What you should understand About Industrial Music
"Goth" is a subculture frequently misunderstood by the public. From its humble beginnings on the heels of post punk through the present, it's adopted several genres of music along the way, for example darkwave, industrial and gothic metal, but those have their own dedicated arenas as well. Gothic rock, in the other hand, practically created the gothic subculture singlehandedly and in turn, goths continue to reshape and evolve the music.
Industrial MusicThis list covers gothic rock from its humble beginnings to present day and functions as a starting point for anyone interested in this dark, ardent music that has lasted around four decades. From the groups that defined the genre to all those redefining it today, Goth: The History, The Heresy is your one-way ticket to the dark side.
Note: "Goth" will not include groups whose important music genres are deathrock,
EBM music radio, darkwave or post punk (with few exceptions) because these are not gothic rock, even though their genres may be associated.
1978, England. The original punk movement had become a stale parody of itself, was held dead and postpunk quickly took its position: an arty, forward-thinking distinction to the former's crass and frequently harmful attitude, fueled by punk, funk, disco, krautrock, dub and reggae. But something else was taking shape under England's gloomy heavens. A fresh breed of menacing, cryptic and generally morose music began to emerge, fueled by romanticism, theatricality plus a fascination with all things taboo, mysterious and morose.
At first, it was referred to as "favorable punk", but when music journalists started throwing around the "gothic" label, it only stayed for some reason. Maybe it was the dark lyrical content, or the spooky vision, but it fit like a glove. As for the origin of the word "gothic" as a style of music, it was utilized by David Bowie to describe his 1974 album "Diamond Dogs" and in 1979, Joy Division was referred to by an interviewer as "gothic in comparison to the pop mainstream". Their supervisor Martin Hannett afterwards used "dancing music with gothic overtones" to advertise their postmortem record, Closer. Their are numerous other rumors of its origin, but just like most music genres, music journalists simply found it convenient to pigeonhole several acts with similar overtones.
The music itself took significant inspiration from post-punk and glam rock. The former's love of dub contributed to goth's strong bass guitar existence, post punk had been experimenting with tribal musicality for years (inspiring the typical rhythm section), and glam rock contributed to the theatricality and persona. When reading interviews with a number of the first goth groups, several names keep popping up as sways: The Velvet Underground, David Bowie, Roxy Music, T. Rex, Lou Reed and Brian Eno. The Velvet Underground introduced drugs, bondage and leather to the late 60s, or so the inspiration pretty much speaks for itself there. Lou Reed (himself a Velvet alumnus) was already performing live wearing bondage gear and black eyeliner; Iggy Pop of The Stooges too, shirtless on stage, looking like an emaciated vampire. The visual aspect was inspired by the leather and buckles of BDSM, as well as German expressionist movies like The Cabinet of Dr. Caligari and Nosferatu, wh o used black lips and eyeliner to emphasize facial features clouded by movie quality of the time.
It is vital that you note that during this age, the genre's feet were still securely put in postpunk, very much a product of its own influences, merely a darker, more mysterious and theatrical spin. The sound is simple to pin down: thin instrumentation, tribal drums, prominent basslines at the very front of the mix (bass frequently served as the lead melody, avoiding the lower strings) and spooky, spidery guitar drenched in chorus and reverb, defined not by crunchy power chords, but angular lines and arpeggio chords, always pushed into the background rather than being the lead as with the majority of rock music. Vocals were melodramatic and otherworldly and male and female vocalists were equally common.
Anyway, these OG's (first goths) had a "big four", four groups in particular which found success and had the largest impact on the scene: Siouxsie and the Banshees, Joy Division, Bauhaus and The Cure. That doesn't mean there were not others who helped build the genre; there were numerous, some of which I will also cover.

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