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Gothic rock (also called goth rock or simply 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 toward dark music with gothic overtones include Siouxsie and the Banshees , [ 2 ] [ 3 ] Joy Division , [ 2 ] [ 3 ] [ 4 ] Bauhaus , [ 2 ] [ 3 ] and The Cure .
Tolhurst writes about the infamous Batcave, a central London club where goths of all stripes could commune and dance to the music of the day — Bauhaus, The Cure, Siouxsie and the Banshees, Nick ...
A woman dressed in gothic style in June 2008. Goth is a subculture that began in the United Kingdom during the early 1980s. It was developed by fans of gothic rock, an offshoot of the post-punk music genre.
According to both Pitchfork [1] and NME, [2] proto-goth bands included Joy Division, [1] [2] [3] Siouxsie and the Banshees, [1] [2] Bauhaus [1] [2] and the Cure. [1] [2] The term was first used by critic John Stickney in 1967 to describe the music and accompanying performances by the Doors. The Doors' lyrics and their "audience-antagonizing ...
The "ethereal" designation has been taken over by authors such as Mick Mercer [34] and Dave Thompson [35] to delineate the same musical phenomenon in their books, while Simon Reynolds began using the term "goth-lite" (or "post-goth", a term he coined in 1987 [36]) to describe the music of Cocteau Twins, Dead Can Dance, and related 4AD artists.
Deathrock (or death rock) is a rock music subgenre that merges punk rock and post-punk with gothic and glam rock visuals and elements of horror film scores.Often overlapping with, and sometimes considered a subgenre of, gothic rock, the genre was pioneered by bands from the early 1980s Los Angeles punk scene, including Christian Death, Kommunity FK, 45 Grave and the Super Heroines.
Articles relating to the Goth subculture, a music-based subculture that began in the United Kingdom during the early 1980s. It was developed by fans of gothic rock, an offshoot of the post-punk music genre. Its imagery and cultural proclivities indicate influences from 19th-century Gothic fiction and from horror films.
In 1911, when Parisian audiences belatedly began to embrace his music, Satie allowed No. 1 of the Danses gothiques to appear in the March issue of the Société musicale indépendante's journal Revue musicale; but he made no further effort to promote a piece that could have held painful memories for him.
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