Folk music, by its very nature, defies singular definition. The term “folk” acts now almost as an umbrella term, encompassing a vast array of sub-genres – each with its own distinct character. From the introspective intimacy of indie-folk to the experimental spirit of free-folk and the pop-infused melodies of folk-pop, the genre thrives on its inherent flexibility. This study focuses on a specific subgenre ‘folktronica’ that emerged alongside these sub-genres during the early 1990s folk revival. Folktronica, a subgenre of indie and alternative music that emerged in the early 1990s, juxtaposes traditional folk instrumentation and lyrical themes with electronic music production techniques. This fusion creates a soundscape that bridges the organic and synthetic realms (Reynolds, 2011).
This revival arose amidst a rock-dominated music scene, a stark contrast to the “great boom” of American folk music witnessed in the mid-1950s to mid-1960s (Rosenberg, 1993, pp. 2-3). However, that earlier revival met its demise with Bob Dylan’s controversial electrification at the 1965 Newport Folk Festival. “Electric Dylan” (Wald, 2015) sent shockwaves through the folk community, dividing purists who saw it as a betrayal of the genre’s traditional acoustic roots. Dylan’s political alignment with the New Left further complicated the issue. His embrace of electric instrumentation alienated those who saw folk music as a pillar of authenticity, and further angered the New Left as they had lost the political figure they saw in Dylan through this shift.
Fast forward to the present day, and the landscape and audience reaction has dramatically shifted. Contemporary artists like Bon Iver, Francis and the Lights, The Japanese House, and Phoebe Bridgers are celebrated for seamlessly blending their folk sensibilities with contemporary genres like punk, pop, electronic music, and even hip-hop (Keenan, 2003). This willingness to experiment and push boundaries exemplifies the enduring spirit of folk music – a genre that thrives on evolution and reinterpretation. Bruno Nettl and Helen Myers, in their seminal work Folk Music in the United States (1976), declare that ‘folk culture is inherently dynamic’, undergoing ‘continuous evolution’. While the influence of the past remains evident, the practices and aesthetics of folk music are subject to ongoing transformation, driven by both the active participants in the tradition and the scholars who study its ever-evolving repertoire.
The focus of this work is to delves into the way contemporary indie musicians within the genre of ‘Folktronica’ utilise extreme processing techniques like the use of harmonisers, formant and pitch shifting within their music. I will be doing so alongside three supported case studies, wherein I have recreated tracks from the stated artists as per the practical output of my project. These artists will be Bon Iver, The Japanese House and Imogen Heap, however I will also be delving into techniques used by other artists within the genre.
Furthermore, I will explore and discuss the ramifications of these techniques and of the ‘Digital Voice’ on the established association with authenticity and emotional expression within music, begging the question – ‘By manipulating the human voice through extreme processing, does the act of vocalisation lose its physicality and the emotional resonance traditionally associated with the embodied voice?’.
Literature review must compare sources and provide answer to question: By manipulating the human voice through extreme processing, does the act of vocalisation lose its physicality and the emotional resonance traditionally associated with the embodied voice?’.
