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| {{Infobox Music genre | |||
| | name = Gothic Music | |||
| | color = | |||
| | bgcolor = | |||
| | stylistic_origins = Post Punk, Alternative Rock. | |||
| | cultural_origins = Late ]'s | |||
| | instruments = ], ] ], ], ], ], ], ]. | |||
| | popularity = Largely underground until the mid and late 1980s; low since the mid 1990s. | |||
| | other_topics = ], ], ], ], ], ], ]. | |||
| }} | |||
| '''Gothic music''' is a kind of music composed by a lot of genres. | |||
| ==Post-Punk== | |||
| During the first wave of punk, roughly spanning 1974–1978, acts such as the ], ], ], ] and ] began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance. | |||
| {{wikinews|Vivien Goldman: An interview with the Punk Professor}} | |||
| Classic examples of post-punk outfits include ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], and ]. Bands such as ] also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: ] was formed by a member of ], for instance, and ] derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include ], whose album '']'', although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of the post-punk movement, most notably in their album '']''. | |||
| Championed by late night ] ] ] and record label/shop ] (amongst others, including ], ], ], ], ], ], and ]), "post-punk" could arguably be said to encompass many diverse groups and musicians. | |||
| The influence of this "new sound" was significantly carried throughout the world. Although many North American and other non-British bands failed to achieve worldwide recognition, some notable exceptions include North Americans ], ], ], and early ], Australia's ] and ], Ireland's ] and ]. | |||
| ], walking over her bass guitar during a concert.]] | |||
| Around 1977, in North America, the New York-led ] movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as ], ], ], ], ], ], ], ], ], and ]. The No Wave movement focused more on performance art than actual coherent musical structure. The ]-produced '']'' compilation is considered the quintessential testament to the history of No Wave.<ref>{{cite book | last = Masters | first = Marc | title = No Wave | publisher = Black Dog Publishing | location = City | year = 2008 | isbn = 190615502X |page = 9}}</ref> | |||
| The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably ] and ], evolved into ] (formerly a style of the larger post-punk movement) and became identified with the ]. Some shifted to a more commercial ] sound (such as ]), while others were fixtures on American ] and became early examples of alternative rock (such as ]). | |||
| ==Gothic Rock== | |||
| The term "gothic" was initially loosely applied to certain post-punk groups. In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like ]. In 1979, ] described Joy Division as "dancing music with Gothic overtones".<ref name="Reynolds, p. 420">Reynolds, p. 420.</ref> The same year, ] described the band as "gothic" on the television show '']''.<ref>Park, p. 127</ref> Not long after, the term was used in a derogatory fashion in reference to bands like ] and ].<ref>Reynolds, p. 420</ref> However, the term was not adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982.<ref name="Reynolds, p. 420"/> In addition, Simon Reynolds identifies ] and ] as essential proto-goth groups.<ref>Reynolds, p. 433</ref> Despite their legacy as progenitors of gothic rock, these groups disliked the label.<ref name=hannaham114>James Hannaham, p. 114.</ref> ]'s early work was also a major impetus for the gothic rock scene, and much of the fan base came from his milieu.<ref>Reynolds, p. 421.</ref> | |||
| ] | |||
| Bauhaus's debut single "]", released in late 1979, is considered to be the beginning of the gothic rock genre.<ref>Reynolds, p. 359</ref> Around the same time post-punk bands like ] and ] fully embraced the goth sound.<ref name="allmusic">. Allmusic.com. Retrieved on 15 January 2009.</ref> With their fourth album, 1981's '']'', the Banshees established many of the classic Gothic qualities, lyrically and sonically.<ref name=r428>Reynolds, p. 428.</ref> ] attributes the supernatural lyrical aesthetic of the album to the influence of ].<ref name=r428/> The Cure were the most commercially successful of these groups, eventually recording two ] albums.<ref name=riaa>RIAA Gold and Platinum searchable database. Access date: March 24, 2009.</ref> The Cure's style was atmospheric and withdrawn, contrasting with their contemporaries ], who drew on ], ], and spastic, violent turmoil.<ref>Reynolds, p. 429-431.</ref> Their 1981 single "]" was particularly influential in the scene.<ref>Reynolds, p. 431.</ref> ] were originally inspired by ]. borrowing from funk, ], and ], and later, ].<ref name=r435>Reynolds, p. 433-435.</ref> Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically-charged visual style.<ref name=r435/> | |||
| ] live in concert 2006.]] | |||
| Gothic rock thrived in the early 1980s. Clubs such as the ], in London, provided a venue for the goth scene.<ref>Park, p. 151.</ref> In 1982, ] of the band ] used the term "gothic goblins" to describe ]'s fans.<ref>Park, p. 150.</ref> Southern Death Cult were themselves icons of the scene, drawing aesthetic inspiration from ] culture. The group appeared on the cover of '']'' in October 1982.<ref>Reynolds, p. 422.</ref> The emerging scene was described as "positive punk" in a February 1983 article in ''NME''. Journalist Richard North described Bauhaus and ] as "the immediate forerunners of today's flood" and declared, "So here it is: the new positive punk, with no empty promises of revolution, either in the rock'n'roll sense or the wider political sphere. Here is only a chance of self awareness, of personal revolution, of colourful perception and galvanisation of the imagination that startles the slumbering mind and body from their sloth."<ref>North, Richard. "Punk Warriors." '']''. 19 February 1983.</ref> That year, myriad Goth groups emerged, including ], ], ], ], ], ], ], and ].<ref name=r431>Reynolds, p. 423, 431, 436.</ref> The ] label released music in a lighter, more ethereal style, by groups such as ], ], and ].<ref name=r431/> The Icelandic group ] also appeared in this period, which included ] and other musicians who later participated in ].<ref name=r431/> | |||
| Simon Reynolds speaks of a shift from early Goth to Gothic rock proper, advanced by ].<ref>Reynolds, p. 437.</ref> As journalist Jennifer Park puts it, "the original blueprint for gothic rock had mutated significantly. Doom and gloom was no longer confined to its characteristic atmospherics, but as the Sisters demonstrated, it could really rock."<ref name=park144>Park, p. 144.</ref> The Sisters of Mercy, influenced by ], ], ], ], ], ], ], and ], created a new, harder form of Gothic rock.<ref name=park145>Park, p. 145.</ref> In addition, they incorporated a ].<ref name=park145/> Reynolds identifies their 1983 single "]" as the quintessential Goth anthem of the year, along with Southern Death Cult's "Fatman".<ref>Reynolds, p. 438.</ref> The group created their own record label, Merciful Release, which also signed ], who performed in a similar style.<ref name=park147>Park, p. 147.</ref> The Violets toured with ], a group inspired by The Cure in their '']'' period.<ref name=park147/>. | |||
| ==Dark Wave== | |||
| '''Dark wave''', also written as '''darkwave''', is a ] that began in the late 1970s, coinciding with the popularity of ] and ]. Building on those basic principles,<ref>Arvid Dittmann · Artificial Tribes · Jugendliche Stammeskulturen in Deutschland · Page 139 · 2001 · ISBN 3-933773-11-3</ref> dark wave added dark, introspective lyrics and an undertone of sorrow for some bands. In the 1980s, a subculture developed alongside dark wave music, whose members were called "wavers"<ref>Klaus Farin · Die Gothics · Interview with Eric Burton from the German music group Catastrophe Ballet · Page 60 · 2001 · ISBN 3-933773-09-1</ref><ref>Peter Matzke / Tobias Seeliger · Gothic! · Interview with Bruno Kramm from the German music group Das Ich · Page 217 · 2000 · ISBN 3-89602-332-2</ref> or "dark wavers".<ref>Glasnost Wave-Magazin · Heft-Nr. 21 · Interview with the music group ] · Page 8 · May 1990</ref><ref>Glasnost Wave-Magazin · Heft-Nr. 31 · Review for an album of the music group Calling Dead Red Roses · Page 34 · January/February 1992</ref> | |||
| The British post-punk groups that inspired ] provided initial impetus for the movement. As a result, dark wave is linked to the ].<ref></ref><ref></ref> | |||
| '''1980s''':The term was coined in Europe in the 1980s to describe a dark and melancholy variant of New Wave and post-punk music, such as Gothic rock and dark Synthpop, and was first applied to musicians such as ],<ref>Peter Matzke / Tobias Seeliger · Das Gothic- und Dark-Wave-Lexikon · Page 39 · 2002 · ISBN 3-89602-277-6</ref> ],<ref>New Life Soundmagazine · Issue No. 38 · Description of the single "Love Will Tear Us Apart“ · Page 10 · November 1988</ref><ref name=autogenerated2>Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1</ref><ref>Peter Jandreus, ''The Encyclopedia of Swedish Punk 1977-1987'', Stockholm: Premium Publishing, 2008, p. 11.</ref> ],<ref name=autogenerated2 /><ref name=autogenerated1>Ingo Weidenkaff · Jugendkulturen in Thüringen · Die Gothics · Page 41 · 1999 · ISBN 3-933773-25-3</ref> and ],<ref name=autogenerated2 /> ],<ref name=autogenerated2 /> ],<ref>Lucas Hilbert, Amazon.co.uk product description. Access date: March 8, 2009.</ref> ], ], ], ], ], ], ] and ].<ref name=autogenerated1 /> | |||
| The movement spread internationally, spawning such developments as French ]. Coldwave described groups such as ],<ref>Mick Mercer, ''Gothic Rock'', Los Angeles: Cleopatra Records, p. 112.</ref> Martin Dupont, Asylum Party, Norma Loy, Clair Obscur, ], ], and ]. Subsequently, different dark wave genres merged and influenced each other, e.g. electronic New Wave music (also called ] in Germany) with Gothic rock, or used elements of ] and ]. ],<ref name="sordid">{{cite web | |||
| |url=http://sortedmagazine.com/archive/magazine/sordid/attrition.htm | |||
| |publisher=Sorted magAZine | |||
| |title=Composing noises | |||
| |date=1999 | |||
| }}</ref> ] and ] (UK), ] (Netherlands), ] (Switzerland),<ref> | |||
| {{cite web | |||
| |url=http://www.sortedmagazine.com/archive/magazine/sordid/feb99.htm#mittag | |||
| |title=Sordid Reviews February 1999 | |||
| |author=Donnacha DeLong | |||
| |publisher=Sorted magAZine | |||
| |date=1999 | |||
| }}</ref> ] (France), and ] (Canada) played this music in the 1980s. German dark wave groups of the 1980s were associated with the ], and included Asmodi Bizarr, II. Invasion, Unlimited Systems, Mask For, Moloko †, Maerchenbraut,<ref name=kilpatrick>Kilpatrick, Nancy. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, ISBN 0-312-3069602, p. 85.</ref> and Xmal Deutschland. | |||
| In Italy bands like ] and ] was reaching also some commercial success. | |||
| ] | |||
| '''1990s''':After the new wave and post-punk movements faded in the mid-1980s, dark wave was renewed as an underground movement by German bands such as ],<ref name=kilpatrick/><ref></ref> ], early ],<ref>Glasnost Wave-Magazin · Issue No. 23 · Interview with the German music group Love Like Blood · Page 13 · September 1990</ref> and ],<ref name=mercer>Mercer, p. 34-46.</ref> as well as ],<ref name=kilpatrick/> and ].<ref></ref> The Italians ], ], and Nadezhda,<ref>Mercer, p. 55-61</ref> the South African band ] and the French ], also practiced the style. All of these bands followed a path based on the New Wave and post-punk movements of the 1980s. At the same time, a number of German artists, including ],<ref name=kilpatrick/><ref name=mercer/> ] and ], developed a more theatrical style, interspersed with German poetic and metaphorical lyrics, called ''Neue Deutsche Todeskunst'' (''New German Death Art''). Other bands, such as ], ] and ] mingled dark synthpop or Goth rock with elements of the ] or ] genres.<ref name=mercer/> | |||
| After 1993, in the United States, the term dark wave (as the one-word variant ''darkwave'') became associated with the ] label, because it was the name of their printed catalog, and was used to market German artists like ] in the U.S. Projekt features bands such as ], ], and ], all characterized by ethereal female vocals.<ref>Mercer, p. 136-144.</ref> This style took cues from 1980s bands, like ]. This music is often referred to as ].<ref>Glasnost Wave-Magazin · Issue No. 42 · Description of the bands ], ] and others · Pages 32/34 · Germany · April 1994</ref> The label has also had a long association with ], who appeared on the label's earliest compilations. Another American label in this vein was Tess Records, which featured ] and ].<ref name=kilpatrick2>Kilpatrick, Nancy. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, ISBN 0-312-3069602, p. 90.</ref> ], who had returned to their 1980s sound, following almost a decade as the more synthpop ], also signed to Tess in 1997. | |||
| Joshua Gunn, a professor of communication studies at Louisiana University, described American darkwave as | |||
| {{cquote|an expansion of the rather limited gothic repertoire into electronica and, in a way, the US answer to the ']' subgenre that developed in Europe (e.g. ]). Anchored by Sam Rosenthal's now New York-based label, Projekt, Darkwave music is less rock and more roll, supporting bands who tend to emphasize folk songcraft, hushed vocals, ] experimentation, and synthesized sounds more akin to the brief ']' movement in ] than the punk styles of early gothic music. Projekt bands like Love Spirals Downward and Lycia are the most popular of this subgenre.<ref name=kilpatrick2/>}} | |||
| ] | |||
| '''Wave-atypical influences''': | |||
| A number of other U.S. bands mixed elements of dark wave and ] with later developments in electronic music. ], ], and ] incorporated elements of ], while ] combined a range of contemporary ] elements with their synth-based ] style. | |||
| ==Death Rock== | |||
| Deathrock songs use simple chords, echoing guitars, a prominent bass, and drumming which emphasizes repetitive, post-punk and tribal beats within a 4/4 time signature. To create atmosphere, scratchy guitars, spooky or sinister synths, and experimentation with other instruments are sometimes used. Lyrics can vary, but are typically introspective, surreal, and deal with the dark themes of isolation, disillusionment, loss, depression, life, death, etc.; as can the style, varying from harsh and melancholic, to upbeat, melodic and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films, which in turn leads some bands to adopt elements of rockabilly and surf rock. | |||
| The frequently simplistic song structures, heavy atmosphere and rhythmic music place a great demand on lead vocalists to convey complex emotions, so deathrock singers typically have distinctive voices and strong stage presences. | |||
| Despite the similar sounding names, deathrock has no connection to the similarly named death metal (aside from occasionally similar lyrical themes), which is an extreme subgenre of heavy metal. | |||
| ==Ethereal Wave== | |||
| '''Ethereal wave'''<ref name="Glasnost42">Glasnost Wave magazine, issue #42, p.32/34, genre classification of the bands ] (album: "Ghost Forest"), ] (album: "Light and Shade"), ] (album: "Eating the Sea"), ] and ], Germany, April 1994</ref>, also called '''ethereal darkwave'''<ref></ref> in ] and '''ethereal goth'''<ref name="Propaganda19">Propaganda music magazine, issue #19, p.19, New York, September 1992</ref> or simply '''ethereal'''<ref>Propaganda music magazine, issue #19, p.49, New York, September 1992</ref> in the ], is a term that describes a subgenre of ] music<ref name="Relevant Music"></ref>. Developed in 1983/1984 as an outgrowth of ], ethereal was mainly represented by bands such as ]<ref name="Glasnost44">Glasnost Wave magazine, issue #44, p.11, interview with William Faith (], ]), November/December 1994</ref> (e.g. "Five Ten Fiftyfold", "The Spangle Maker", "Otterley", "Pink Orange Red" and "Ribbed and Veined") and early ] (e.g. "The Fatal Impact", "The Arcane"). | |||
| Typical of this kind of music is the use of atmospheric guitar soundscapes, including sound effects like echo and delay. A second typical characteristic is the use of breathy male or high register female vocals – often with hard-to-decipher lyrical content – and a strong influence of ].<ref name="Relevant Music"/> The website "A Study of Gothic subculture" describes it as being ''"most characterized by soprano female vocals combined with bass, lead guitar, and drums which creates a surreal, angelic or otherworldly effect e.g. Love Spirals Downwards, Cocteau Twins. Sometimes, a male vocalist will also be in the group along with the female vocalist. Even more rarely will there be only a male vocalist, but it is still considered ethereal if the mood created is otherworldly and surreal. The background music can also be electronic or soundscape oriented. It is currently a small division of music, and people who like this music are often called Goths."''<ref name="Relevant Music"/>. | |||
| There are overlaps between ''ethereal wave'', ] and ], with many artists being heavily influenced by ] bands, Dead Can Dance, Cocteau Twins, and ], as well as early ] and ]. The American Ethereal group ] for example described their music as follows: ''"A product of influences such as the Cocteau Twins, ], ], ], and Dead Can Dance, use a blend of ambient music, shoegazer style guitars, synths and sequenced rhythms."''<ref>Description from the official homepage of Siddal; see also the official site concerning influences</ref> | |||
| Ethereal is strongly associated with the ] label, which features some of the most well known names of the US scene. Other labels that feature some of the leading lights of the movement are ]<ref name="kilpatrick2"/> (]), ] (]) and ] (]). | |||
| ==Neo Folk== | |||
| '''Neofolk''' is a form of ]-inspired experimental music that emerged from ] music circles. Neofolk can either be solely acoustic folk music or a blend of acoustic folk instrumentation aided by varieties of accompanying sounds such as pianos, strings and elements of ] and ]. The genre encompasses a wide assortment of themes including traditional music, ], ] and ]. Neofolk musicians often have ties to other genres such as ] and ]. | |||
| == Neoclassical (Dark Wave) == | |||
| Neoclassical Dark Wave refers to a music genre within the Dark Wave movement. It is characterized by the use of ethereal atmosphere and angelic female voices but also adds strong influences from classical music. But Neoclassical Dark Wave is distinct from the academic art music form known as neoclassical music, a style of classical music dating from the early twentieth century which emphasized formal perfection, elegance of style and purity of taste. In the context of popular music the term 'neoclassical' is frequently used to refer to music influenced by classical (including elements from the baroque, classical, romantic, impressionistic music), including styles like Neoclassical Dark Wave as well as Neoclassical metal and Neoclassical new age. | |||
| ==Dark Cabaret== | |||
| Dark cabaret may be a simple description of the theme and mood of a Cabaret performance, but more recently has come to define a particular musical genre which draws on the aesthetics of the decadent, risqué German Weimar-era cabarets, burlesque and Vaudeville shows with the stylings of post-1970s goth and punk music. | |||
| ==Gothic Metal== | |||
| ] is not a Gothic Subculture's music style because it isn't a subgenre of post-punk or even of gothic rock, though lot of ] members listen to it. | |||
| ==References== | |||
| {{Reflist}} | |||
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