Dark clothes. Dark eyeliner. Dark lips. Dark thoughts. And dark music. That's goth. A scene as much as a music genre. The music style ranged from synth-pop, though post-punk to heavy metal and industrial metal, but tended to be dark and brooding and atmospheric.
Wikipedia:
Gothic rock (alternately called goth-rock or goth) is a style of rock music that emerged from post-punk in the late 1970s. The first post-punk bands which shifted towards dark music with gothic overtones include Siouxsie and the Banshees,[1][2] Joy Division,[1][2][3] Bauhaus,[1][2] and the Cure.[1][2]
The genre itself was defined as a separate movement from post-punk due to its darker music accompanied by introspective and romantic lyrics. Gothic rock then gave rise to a broader subculture that included clubs, fashion and publications in the 1980s.
AllMusic: Frequently misunderstood in its aesthetics and misapplied as a term, goth rock is an offshoot of post-punk that existed primarily during the early to mid-'80s. Its reputation as the darkest and gloomiest form of underground rock is largely deserved, though today that reputation stems more from the visual theatricality of its bands and black-clad followers. Sonically, goth rock took the cold synthesizers and processed guitars of post-punk and used them to construct foreboding, sorrowful, often epic soundscapes. Early on, its lyrics were usually introspective and intensely personal, but its poetic sensibilities soon led to a taste for literary romanticism, morbidity, religious symbolism, and/or supernatural mysticism. Goth rock was generally not a critically acclaimed style, given its penchant for florid poetry, relentlessly mournful dirges, and melodramatic excess. However, it spawned a devoted, still-thriving subculture that kept its aesthetics alive long after the music's initial heyday had passed. The godfathers of goth-rock were British post-punkers Joy Division, whose bleak, remote, obsessively introspective music and lyrics laid the initial foundation for goth. But for all intents and purposes, the true birth of goth rock was "Bela Lugosi's Dead," the 1979 debut single by Bauhaus. Already chilly post-punk outfits like the Cure and Siouxsie & the Banshees became full-on goth bands around the same time, and their heavy, menacing makeup and dark clothes became an important part of their fans' expression. As goth rock's popularity spread among a certain segment of sensitive, alienated youth (first in the U.K., where most of its bands came from, then in the U.S.), its fashion sense grew more and more outlandish, and the original sound evolved somewhat. The Cure, Siouxsie & the Banshees, and the Mission UK incorporated more pop and alternative elements in their music, while the Sisters of Mercy, Fields of the Nephilim, and the American band Christian Death took a heavier, sometimes metal-influenced approach. By the end of the '80s, the original goth-rock movement had ceased to exist, but the music mutated into new forms and continued to influence many of rock's darker subgenres. During the '90s, the goth sound began to cross-pollinate with industrial music, producing hybrids that appealed to both sides, as well as the darkwave subgenre (which also incorporated '80s synth-pop and dream-pop). The latter half of the '90s also saw goth rock's influence cropping up all over heavy metal; a new breed of progressive black metal bands drew heavily from goth's sound and style, while some alternative metal bands also borrowed from goth rock's visual imagery (including Marilyn Manson, who -- despite countless news reports to the contrary -- is not a goth-rock artist).
Goth subculture
Wikipedia:
The goth subculture is a subculture that began in England during the early 1980s, where it developed from the audience of gothic rock, an offshoot of the post-punk genre. The name, goth subculture, was derived directly from the music genre. Notable post-punk groups that presaged that genre and helped develop and shape the subculture, include Siouxsie and the Banshees, Joy Division, Bauhaus and The Cure. The goth subculture has survived much longer than others of the same era, and has continued to diversify and spread throughout the world. Its imagery and cultural proclivities indicate influences from 19th-century Gothic literature and gothic horror films. The scene is centered on music festivals, nightclubs and organized meetings, especially in Western Europe.
The goth subculture has associated tastes in music, aesthetics, and fashion. The music preferred by the goth subculture includes a number of different styles, e.g. gothic rock, death rock, post-punk, cold wave, dark wave, and ethereal wave.[1] Styles of dress within the subculture draw on punk, new wave and new romantic fashion[2] as well as fashion of earlier periods such as the Victorian and Edwardian eras (Belle Époque), or combinations of the above. The style usually includes dark attire (often black), pale face makeup and black hair. The subculture continues to draw interest from a large audience decades after its emergence.
Goths are often associated with risk of suicide and self harm.
Goth fashion
Wikipedia:
Gothic fashion is a clothing style marked by conspicuously dark, mysterious, antiquated and homogeneous features. It is worn by members of the Goth subculture. A dark, sometimes morbid fashion and style of dress,[1] typical gothic fashion includes a pale complexion with colored black hair, black lips and black clothes.[1] Both male and female goths can wear dark eyeliner and dark fingernail polish most especially black. Styles are often borrowed from the punk fashion, Victorians and Elizabethans.[1] Goth fashion is sometimes confused with heavy metal fashion and emo fashion.
Influences
Velvet Underground - "All Tomorrow's Parties" ??
1968 Nico: The Marble Index ??? This could be folk as much as it could be gothic. I'm not seeing this an an influence.
The Doors: The Future Starts Here (compilation) The Doors were, it seems, the first to have the term gothic rock applied to them, and when gothic rock proper as a genre started to emerge in the late Seventies, comparisons were made to the gothic rock of both the Velvets and the Doors.
Leonard Cohen: Songs Of (1968)
The start
1978 Siouxsie and the Banshees – The Scream Everything that the Banshees are and would become are present on this audacious debut. JuJu is widely regarded as their best album, and that is also worth listening to, but everything on JuJu is also here, though not so refined. I like the raw energy and impact of this stage of their career, and that this is their calling card, so for me this is the album to choose.
1979 Au Pairs - "You" / "Domestic Departure" / "Kerb Crawler"
1979 Joy Division - Unknown Pleasures
1980 Joy Division - Closer
The Boys Next Door / Birthday Party / Nick Cave: Door, Door (1979), Prayers On Fire (1981), From Her To Eternity (1984) Hmmm. I find Nick Cave interesting, but I hadn't considered him being gothic, any more than I find Tom Waits (Rain Dogs - 1985) or Captain Beefheart (Lick My Decals Off, Baby - 1970) or Dr John (Gris Gris - 1968) to be gothic. And the early bands of his are in the standard R&B/Power pop mould of other late Seventies bands.
1980 Echo & The Bunnymen - Crocodiles
1980 The Psychedelic Furs - The Psychedelic Furs
1980 Killing Joke – Killing Joke Leaning toward hardcore and industrial metal. Considered influential on bands such as Metallica, Nine Inch Nails and Soundgarden. Not really feeling the goth aspect of this though a number of folks regard this as an important goth album.
1980 Siouxsie and the Banshees – Juju
1980 Bauhaus - In The Flat Field
1981 The Psychedelic Furs - Talk Talk Talk
1980 Joy Division - Closer
The Boys Next Door / Birthday Party / Nick Cave: Door, Door (1979), Prayers On Fire (1981), From Her To Eternity (1984) Hmmm. I find Nick Cave interesting, but I hadn't considered him being gothic, any more than I find Tom Waits (Rain Dogs - 1985) or Captain Beefheart (Lick My Decals Off, Baby - 1970) or Dr John (Gris Gris - 1968) to be gothic. And the early bands of his are in the standard R&B/Power pop mould of other late Seventies bands.
1980 Echo & The Bunnymen - Crocodiles
1980 The Psychedelic Furs - The Psychedelic Furs
1980 Killing Joke – Killing Joke Leaning toward hardcore and industrial metal. Considered influential on bands such as Metallica, Nine Inch Nails and Soundgarden. Not really feeling the goth aspect of this though a number of folks regard this as an important goth album.
1980 Siouxsie and the Banshees – Juju
1980 Bauhaus - In The Flat Field
1981 The Psychedelic Furs - Talk Talk Talk
1981 Au Pairs - Playing With A Different Sex Lesley Woods, a slightly militant lesbian feminist, appears to be the driving force behind the lyrics at least in this band, who picked up some sounds from Siouxsie and the Banshees, but also have the rhythmic drive, polished approach and knowing lyrics of Britpop bands such as Elastica. After two albums the band broke up, and Woods make an album of unremarkable folky Christmas hymns under the name Dunstanfolk, before becoming a gay rights and immigration lawyer. Interesting. The band are often linked with Gang of Four and Young Marble Giants.
1982 The Cure - Pornography This is a compelling and atmospheric album. Widely seen as the last of the band's early moody period albums, it has a rare authenticity that draws you in. Yet it wasn't rated well on release, and came out at a bad time for the band. After this the band changed direction and became more poppy - which is not a bad thing, much of their later music is really good, blending as it does pop melodies with the Cure's more unusual twist on music, but it does mark a difference. Critics retrospectively regard this as one of the band's best albums. Influences include: Closer (1980) by Joy Division, Talk Talk Talk (1981) by The Psychedelic Furs, Juju (1981) by Siouxsie and the Banshees, Music For Films (1978) by Eno, Berlin (1973) by Lou Reed, Desertshore (1970) by Nico. (Wikipedia AllMusic)
1984 This Mortal Coil - It'll End In Tears
1985 The Cult - Love
1986 Sisters of Mercy - First and Last and Always
1986 The Mission - God's Own Medicine
1987 Sisters of Mercy - Floodland You can hear the Banshees straight away, but there's nothing new or interesting here
1989 The Cure - Disintegration This album stands at a poised mid-point between two different musical cultures and captures the essence of both. The cold, austere, popsynth drenched 80s, and the guitar driven, rock, pop and soul joy of the 90s. Disintegration has the structure and sweep of the 80s, but it also has a more direct guitar driven sound. There is a feel of shoegazing and the Scene That Celebrates Itself , which would be torn about by Madchester, Grunge and BritPop - more direct and populist music that contrasted with the Cure's style, and would later see them lose their popularity. Though at the start of the 90s the band were a global success which would last until the mid 1990s. The band is estimated to have sold 27 million records as of 2004 and have released thirteen studio albums, ten EPs and over thirty singles during their career. Disintegration is regarded as the band's commercial and critical peak.
1991 Cranes - Wings of Joy It's attractive in a repetitive but harmonious way, but there's nothing significant here. I can see why some individuals would like them.
1996 Marilyn Manson - Antichrist Superstar Some see Manson as belonging to goth, some don't. This is industrial metal which takes ideas from Alice Cooper and the darker elements of heavy metal. Darkness is associated with goth, so I see the link, and I also see the similarity between this and Killing Joke, Bauhaus and The Birthday Party. But then I also see the link between this and Black Sabbath and even Lordi. Are they goth as well?
Stand out tracks
"Bela Lugosi's Dead" Bauhaus (1979)
"Pretty In Pink" The Psychedelic Furs (1981)
"She Sells Sanctuary" The Cult (1985)
* Steve Hoffman forum discussion of The Cure and Echo &The Bunnymen - which was better, and are they goth?
* Rethinking Goth
1982 The Cure - Pornography This is a compelling and atmospheric album. Widely seen as the last of the band's early moody period albums, it has a rare authenticity that draws you in. Yet it wasn't rated well on release, and came out at a bad time for the band. After this the band changed direction and became more poppy - which is not a bad thing, much of their later music is really good, blending as it does pop melodies with the Cure's more unusual twist on music, but it does mark a difference. Critics retrospectively regard this as one of the band's best albums. Influences include: Closer (1980) by Joy Division, Talk Talk Talk (1981) by The Psychedelic Furs, Juju (1981) by Siouxsie and the Banshees, Music For Films (1978) by Eno, Berlin (1973) by Lou Reed, Desertshore (1970) by Nico. (Wikipedia AllMusic)
1983 Echo & The Bunnymen - Live at The Albert Hall Released in 2009, this is representative of the best of Echo in 1983.
1985 The Cult - Love
1986 Sisters of Mercy - First and Last and Always
1986 The Mission - God's Own Medicine
1987 Sisters of Mercy - Floodland You can hear the Banshees straight away, but there's nothing new or interesting here
1989 The Cure - Disintegration This album stands at a poised mid-point between two different musical cultures and captures the essence of both. The cold, austere, popsynth drenched 80s, and the guitar driven, rock, pop and soul joy of the 90s. Disintegration has the structure and sweep of the 80s, but it also has a more direct guitar driven sound. There is a feel of shoegazing and the Scene That Celebrates Itself , which would be torn about by Madchester, Grunge and BritPop - more direct and populist music that contrasted with the Cure's style, and would later see them lose their popularity. Though at the start of the 90s the band were a global success which would last until the mid 1990s. The band is estimated to have sold 27 million records as of 2004 and have released thirteen studio albums, ten EPs and over thirty singles during their career. Disintegration is regarded as the band's commercial and critical peak.
1991 Cranes - Wings of Joy It's attractive in a repetitive but harmonious way, but there's nothing significant here. I can see why some individuals would like them.
1996 Marilyn Manson - Antichrist Superstar Some see Manson as belonging to goth, some don't. This is industrial metal which takes ideas from Alice Cooper and the darker elements of heavy metal. Darkness is associated with goth, so I see the link, and I also see the similarity between this and Killing Joke, Bauhaus and The Birthday Party. But then I also see the link between this and Black Sabbath and even Lordi. Are they goth as well?
Stand out tracks
"Bela Lugosi's Dead" Bauhaus (1979)
"Pretty In Pink" The Psychedelic Furs (1981)
"She Sells Sanctuary" The Cult (1985)
* Steve Hoffman forum discussion of The Cure and Echo &The Bunnymen - which was better, and are they goth?
* Rethinking Goth
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