As we’ve discussed, whether you believe indie sleaze was real or not, it clearly existed on a spectrum. At least, the music did. It ranged from jangly indie rock to melancholy acoustic indie to sleazy pop and electroclash to electronic dance music and much more. Overall, indie sleaze was obsessed with a kind of purposeful neglect that resulted in debauchery chic, a hit at clubs that didn’t look too closely at fake IDs.
And if all of that sounds like made-up nonsense, you’re right. But it was also one of those things you just had to be there for. These three albums were staples of the budding indie sleaze aesthetic at the time. But at 21 years old, they now have more options for partying beyond the sketchy club downtown that keeps getting busted for serving alcohol to minors.
‘LCD Soundsystem’ by LCD Soundsystem
LCD Soundsystem debuted in January 2005 with a self-titled album that tapped into the dance-rock elements of indie sleaze. The single “Daft Punk is Playing at My House” reached No. 1 in the U.K., and was nominated for a Grammy Award in 2006. Additionally, the album was nominated for Best Electronic/Dance Album at the Grammys, but lost out to The Chemical Brothers. Still, this immediate recognition set LCD Soundsystem up to make it big in electronic indie rock, and dominate the adjacent indie sleaze scene.
‘Human After All’ by Daft Punk
Daft Punk’s third album Human After All was also in the running for Best Electronic/Dance Album at the Grammys after its release in March 2005. Despite this recognition, critics were conflicted about this album. On one hand, it was a minimalist departure from the duo’s previous work. But on the other, it was darker and more experimental. Those differences aligned it with the indie sleaze scene, which embraced darker, offbeat imagery. Indie sleaze, as stated in its name, was all about the glamor of debauchery. A darker turn for Daft Punk was just what the underground DJ ordered, so to speak.
‘Plans’ by Death Cab For Cutie
Because indie sleaze was a spectrum, there was plenty of room for dour acoustic sensitivity. And no one did that better than Death Cab for Cutie. Their fifth album, Plans, released in August 2005, featured the beloved singles “I Will Follow You Into the Dark” and “Soul Meets Body”. Essentially, Plans catapulted Death Cab into the mainstream indie rock scene, which is an oxymoron of the worst caliber. Still, this album brought them to a wider audience at the same time that it saturated the indie sleaze scene. Can something be mainstream and underground at the same time? And isn’t that the entire concept of indie sleaze?
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