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| {{Infobox Music genre | |||
| |name=Gothic | |||
| |bgcolor=crimson | |||
| |color=white | |||
| |stylistic_origins=] | |||
| |cultural_origins=Late 1970s, ] | |||
| |instruments=] - ] - ] - ] - ] | |||
| |popularity=Largely underground until the mid and late 1980s; low since the mid 1990s. | |||
| |derivatives= ] | |||
| |fusiongenres=] - ] - Gothabilly | |||
| |other_topics=] - ] - ] | |||
| }} | |||
| '''Gothic''' (also referred to as '''gothic rock''', '''goth rock''' or simply '''goth''') is a musical subgenre of ] that formed during the late 1970s. Gothic bands grew from the strong ties they had to the English ] and emerging ] scenes. The genre itself was defined as a separate movement from punk rock during the early 1980s largely due to the significant stylistic divergences of the movement; gothic, as opposed to punk, combines dark, often keyboard-heavy music with introspective and depressing lyrics. Notable gothic bands include ], ], ], ], and ], among many others. Gothicgave rise to a broader ] that includes clubs, various fashion trends and numerous publications that grew in popularity in the 1980s and continues to thrive today. | |||
| ==Style, roots and influences== | |||
| Gothic takes the guitar and synthesizer sounds of ] and uses them to construct "foreboding, sorrowful, often epic soundscapes".<ref name="allmusic">. Allmusic.com. Retrieved on 15 January 2009.</ref> According to music journalist ], standard musical fixtures of the genre include "scything guitar patterns, high-pitched basslines that often usurped the melodic role; beats that were either hypnotically dirgelike or 'tribal'".<ref name="Reynolds423"/> Reynolds described the vocal style as consisting of "deep, droning alloys of ] and ]".<ref name="Reynolds423">Reynolds, p. 423</ref> Many goth bands use ]s that do not stress the ] in the rhythm.<ref name="Charlton353">Charlton, p. 353</ref> Siouxsie and the Banshees tended to play the ] guitar effect, producing a brittle, cold, and harsh sound that contrasted with their ] predecessors.<ref>Reynolds, p. 426.</ref> | |||
| ] | |||
| Gothic rock typically deals with dark themes addressed through lyrics and the music atmosphere. The poetic sensibilities of the genre led gothic lyrics to exhibit literary romanticism, morbidity, religious symbolism, and/or supernatural mysticism.<ref name="allmusic" /> Musicians who initially shaped the aesthetics and musical conventions of gothic include ], ], ], and ].<ref>Park, p. 118-125.</ref> ]'s 1969 album, '']'', was also particularly influential.<ref>Richie Unterberger, ''The Marble Index'' review, Allmusic. Access date: March 8, 2009.</ref> Gothic rock creates a dark atmosphere by drawing influence from the ] used by ] group ], and many goth singers are influenced by the "deep and dramatic" vocal timbre of ], albeit singing at even lower pitches.<ref name="Charlton353" /> ] was a strong lyrical influence for many of the early Gothic rock groups; ] drew on ] and ].<ref>Reynolds, p. 428-429.</ref> | |||
| ==History== | |||
| ===Origins and early development=== | |||
| 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 Joy Division. In 1979, ] described Joy Division as "dancing music with Gothic overtones".<ref>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>Reynolds, p. 420.</ref> In addition, Simon Reynolds identifies ] and ] as essential proto-goth groups.<ref>Reynolds, p. 433</ref> Despite their legacy as progenitors of gothic, these groups disliked the label.<ref name=hannaham114>James Hannaham, p. 114.</ref> ]'s early work was also a major impetus for the gothic scene, and much of the fan base came from his milieu.<ref>Reynolds, p. 421.</ref> | |||
| ] live in concert 2006.]] | |||
| Bauhaus's debut single "]", released in late 1979, is considered to be the beginning of the gothic genre.<ref>Reynolds, p. 359</ref> Around the same time post-punk bands like ] and ] fully embraced the goth sound.<ref name="allmusic" /> With their fourth album, 1981's '']'', the Banshees established many of the classic Gothic qualities, lyrically and sonically.<ref>Reynolds, p. 428.</ref> ] attributes the supernatural lyrical aesthetic of the album to the influence of ].<ref>ibid.</ref> 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>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>ibid.</ref> | |||
| 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 ], ], ], ], ], ], ], Theater of Hate, and ].<ref>Reynolds, p. 423, 431, 436.</ref> The ] label released music in a lighter, more ethereal style, by groups such as ], ], and ].<ref>ibid.</ref> The Icelandic group ] also appeared in this period, which included ] and other musicians who later participated in ].<ref>ibid.</ref> | |||
| 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/> | |||
| ===Subsequent developments=== | |||
| ], Live at the Agra Hall, Leipzig, Germany 2008.]] | |||
| Southern Death Cult reformed as ], a more conventional ] group.<ref>Reynolds, p. 438.</ref> In their wake, ], which included two former members of The Sisters of Mercy, achieved commercial success in the mid-1980s,<ref>Chris True, God's Own Medicine review, Allmusic. Access date: January 14, 2009.</ref> as did ] and ].<ref>Mercer 1994, p. 63.</ref> Bands who continue to be associated with gothic rock include ], ], ], ], ], ], ], ], ], ], ], and ].<ref>Mercer 1996, p. 78-95.</ref> | |||
| American gothic rock began with ] and ], both of whom were strongly influenced by ].<ref>Mercer 1988, p. 60.</ref> This style is often described as ].<ref>Kilpatrick, Nancy. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, ISBN 0-312-3069602, p. 89.</ref> European groups inspired by the style have also proliferated, including ]<ref>Mercer 1998, p. 56-57.</ref> and ].<ref>Michael Sutton, Clan of Xymox bio, Allmusic. Access date: January 14, 2009.</ref> These groups are associated with ], which draws on Gothic rock in addition to ] and ].<ref name="sordid">{{cite web | |||
| |url=http://sortedmagazine.com/archive/magazine/sordid/attrition.htm | |||
| |publisher=Sorted magAZine | |||
| |title=Composing noises | |||
| |date=1999 | |||
| |accessdate=2009-04-26 | |||
| }}</ref> | |||
| ==See also== | |||
| *] | |||
| *] | |||
| *] | |||
| ==Footnotes== | |||
| {{reflist|2}} | |||
| ==References== | |||
| *]. "Bluffer's Guide to Goth." '']''. 30 November 1991. | |||
| *Charlton, Katherine. ''Rock Music Styles''. Fourth edition. McGraw-Hill, 2003. ISBN 0-07-249555-3 | |||
| *Furek, Maxim W. "The Death Proclamation of Generation X: A Self-Fulfilling Prophesy of Goth, Grunge and Heroin." i-Universe, 2008. ISBN 978-0-595-46319-0 | |||
| *Hannaham, James. "Bela Lugosi's Dead and I Don't Feel So Good Either". ''Gothic''. Boston: MIT Press, 1997. | |||
| *Kilpatrick, Nancy. ''The Goth Bible: A Compendium for the Darkly Inclined''. Chapter 5, "Music of the Macabre: In the Beginning ..." New York: St. Martin's Griffin, 2004. | |||
| *Mercer, Mick. ''Gothic Rock''. Los Angeles: Cleopatra Records, 1994. | |||
| *Mercer, Mick. ''Gothic Rock Black Book''. London: Omnibus Press, 1988. | |||
| *Mercer, Mick. ''The Hex Files: The Goth Bible''. Woodstock: Overlook Press, 1996. ISBN 0-87951-783-2 | |||
| *Park, Jennifer. "Melancholy and the Macabre: Gothic Rock and Fashion". ''Gothic: Dark Glamour'' by ] and Jennifer Park. Yale University Press, 2008. | |||
| *Reynolds, Simon. ''Rip It Up and Start Again: Postpunk 1978-1984''. Chapter 22: "Dark Things: Goth and the Return of Rock." London: Faber and Faber, 2005. ISBN 0-571-21569-6 | |||
| ==External links== | |||
| StylusMagazine.com article on gothic rock. | |||
| {{Alternativerock}} | |||
| {{Goth subculture}} | |||
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Latest revision as of 10:42, 22 October 2009
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