Gothic rock

Gothic rock (alternately called goth-rock or goth) is a style of rock music that emerged from post-punk in the United Kingdom in the late 1970s. The first post-punk bands which shifted towards dark music with gothic overtones include Siouxsie and the Banshees,[2][3] Joy Division,[2][3][4] Bauhaus,[2][3] and the Cure.[2][3]

Gothic rock
Stylistic originsPost-punk
Cultural originsLate 1970s, United Kingdom
Typical instruments
Derivative forms
Subgenres
Fusion genres
Local scenes
Other topics

The genre itself was defined as a separate movement from post-punk. Gothic rock stood out due to its more dark sound, with minor or bass chords, reverbs, dark arrangements or dramatic and melancholic melodies, having inspirations in gothic literature allied with themes such as sadness, existentialism, nihilism, dark romanticism, tragedy, melancholy and morbidity. These themes are often approached in a poetic way. The sensibilities of the genre led the lyrics to represent the evil of the century and the romantic idealization of death and the supernatural imagination. Gothic rock then gave rise to a broader goth subculture that included clubs, fashion and publications in the 1980s, 1990s, and 2000s.

Style, roots, and influences

According to music journalist Simon Reynolds, standard musical fixtures of gothic rock include "scything guitar patterns, high-pitched basslines that often usurped the melodic role [and] beats that were either hypnotically dirgelike or tom-tom heavy and 'tribal'".[5] Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen".[5] Several acts used drum machines downplaying the rhythm's backbeat.[6]

Gothic rock typically deals with dark themes addressed through lyrics and the music's atmosphere. The poetic sensibilities of the genre led gothic rock lyrics to exhibit literary romanticism, morbidity, existentialism, religious symbolism or supernatural mysticism.[7] Musicians who initially shaped the aesthetics and musical conventions of gothic rock include Marc Bolan,[8] the Velvet Underground, the Doors, David Bowie, Brian Eno, Iggy Pop and the Sex Pistols.[9][10] Journalist Kurt Loder would write that the song "All Tomorrow's Parties" by the Velvet Underground is a "mesmerizing gothic-rock masterpiece".[11] However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor".[8]

Nico's 1968 album The Marble Index is sometimes described as "the first Goth album".[12] With its stark sound, somber lyrics, and Nico's deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement.[13][14] Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group the Velvet Underground, and many goth singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at even lower pitches.[6] J.G. Ballard was a strong lyrical influence for many of the early gothic rock groups; the Birthday Party drew on Arthur Rimbaud and Charles Baudelaire.[15]

In 1976, Interview with the Vampire by Anne Rice was published. The main character, although dark, wanted companionship and love. The book, according to music journalist Dave Thompson, slowly created an audience for gothic rock by word of mouth. The same year saw the punk rock band the Damned debut. The group's vocalist, Dave Vanian, was a former gravedigger who dressed like a vampire. Brian James, a guitarist for the group, noted, "Other groups had safety pins and the spitting and bondage trousers, but you went to a Damned show, and half the local cemetery would be propped up against the stage".[16]

History

Origins and early development

Critic John Stickney used the term "gothic rock" to describe the music of the Doors in October 1967, in a review published in The Williams Record.[17] Stickney wrote that the band met the journalists "in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors".[17] The author noted that contrary to the "pleasant, amusing hippies", there was "violence" in their music and a dark atmosphere on stage during their concerts.[17]

In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine and Joy Division. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kent wrote that concerning their performance, "parallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground".[18] In March 1979, Kent used the gothic adjective in his review of Magazine's second album, Secondhand Daylight. Kent noted that there was "a new austere sense of authority" to their music, with a "dank neo-Gothic sound".[19] The second Siouxsie and the Banshees album, also released in 1979, was a precursor in several aspects. For journalist Alexis Petridis of The Guardian, "A lot of musical signifiers [...] – scything, effects-laden guitar, pounding tribal drums – are audible, on [...] Join Hands".[20] In September, Joy Division's manager Tony Wilson described their music as "gothic" on the television show Something Else,[21] and their producer Martin Hannett described their style as "dancing music with gothic overtones".[22] In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom".[23] When their final album Closer came out a couple of months after the death of their singer, Sounds noted in its review that there were "dark strokes of gothic rock".[24]

Gothic rock band Bauhaus performing live in August 2006

Not long after, this appellation "became a critical term of abuse" for a band like Bauhaus, who had arrived on the music scene in 1979.[22] At the time, NME considered that "Siouxsie and the Banshees, Adam and the Ants and even by Joy Division" opened up "a potentially massive market" for newcomers like Bauhaus and Killing Joke: however, critic Andy Gill separated these two groups of bands, pointing out that there was a difference "between art and artifice".[25]

However, Bauhaus's debut single, "Bela Lugosi's Dead", released in late 1979, was retrospectively considered to be the beginning of the gothic rock genre.[26] According to Peter Murphy, the song was written to be tongue-in-cheek, but since the group performed it with "naive seriousness", that is how the audience understood it.[16] In the early 1980s, post-punk bands such as Siouxsie and the Banshees and the Cure included more gothic characteristics in their music.[15] According to Reynolds, with their fourth album, 1981's Juju, the Banshees introduced several gothic qualities, lyrically and sonically,[27] whereas according to The Guardian, Juju was art rock on certain album tracks and pop on the singles.[28] Their bassist, Steven Severin, attributed the aesthetic used by the Banshees around that time to the influence of the Cramps.[15] The Cure’s "oppressively dispirited" trio of albums, Seventeen Seconds (1980), Faith (1981) and Pornography (1982), cemented that group's stature in the genre.[29] The line "It doesn't matter if we all die" began the Pornography album, which is considered as "the Cure's gothic piece de resistance".[30] They would later become the most commercially successful of these groups.[31] The Cure's style was "withdrawn",[29] contrasting with their contemporaries like Nick Cave's first band, the Birthday Party, who drew on blues and spastic, violent turmoil.[32] With the Birthday Party's Junkyard album, Nick Cave combined "sacred and profane" things, using Old Testament imagery with stories about sin, curses and damnation.[33] Their 1981 single "Release the Bats" was particularly influential in the scene.[33]

Robert Smith of the Cure in 1989, who was on the front cover of NME Originals: Goth in 2004.[3]

Killing Joke were originally inspired by Public Image Ltd., borrowing from funk, disco, dub and, later, heavy metal.[34] Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically charged visual style.[34] The Damned moved beyond their original punk sound, inflecting 1980's The Black Album with dramatic surges and crooned vocals.[35] Reynolds identified the Birthday Party and Killing Joke as essential proto-goth groups.[36] Despite their legacy as progenitors of gothic rock, those groups disliked the label.[37] Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fanbase came from his milieu.[38] Other early contributors to the scene included UK Decay and Ireland's the Virgin Prunes.

Gothic rock would not be adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982.[22] In London, the Batcave club opened 21 July 1982[39] to provide a venue for the goth scene.[40][41] That same year, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans.[42] Southern Death Cult became icons of the scene, drawing aesthetic inspiration from Native American culture and appearing on the cover of NME in October.[43]

Expansion of the scene

In February 1983, the emerging scene was described as "positive punk" on the front cover of NME:[9] in his article, journalist Richard North described Bauhaus, Theatre of Hate and UK Decay 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".[9] That year, myriad goth groups emerged, including Flesh for Lulu, Play Dead, Rubella Ballet, Gene Loves Jezebel, Blood and Roses, and Ausgang.[44] The 4AD label released music in a more ethereal style,[45] by groups such as Cocteau Twins,[46] Dead Can Dance, and Xmal Deutschland.[44] The Icelandic group Kukl also appeared in this period, which included Björk and other musicians who later participated in the Sugarcubes.[44]

Reynolds has spoken of a shift from early goth to gothic rock proper, advanced by the Sisters of Mercy.[47] As journalist Jennifer Park put 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".[48] The Sisters of Mercy, who cited influences such as 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.[49] In addition, they incorporated a drum machine.[49] Reynolds identified their 1983 single "Temple of Love" as the quintessential goth anthem of the year, along with Southern Death Cult's "Fatman".[50] The group created their own record label, Merciful Release, which also signed the March Violets, who performed in a similar style.[51] According to Reynolds, the March Violets "imitated Joy Division sonically".[52] Another band, the Danse Society was particularly inspired by the Cure's Pornography period.[51]

Subsequent developments

American gothic rock began with 45 Grave and Christian Death. This harder, more punk-influenced style became known as deathrock.[53] European groups inspired by gothic rock also proliferated, including Clan of Xymox.[54]

Fields of the Nephilim at the Agra Hall, Leipzig, Germany 2008

Southern Death Cult reformed as the Cult, a more conventional hard rock group.[50] In their wake, the Mission, which included two former members of the Sisters of Mercy, achieved commercial success in the mid-1980s,[55] as did Fields of the Nephilim and All About Eve.[56] Other bands associated with gothic rock include Alien Sex Fiend, All Living Fear, And Also the Trees, Balaam and the Angel, Claytown Troupe, Dream Disciples, Feeding Fingers, Inkubus Sukkubus, Libitina, Miranda Sex Garden, Nosferatu, Rosetta Stone, and Suspiria.[57] The 1990s saw a resurgence of the goth subculture, fueled largely by crossover from the industrial, electronic and metal scenes; and goth culture and aesthetic again worked itself into the mainstream consciousness, inspiring thriving goth music scenes in most cities and notoriety throughout popular culture. Beginning in the late 1990s, gothic metal fused "the bleak, icy atmospherics of goth rock with the loud guitars and aggression of heavy metal". [58]

In the 2000s, critics regularly noticed the influence of goth on new bands.[59][60] English band the Horrors mixed 1960s garage rock with 1980s goth.[59] When referencing female singer Zola Jesus, writers questioned if she announced the second coming of the genre[61] as her music was described with this term.[62]

Visual elements

In terms of fashion, gothic bands incorporated influences from 19th-century Gothic literature along with horror films and, to a lesser extent, the BDSM culture.[63] Gothic fashions within the subculture range from deathrock, punk, androgynous, Victorian, to Renaissance and medieval-style attire, or combinations of the above, most often with black clothing, makeup and hair.[64] Crimped hair was popular among gothic fans in the 1980s.[65][66]

Impact

In the 1990s, several acts including PJ Harvey,[67] Marilyn Manson,[68] Manic Street Preachers,[69] and Nine Inch Nails[70] included gothic characteristics in their music without being assimilated into the genre. According to Rolling Stone, PJ Harvey's music in 1993 "careens from blues to goth to grunge, often in the space of a single song" whereas American artists such as Marilyn Manson combined "atmosphere from goth and disco"[71] with "industrial sound".[72] In 1997, Spin qualified Portishead's second album as "gothic", "deadly" and "trippy". Critic Barry Walters observed that the group got "darker, deeper and more disturbing" in comparison to their debut album Dummy.[73]

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See also

References
  1. Spracklen, Karl; Spracklen, Beverley. The Evolution of Goth Culture: The Origins and Deeds of the New Goths. p. 46.
  2. Abebe, Nitsuh (24 January 2007). "Various Artists: A Life Less Lived: The Gothic Box". Pitchfork. Retrieved 10 March 2013.
  3. "NME Originals: Goth". NME. 2004. Archived from the original on 26 January 2008. Retrieved 30 September 2013.
  4. Rambali, Paul (July 1983). "A Rare Glimpse into a Private World". The Face. Curtis' death wrapped an already mysterious group in legend. From the press eulogies, you would think Curtis had gone to join Chatterton, Rimbaud and Morrison in the hallowed hall of premature harvests. To a group with several strong gothic characteristics was added a further piece of romance. The rock press had lost its great white hope, but they had lost a friend. It must have made bitter reading.
  5. Reynolds 2005, p. 423.
  6. Charlton 2003, p. 353.
  7. Reynolds 2005, pp. 430–431.
  8. Reynolds, Simon (26 March 2008). "Reynoldsretro". reynoldsretro.blogspot.com. Retrieved 10 March 2013.
  9. North, Richard (19 February 1983). "Punk Warriors". NME.
  10. Park 2008, pp. 118–125.
  11. Loder, Kurt (December 1984). V.U. (album liner notes). Verve Records.
  12. Thompson, Dave; Greene, Jo-Ann (November 1994). "Undead Undead Undead". Alternative Press. Alternative Press Magazine, Inc. Available here Archived 4 March 2016 at the Wayback Machine.
  13. Unterberger, Richie (1 June 2009). White Light/White Heat: The Velvet Underground day-by-day. Jawbone Press. p. 201. ISBN 978-1906002220.
  14. Unterberger, Richie. "The Marble Index – Nico". AllMusic. Retrieved 11 March 2013.
  15. Reynolds 2005, pp. 428–429.
  16. Thompson, Dave (1 November 2000). Alternative Rock. Miller Freeman Books. ISBN 0-87930-607-6.
  17. Stickney, John (24 October 1967). "Four Doors to the Future: Gothic Rock Is Their Thing". The Williams Record. Archived from the original on 4 May 2013. Retrieved 11 March 2013.
  18. Kent, Nick. "Banshees make the Breakthrough [live review - London the Roundhouse 23 July 1978]". NME (29 July 1978).
  19. Kent, Nick. "Magazine's Mad Minstrels Gains Momentum (Album review)". NME (31 March 1979): 31.
  20. Petridis, Alexis (26 April 2012). "Goth for life". The Guardian. Retrieved 2 September 2017.
  21. "Something Else [featuring Joy Division]". BBC television [archive added on youtube]. 15 September 1979. Because it is unsettling, it is like sinister and gothic, it won't be played. [interview of Joy Division's manager Tony Wilson next to Joy Division's drummer Stephen Morris from 3:31]
  22. Reynolds 2005, p. 420.
  23. Bohn, Chris (16 February 1980). "Joy Division: University of London Union – Live Review". Melody Maker.
  24. McCullough, Dave (26 July 1980). "Closer to the Edge". Sounds. Young men in dark silhouettes, some darker than others, looking inwards, looking out, discovering the same horror and describing it with the same dark strokes of gothic rock.
  25. Gill, Andy (8 November 1980). "Gothic As a Brick". NME: 32.
  26. Reynolds 2005, p. 432.
  27. Reynolds 2005, p. 428.
  28. "Artists Beginning with S". guardian.co.uk. 21 November 2007.
  29. Reynolds 2005, p. 429.
  30. Doran, John (27 October 2008). "The Quietus | Features | It Started with a Mix | The Cure: Selecting the Best for One Side of a C90". The Quietus. Retrieved 11 March 2013.
  31. "RIAA – Gold & Platinum Searchable Database – March 10, 2013". riaa.com. Retrieved 10 March 2013.
  32. Reynolds 2005, pp. 429–431.
  33. Reynolds 2005, p. 431.
  34. Reynolds 2005, pp. 433–435.
  35. Raggett, Ned. "The Black Album – The Damned". AllMusic. Retrieved 11 March 2013.
  36. Reynolds 2005, p. 433.
  37. Hannaham 1997, p. 114.
  38. Reynolds 2005, p. 421.
  39. Reynolds 2005, p. 552.
  40. Johnson, David (February 1983). "69 Dean Street: The Making of Club Culture". The Face (issue 34, page 26, republished at Shapersofthe80s). Retrieved 7 April 2018.
  41. Park 2008, p. 151.
  42. Park 2008, p. 150.
  43. Reynolds 2005, p. 422.
  44. Reynolds 2005, pp. 423, 431 and 436.
  45. Mercer, Mick. Music to die for. London: Cherry Red Books, 2009, ISBN 190144726X, p. 5
  46. Mercer, Mick. Music to die for. London: Cherry Red Books, 2009, ISBN 190144726X, p. 105
  47. Reynolds 2005, p. 437.
  48. Park 2008, p. 144.
  49. Park 2008, p. 145.
  50. Reynolds 2005, p. 438.
  51. Park 2008, p. 147.
  52. Reynolds 2005, p. 435.
  53. Kilpatrick 2004, p. 89.
  54. Sutton, Michael. "Clan of Xymox – Music Biography". AllMusic. Retrieved 11 March 2013.
  55. True, Chris. "God's Own Medicine – The Mission UK". AllMusic. Retrieved 11 March 2013.
  56. Mercer 1994, p. 63.
  57. Mercer 1996, pp. 78–95.
  58. "Goth metal". AllMusic. Retrieved 30 April 2016.
  59. Hodgkinson, Will (8 July 2011). "The Horrors: Skying". thetimes.co.uk. sixties garage meets eighties goth.
  60. "NME Album Reviews – Album Review: Zola Jesus Stridulum II". nme.com. 23 August 2010. Retrieved 11 March 2013.
  61. Richards, Sam (21 August 2010). "Will Zola Jesus Herald the Second Coming of Goth?". guardian.co.uk. Retrieved 11 March 2013.
  62. Orton, Karen. "20 Q&As: Zola Jesus". dazeddigital.com. Retrieved 11 March 2013.
  63. Wilson, Cintra (17 September 2008). "You Just Can't Kill It". nytimes.com. Retrieved 10 March 2013.
  64. Steele and Park 2008.
  65. Some Wear Leather, Some Wear Lace: A Worldwide Compendium of Postpunk and Goth in the 1980s by Andi Harriman (page 66)
  66. Consumer Tribes by Bernard Cova, Robert Kozinets, Avi Shankar (page 228)
  67. "500 Greatest Albums of All Time: PJ Harvey, Rid of Me". rollingstone.com. Retrieved 11 March 2013.
  68. Lewis, Luke (5 March 2009). "Release the Bats – It's the 20 Greatest Goth Tracks". nme.com. Archived from the original on 11 February 2013. Retrieved 11 March 2013.
  69. Price, Simon (1999). "7. The Holy Bible". Everything (A Book About Manic Street Preachers). Virgin Books. p. 143. In mood as much as message, The Holy Bible was an intensely sombre record, overcast by the same stormy skies which darkened Van Gogh's last works. It was gothic and, quite often, literally goth: more than one song could easily have been early Cure, Sisters of Mercy or Bauhaus.
  70. Sheffield, Rob (14 October 1999). "Nine Inch Nails The Fragile". Retrieved 18 February 2014. Nine Inch Nails auteur dropped the Downward Spiral, crunching punk and goth and Depeche Mode
  71. "100 Best Albums of the Nineties: Marilyn Manson, Antichrist Superstar". rollingstone.com. Retrieved 11 March 2013.
  72. "Marilyn Manson Bio". rollingstone.com. Retrieved 11 March 2013.
  73. Walters, Barry, Portishead [album review], Spin, p. 142

Bibliography

Books
  • Thompson, Dave (2002). The Dark Reign of Gothic Rock. Helter Skelter. ISBN 9781900924481.CS1 maint: ref=harv (link)
  • Charlton, Katherine (2003). Rock Music Styles (Fourth ed.). McGraw-Hill. ISBN 0-07-249555-3.CS1 maint: ref=harv (link)
  • Goodlad, L. M. E.; Bibby, M. (2007). Goth: Undead Subculture. Duke University Press. ISBN 0-8223-3921-8.CS1 maint: ref=harv (link)
  • Hannaham, James (1999). "Bela Lugosi's Dead and I Don't Feel So Good Either". Stars Don't Stand Still in the Sky: Music and Myth. NYU Press. pp. 78–87. ISBN 0-8147-4727-2.CS1 maint: ref=harv (link)
  • Kilpatrick, Nancy (2004). The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin. ISBN 0-312-30696-2.CS1 maint: ref=harv (link)
  • Melton, J. G. (1994). The Vampire Book: The Encyclopedia of the Undead. Visible Ink Press. ISBN 0-8223-3921-8.CS1 maint: ref=harv (link)
  • Mercer, Mick (1993). Gothic Rock. Los Angeles: Cleopatra Records. ISBN 0-9636193-1-4.CS1 maint: ref=harv (link)
  • Mercer, Mick (1988). Gothic Rock Black Book. London: Omnibus Press. ISBN 0-7119-1546-6.CS1 maint: ref=harv (link)
  • Mercer, Mick (1996). The Hex Files: The Goth Bible. Woodstock: Overlook Press. ISBN 0-87951-783-2.CS1 maint: ref=harv (link)
  • Reynolds, Simon (2005). "Chapter 22: 'Dark Things: Goth and the Return of Rock'". Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 0-571-21569-6.CS1 maint: ref=harv (link)
  • Sinclair, Mick (2013). Adjusting The Stars: Music journalism from post-punk London. Kindle edition, B00FG9JGVE.

Journals
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