Column: Rock is not dead, Gene Simmons

“R ock is finally dead.”

Gene Simmons, eternal tongue-wagger and bassist for KISS, made this seemingly brash claim in a recent interview with Esquire , leaving the music community staggering.

Simmons’ declaration of rock’s death came as an immense affront to my personal ethos. Raised on the Gospel of Hard Rock, I believe in the power of loud guitars and fast drums. An inquiry into my favorite song is an exploration of my entire personality and worldview. To put it simply, rock music is who I am.

His argument, though, is more nuanced than the headlines. Simmons rules the death a murder: the result of illegal downloading and file-sharing.

Ultimately, Simmons blames file-sharing on a lack of patriotism. He conflates good citizenship with support of capitalist values, i.e., the legal purchase of music for the profit of artists.

Regardless of his political and fiscal opinions, Simmons’ thoughts reflect the truth of the mainstream music industry: it is dominated by mindless, synthetic dance-pop.

Major label executives produce and promote what sells. For whatever reason, our generation would rather rage to a poorly constructed Avicii anthem than engage in the glory of a well-written and emotionally evocative track.

Simmons goes on to lament the absence of craft.

“You’re better off not even learning how to play guitar or write songs and just singing in the shower and auditioning for ‘The X Factor,’” he said.

My issue with Simmons’ argument stems from his total disregard for independent artists and labels. Though not as prevalent on mainstream radio and media outlets, independent artists maintain their authenticity and credibility by refusing to adopt major label values.

Independent rock labels including 4AD, Rough Trade, Sub Pop and Merge have launched and maintained the careers of, among others, The Pixies, The Strokes, Nirvana and Arcade Fire, respectively.

As an intern with Durham-based Merge Records, I can personally attest to the flourishing output of independent artists.

Whether it’s the soaring chorus of Arcade Fire’s “Wake Up,” the oft-replicated soft/loud/soft song structure pioneered by The Pixies (hear: “Where is My Mind”) or the melodic rasp of Kurt Cobain in “About a Girl,” the spiritual influence of independent artists cannot be overestimated.

The idea of indie rock as a historic or fleeting concept is an illusion. Hundreds of talented artists play in the Triangle, from Raleigh’s Hopscotch Music Festival to shows at Cat’s Cradle.

I highly encourage any person who considers herself a supporter of quality music to legally purchase her favorite albums and attend local shows.

Rock lives and breathes through the musicians, producers, managers, label execs and lowly interns like myself who dedicate their lives to its existence. As long as kids are willing to spend their allowance on Marshall amps and hours learning the “Smoke on the Water” riff, rock music will never die.