In the late 1980s and early 1990s, the indie music scene in North London was a vibrant, gritty, and often overlooked world. Photographer Joe Dilworth found himself immersed in this underground world, capturing the raw energy and uncompromising spirit of the bands that were shaping the alternative music landscape. His collection, "Everything, All at Once Forever," offers a unique glimpse into a bygone era, where success was not measured by commercial success, but by the sheer passion and determination of the artists.

Uncovering the Untold Stories of the Indie Music Scene

The Business-Minded Approach to Indie Music

Dilworth's conversation with a successful British rock band's drummer revealed a surprising perspective on the indie music scene. The drummer spoke of their "business plan," securing loans from their parents, and paying themselves a steady income until they were signed. This approach, which Dilworth describes as "treating it like a startup," was a stark contrast to the gritty, DIY ethos that had long defined the indie music world.

The Diverse and Challenging Sounds of the Indie Underground

Dilworth's photographs capture the diversity and challenging nature of the indie bands he encountered in the late 80s and early 90s. From the hypnotically repetitive, Krautrock-inspired sound of Stereolab to the lurching, combustible din of Silverfish, these bands represented a wide range of musical styles that were far removed from the mainstream. Dilworth's images convey the shock and awe of encountering these innovative sounds in the intimate confines of tiny venues, where the bands' sonic assaults often overwhelmed the venue's sound systems.

The Lack of Expectation and the Rejection of Aspirational Culture

Dilworth notes that the bands he photographed were marked by a distinct lack of expectation and a disregard for commercial success. Forming a band in the late 80s, he says, was "declaring yourself a total loser, actively saying that you were wasting your life." This sentiment, he argues, was a rejection of the "aspirational culture" that had taken hold in Britain during the Thatcher years, where success was measured by wealth and material possessions.

The Gritty Realities of the Indie Music Scene

Dilworth's photographs capture the gritty realities of the indie music scene in North London, from the dingy pubs and unruly gigs to the "rudimentary living conditions" of the bands themselves. The images convey a sense of a lost world, where the distinctive tang of cigarette smoke, sweat, and stale beer permeated the air of the grassroots gig venues. This was a far cry from the polished, sanitized world of mainstream music, and Dilworth's work serves as a powerful reminder of the sacrifices and struggles that defined the indie underground.

The Confrontational Spirit of the Indie Scene

Dilworth's recollection of visiting My Bloody Valentine in the studio, where the band's mastermind, Kevin Shields, was more concerned with making a "tent for his amplifier out of blankets" than adhering to the studio's schedule, speaks to the confrontational spirit that defined the indie scene. This disregard for commercial expectations and a willingness to challenge the status quo were hallmarks of the bands Dilworth documented, and his photographs capture the essence of this defiant, uncompromising attitude.

The Decline of the Indie Scene and the Rise of Britpop

Dilworth's photographic journey ends around 1993, the year that Britpop began to take hold, ushering in a very different attitude towards mass appeal and commerciality. This shift, combined with dramatic changes in the music industry and British society, marked the end of the era that Dilworth had so vividly documented. As he notes, "what came after was so kind of crushing," a testament to the profound impact that the Britpop era had on the indie underground.