Готический рок: История и истоки жанра

Genre of rock music

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, Joy Division, Bauhaus, 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". the Velvet Underground, the Doors, David Bowie, Brian Eno, and Iggy Pop. Journalist Kurt Loder would write that the song "All Tomorrow's Parties" by the Velvet Underground is a "mesmerizing gothic rock masterpiece". However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor". 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. Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group the Velvet Underground, and many gothic singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at even lower pitches. Although gothic rock is an offshoot of post punk, glam rock is another forerunner genre of gothic rock. In April 1977, critic Dave Marsh of The Morning Record described Philip Glass's current album North Star as "the best neo Gothic rock since John Cale and Terry Riley's Church of Anthrax, or more appropriately, the first couple of Doors albums". Reynolds retrospectively described Kate Bush's 1978 song "Wuthering Heights" as "Gothic romance distilled into four and a half minutes of gaseous rhapsody". 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". 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". 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". In September, Joy Division's manager Tony Wilson described their music as "gothic" on the television show Something Else, and their producer Martin Hannett described their style as "dancing music with gothic overtones". In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom". When their final album Closer came out a couple of months after the suicide of their singer Ian Curtis, Sounds noted in its review that there were "dark strokes of gothic rock".

Not long after, the "gothic" label "became a critical term of abuse" for a band like Bauhaus, who had arrived on the music scene in 1979. At the time, NME considered that "Siouxsie and the Banshees, Adam and the Ants and even Joy Division" opened up "a potentially massive market" for newcomers like Bauhaus and Killing Joke: journalist Andy Gill then separated these two groups of bands, pointing out that there was a difference "between art and artifice". 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. According to Peter Murphy, the song was written to be tongue in cheek, but since the group performed it with "naïve seriousness", that is how the audience understood it. Bauhaus released their debut album In the Flat Field in 1980, and the album is often considered the first gothic rock album. [[File:PrayerTour89. jpg|left|thumb|145px|Robert Smith of the Cure in 1989, who was on the front cover of NME Originals: Goth in 2004. Their bassist, Steven Severin, attributed the aesthetic used by the Banshees around that time to the influence of the Cramps. The Cure's "oppressively dispirited" trio of albums, Seventeen Seconds (1980), Faith (1981) and Pornography (1982), cemented that group's stature in the genre. 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". They would later become the most commercially successful of these groups. The Cure's style was "withdrawn", contrasting with their contemporaries like Nick Cave's the Birthday Party, who drew on blues and violent turmoil. 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. 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, dub 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. Reynolds identified the Birthday Party and Killing Joke as essential proto goth groups. Despite their legacy as progenitors of gothic rock, those groups disliked the label. Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fanbase came from his milieu. Other early contributors to the scene included UK Decay and Ireland's Virgin Prunes. Gothic rock would not be adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982. In London, the Batcave club opened 21 July 1982 to provide a venue for the goth scene: the band Specimen gave many concerts there. That same year, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans. Southern Death Cult became icons of the scene, drawing aesthetic inspiration from Native American culture and appearing on the cover of NME in October.

thumb|right|"After Thought" (2000), an ethereal wave track by This Burning Effigy. Drum machines and delay drenched guitar textures are typical of this style. thumb|right|The Sisters of Mercy performing at the M'era Luna Festival in 2005. In February 1983, the emerging scene was described as "positive punk" on the front cover of NME: 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. Reynolds has spoken of a shift from early goth to gothic rock proper, advanced by the Sisters of Mercy. 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". 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. In addition, they incorporated a drum machine. Reynolds identified 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. According to Reynolds, the March Violets "imitated Joy Division sonically". Another band, the Danse Society was particularly inspired by the Cure's Pornography period.

Gothic pop (also goth pop or goth pop) is a genre that mixes the sounds and imagery of gothic music with the catchy melody and accessible style of pop music.

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. 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. Crimped hair was popular among gothic fans in the 1980s.

In the 1990s, several acts such as PJ Harvey, Marilyn Manson, Manic Street Preachers, and Nine Inch Nails included gothic characteristics in their music. 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" with "industrial sound". 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. In the late 2010s, the Twilight Sad included gothic elements in their music.