got the boot from Folk venues cause he was too punkish. Naturally, he started something new, and others joined in that scene. It's the artist who played in this scene that are associated with this form.

The lyrics "tend" to be contained within a voice of a defeat and anguish. Except the overtly punk ones. Some are even playful or whiney or both. Again, the genre tends defy any general characteristics, which is part of the beauty of it. One of my favorite quotes is by Jeffrey Lewis who said in an interview, "I think it’s a cool title (anti-folk). The fact that no one knows what it means, including me, makes it kind of mysterious and more interesting than saying that you’re a singer/songwriter or that you play indie rock." The lyrics content tends to vary greatly amongst artist, while they share a form of anti-pretentiousness and enjoyment through making fun of themselves (and others who take themselves too seriously, like many folk snobs, another dimension of "anti"-folk). Often times the songs are political or satirical or plain social commentary. Some nonsensically fun. Introspective ones have a strong presence as well. Again, oftentimes all within a single album giving them a disjunctive feeling. The textures of the words themselves and the imagery varies greatly, but are never simplistic and highly engaging in my opinion.

Most of the albums are produced via independent record labels, Rough Trade being by far the main one, but not necessarily. Many of these artist have also left the scene and explored other genres, like Beck obviously. As mentioned, it started as getting rejected by the Folk community. I don't know for sure, but... "anti-folk," coincidence? As it's so closely associated to a scene, my guess is that rather than trying to consciously compose music within a genre, it was more groups of like-minded people with similar taste indirectly influencing one another for the similarities in styles. This helps explain the continuities yet differences.

So, how 'bout a little less words and a lot more music?



A live recording from a song off the album The Moldy Peaches


From the album Mellow Gold



From the album Dilate