C86 (album)
| C86 | ||||
|---|---|---|---|---|
 |
||||
| Compilation album by various artists | ||||
| Released | 1986 | |||
| Recorded | 1985/86 | |||
| Genre | Indie pop, post-punk, indie rock, jangle pop | |||
| Label | Rough Trade, NME | |||
| Compiler | Neil Taylor, Adrian Thrills, Roy Carr | |||
| various artists chronology | ||||
|
||||
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic |   |
| Drowned in Sound | (9/10) |
| Stewart Lee | (favourable) |
| The Line of Best Fit | (8/10) |
| Pitchfork | (9.2/10) |
| PopMatters | (7/10) |
| The Quietus | (positive) |
C86 is a cassette compilation released by the British music magazine NME in 1986, featuring new bands licensed from British independent record labels of the time. As a term, C86 quickly evolved into shorthand for a guitar-based musical genre characterized by jangling guitars and melodic power pop song structures, although other musical styles were represented on the tape. In its time, it became a pejorative term for its associations with so-called "shambling" (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music) and underachievement. The C86 scene is now recognized as a pivotal moment for independent music in the UK, as was recognized in the subtitle of the compilation's 2006 CD issue: CD86: 48 Tracks from the Birth of Indie Pop. 2014 saw the original compilation reissued in a 3CD expanded edition from Cherry Red Records; the 2014 box-set came with an 11,500-word book of sleevenotes by one of the tape's original curators, former NME journalist Neil Taylor.
The C86 name was a play on the labelling and length of blank compact cassettes—commonly C60, C90 and C120—combined with 1986.
The tape was a belated follow-up to C81, a more eclectic collection of new bands, released by the NME in 1981 in conjunction with Rough Trade. C86 was similarly designed to reflect the new music scene of the time. It was compiled by NME writers Roy Carr, Neil Taylor and Adrian Thrills, who licensed tracks from labels including Creation, Subway, Probe Plus, Dan Treacy's Dreamworld Records, Jeff Barrett's Head Records, Pink, and Ron Johnson. Readers had to pay for the tape via mail order, although an LP was subsequently released on Rough Trade on 24 November 1986. The UK music press was in this period highly competitive, with four weekly papers documenting new bands and trends. There was a tendency to create and "discover" new musical subgenres artificially in order to heighten reader interest. NME journalists of the period subsequently agreed that C86 was an example of this, but also a byproduct of NME's "hip hop wars" - a schism in the paper (and among readers) between enthusiasts of contemporary progressive black music (for example, by Public Enemy and Mantronix), and fans of guitar-based music, as represented on C86.
...
Wikipedia