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| '''Gothic music''' is a kind of music composed of a lot of genres |
'''Gothic music''' is a kind of music composed of a lot of genres. | ||
| === Post-Punk == | === Post-Punk === | ||
| During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, Patti Smith and The Damned 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. | 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. | ||
| ⚫ | Classic examples of post-punk outfits include Genghis Khan, The Sound, Section 25, Sad Lovers and Giants, The Chameleons, Orange Juice, The Psychedelic Furs, Devo, The Birthday Party, The Fall, Gang of Four, Public Image Limited, Siouxsie and the Banshees, Lords of the New Church, Joy Division, New Order, Killing Joke, Echo & the Bunnymen, The Cure, Bauhaus, Magazine, Wire, The Jesus and Mary Chain, Talking Heads, and Tubeway Army. Bands such as Crass also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: Magazine was formed by a member of Buzzcocks, for instance, and Public Image Ltd derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include Television, whose album Marquee Moon, 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 Sandinista!. | ||
| ⚫ | 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 ]. | ||
| ⚫ | Championed by late night BBC DJ John Peel and record label/shop Rough Trade (amongst others, including Postcard Records, Factory Records, Axis/4AD, Falling A Records, Industrial Records, Fast Product, and Mute Records), "post-punk" could arguably be said to encompass many diverse groups and musicians. | ||
| ⚫ | ], walking over her bass guitar during a concert.]] | ||
| ⚫ | 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 Pere Ubu, Suicide, Mission of Burma, and early Hüsker Dü, Australia's The Birthday Party and The Church, Ireland's U2 and The Virgin Prunes. | ||
| ⚫ | 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> | ||
| ⚫ | Kim Gordon of Sonic Youth, walking over her bass guitar during a concert. | ||
| ⚫ | 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 ]). | ||
| ⚫ | Around 1977, in North America, the New York-led No Wave movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as Teenage Jesus and the Jerks, Glenn Branca, Rhys Chatham, Mars, James Chance and the Contortions, DNA, Bush Tetras, Theoretical Girls, Swans, and Sonic Youth. The No Wave movement focused more on performance art than actual coherent musical structure. The Brian Eno-produced No New York compilation is considered the quintessential testament to the history of No Wave. |
||
| ⚫ | 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 The Cure and Siouxsie & the Banshees, evolved into gothic rock (formerly a style of the larger post-punk movement) and became identified with the goth subculture. Some shifted to a more commercial New Wave sound (such as Talking Heads), while others were fixtures on American college radio and became early examples of alternative rock (such as U2). | ||
| === 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 Joy Division. In 1979, Martin Hannett described Joy Division as "dancing music with Gothic overtones". The same year, Tony Wilson described the band as "gothic" on the television show Something Else. Not long after, the term was used in a derogatory fashion in reference to bands like Bauhaus and Siouxsie & the Banshees. However, the term was not adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982. In addition, Simon Reynolds identifies The Birthday Party and Killing Joke as essential proto-goth groups. Despite their legacy as progenitors of gothic rock, these groups disliked the label. Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fan base came from his milieu. | |||
| Siouxsie & The Banshees | |||
| Bauhaus's debut single "Bela Lugosi's Dead", released in late 1979, is considered to be the beginning of the gothic rock genre. Around the same time post-punk bands like Siouxsie & the Banshees and The Cure fully embraced the goth sound. With their fourth album, 1981's Juju, the Banshees established many of the classic Gothic qualities, lyrically and sonically. Steve Severin attributes the supernatural lyrical aesthetic of the album to the influence of The Cramps. The Cure were the most commercially successful of these groups, eventually recording two double platinum albums. The Cure's style was atmospheric and withdrawn, contrasting with their contemporaries The Birthday Party, who drew on funk music, blues, and spastic, violent turmoil. Their 1981 single "Release the Bats" was particularly influential in the scene. Killing Joke were originally inspired by Public Image Ltd.. borrowing from funk, disco, and dub music, and later, heavy metal. Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically-charged visual style. | |||
| Bauhaus live in concert 2006. | |||
| Gothic rock thrived in the early 1980s. Clubs such as the Batcave, in London, provided a venue for the goth scene. In 1982, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans. Southern Death Cult were themselves icons of the scene, drawing aesthetic inspiration from Native American culture. The group appeared on the cover of NME in October 1982. The emerging scene was described as "positive punk" in a February 1983 article in NME. Journalist Richard North described Bauhaus and Theatre of Hate 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." That year, myriad Goth groups emerged, including Flesh for Lulu, Play Dead, Rubella Ballet, Gene Loves Jezebel, UK Decay, Blood and Roses, The Virgin Prunes, and Ausgang. The 4AD label released music in a lighter, more ethereal style, by groups such as Cocteau Twins, Dead Can Dance, and Xmal Deutschland. The Icelandic group Kukl also appeared in this period, which included Björk and other musicians who later participated in The Sugarcubes. | |||
| Simon Reynolds speaks of a shift from early Goth to Gothic rock proper, advanced by The Sisters of Mercy. 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." The Sisters of Mercy, influenced by Leonard Cohen, Gary Glitter, Motörhead, The Stooges, The Velvet Underground, The Birthday Party, Suicide, and The Fall, created a new, harder form of Gothic rock. In addition, they incorporated a drum machine. Reynolds identifies their 1983 single "Temple of Love" as the quintessential Goth anthem of the year, along with Southern Death Cult's "Fatman". The group created their own record label, Merciful Release, which also signed The March Violets, who performed in a similar style. The Violets toured with The Danse Society, a group inspired by The Cure in their Pornography period. | |||
| === Dark Wave === | |||
| 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 ], ], ], ], ], ], ], ], ], ], ], ], ] and ]. | |||
| The movement spread internationally, spawning such developments as French coldwave. Coldwave described groups such as KaS Product, Martin Dupont, Asylum Party, Norma Loy, Clair Obscur, Opera Multi Steel, The Breath of Life, and Trisomie 21. Subsequently, different dark wave genres merged and influenced each other, e.g. electronic New Wave music (also called Electro Wave in Germany) with Gothic rock, or used elements of ambient and post-industrial music. Attrition,[ In The Nursery and Pink Industry (UK), Clan of Xymox (Netherlands), mittageisen (Switzerland), Die Form (France), and Psyche (Canada) played this music in the 1980s. German dark wave groups of the 1980s were associated with the Neue Deutsche Welle, and included Asmodi Bizarr, II. Invasion, Unlimited Systems, Mask For, Moloko †, Maerchenbraut, and Xmal Deutschland. In Italy bands like Litfiba and Diaframma was reaching also some commercial success. | |||
| Das Ich, a Neue Deutsche Todeskunst group. | |||
| == 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 Deine Lakaien, Love Is Colder Than Death, early Love Like Blood, and Diary of Dreams, as well as Project Pitchfork, and Wolfsheim. The Italians The Frozen Autumn, Ataraxia, and Nadezhda, the South African band The Awakening and the French Corpus Delicti, 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 Das Ich, Relatives Menschsein and Lacrimosa, developed a more theatrical style, interspersed with German poetic and metaphorical lyrics, called Neue Deutsche Todeskunst (New German Death Art). Other bands, such as Silke Bischoff, In My Rosary and Engelsstaub mingled dark synthpop or Goth rock with elements of the Neofolk or Neoclassical genres. | |||
| After 1993, in the United States, the term dark wave (as the one-word variant darkwave) became associated with the Projekt Records label, because it was the name of their printed catalog, and was used to market German artists like Project Pitchfork in the U.S. Projekt features bands such as Lycia, Black Tape for a Blue Girl, and Love Spirals Downwards, all characterized by ethereal female vocals. This style took cues from 1980s bands, like Cocteau Twins. This music is often referred to as Ethereal Darkwave. The label has also had a long association with Attrition, who appeared on the label's earliest compilations. Another American label in this vein was Tess Records, which featured This Ascension and Faith and the Muse. Clan of Xymox, who had returned to their 1980s sound, following almost a decade as the more synthpop Xymox, also signed to Tess in 1997. | |||
| Joshua Gunn, a professor of communication studies at Louisiana University, described American darkwave as | |||
| “ an expansion of the rather limited gothic repertoire into electronica and, in a way, the US answer to the 'ethereal' subgenre that developed in Europe (e.g. Dead Can Dance). 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, ambient experimentation, and synthesized sounds more akin to the brief 'shoegaze' movement in alternative rock than the punk styles of early gothic music. Projekt bands like Love Spirals Downward and Lycia are the most popular of this subgenre. | |||
Revision as of 04:57, 26 September 2009
| Gothic Music | |
|---|---|
| Stylistic origins | Post Punk, Alternative Rock. |
| Cultural origins | Late 1970's |
| Typical instruments | Electric Guitar, Bass Drums, Keyboard, Synthesizer, Violin, Cello, Flute. |
| Other topics | |
| Gothic Rock, Darkwave, Ethereal Wave, Neo Classical(Darkwave), Neo Folk, Post Punk, Dark Cabaret. | |
Gothic music is a kind of music composed of a lot of genres.
Post-Punk
During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, Patti Smith and The Damned 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.
Classic examples of post-punk outfits include Genghis Khan, The Sound, Section 25, Sad Lovers and Giants, The Chameleons, Orange Juice, The Psychedelic Furs, Devo, The Birthday Party, The Fall, Gang of Four, Public Image Limited, Siouxsie and the Banshees, Lords of the New Church, Joy Division, New Order, Killing Joke, Echo & the Bunnymen, The Cure, Bauhaus, Magazine, Wire, The Jesus and Mary Chain, Talking Heads, and Tubeway Army. Bands such as Crass also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: Magazine was formed by a member of Buzzcocks, for instance, and Public Image Ltd derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include Television, whose album Marquee Moon, 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 Sandinista!.
Championed by late night BBC DJ John Peel and record label/shop Rough Trade (amongst others, including Postcard Records, Factory Records, Axis/4AD, Falling A Records, Industrial Records, Fast Product, and Mute Records), "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 Pere Ubu, Suicide, Mission of Burma, and early Hüsker Dü, Australia's The Birthday Party and The Church, Ireland's U2 and The Virgin Prunes.
Around 1977, in North America, the New York-led No Wave movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as Teenage Jesus and the Jerks, Glenn Branca, Rhys Chatham, Mars, James Chance and the Contortions, DNA, Bush Tetras, Theoretical Girls, Swans, and Sonic Youth. The No Wave movement focused more on performance art than actual coherent musical structure. The Brian Eno-produced No New York compilation is considered the quintessential testament to the history of No Wave.
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 The Cure and Siouxsie & the Banshees, evolved into gothic rock (formerly a style of the larger post-punk movement) and became identified with the goth subculture. Some shifted to a more commercial New Wave sound (such as Talking Heads), while others were fixtures on American college radio and became early examples of alternative rock (such as U2).
- Masters, Marc (2008). No Wave. City: Black Dog Publishing. p. 9. ISBN 190615502X.