Precisely what you should understand Regarding Industrial Songs

 

"Goth" is a subculture often misunderstood by the general public. From its humble beginnings in the heels of post punk through to the current, it's embraced several genres of music along the way, including darkwave, industrial and gothic metal, but those have their very own dedicated arenas too. Gothic rock, on the other hand, practically created the gothic subculture singlehandedly and in turn, goths continue to reshape and evolve the music.
 
This list covers gothic rock from its modest beginnings to present day and serves as a starting point for anybody interested in
Industrial radio, passionate music which has continued around four decades. From the bands that defined the genre to those redefining it now, Goth: The History, The Heresy is your one way ticket to the dark side.
 

Synthpop music radioNote: "Goth" will not include bands whose important genres are deathrock, coldwave, darkwave or post punk (with few exceptions) because these aren't gothic rock, even though their music genres may be associated.
 
1978, England. The first punk movement had become a stale parody of itself, was held dead and post punk quickly took its place: an arty, forward-thinking difference to the former's crass and frequently destructive attitude, fueled by punk, funk, disco, krautrock, dub and reggae. But something else was taking shape under England's gloomy skies. A fresh breed of baleful, mysterious and often morose music started to emerge, fueled by romanticism, theatricality and a fascination with all things taboo, mysterious and morose.
 
In the beginning, it was referred to as "positive punk", but when music journalists began throwing around the "gothic" label, it merely stuck for some reason. Maybe it was the dark lyrical content, or the spooky imagery, but it fit like a glove. When it comes to 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 later used "dancing music with gothic overtones" to market their postmortem album, Closer. Their are numerous other rumors of its own 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 presence, 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 lot of the first goth groups, several names keep popping up as influences: 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 equipment and black eyeliner; Iggy Pop of The Stooges also, shirtless on stage, looking to be an emaciated vampire. The visual aspect was inspired by the leather and buckles of BDSM, along with German expressionist films like The Cabinet of Dr. Caligari and Nosferatu, wh o used black lips and eyeliner to emphasize facial features clouded by film quality of the time.
 
It is very important to notice that during this period, the genre's feet were still securely planted in postpunk, very much a product of its influences, merely a darker, more mysterious and theatrical twist. The sound isn't hard to pin down: thin instrumentation, tribal drums, prominent basslines at the front of the mixture (bass frequently functioned as the lead air, averting 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 most 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 does not mean there were not others who helped establish the genre; there were numerous, some of which I'll also cover.