Gothic rock

Gothic rock (also referred to as goth rock or simply goth) is a musical subgenre of post-punk and alternative rock that formed during the late 1970s. Gothic rock had strong ties to the English punk rock and emerging post-punk scenes. According to both Pitchfork[2]  and NME,[3]  proto-goth bands are Joy Division,[2] [3] [4]  Siouxsie and the Banshees,[2] [3] Bauhaus,[2] [3]  and The Cure.[2] [3]

The genre itself was defined as a separate movement from punk rock during the early 1980s largely due to the significant stylistic divergences of the movement. Gothic rock, as opposed to punk, combines dark, often keyboard-heavy music with introspective and romantic lyrics. Gothic rock then gave rise to a broader subculture that included clubs, fashion and publications in the 1980s.



Contents
[hide]  *1 Style, roots, and influences  ==Style, roots, and influences<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">According to music journalist Simon Reynolds, standard musical fixtures of gothic rock include "scything guitar patterns, high-pitched Joy Division basslines that often usurped the melodic role [and] beats that were either hypnotically dirgelike or "tribal" [African polyrhythmic]".<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005423_5-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[5]  Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen".<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005423_5-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[5]  Siouxsie and the Banshees tended to play the flanging guitar effect, producing a brittle, cold and harsh sound that contrasted with their psychedelic rock predecessors.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005426_6-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[6]  Several acts used drum machines downplaying the rhythm's backbeat.<sup class="reference" id="cite_ref-FOOTNOTECharlton2003353_7-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[7]
 * 2 History
 * 2.1 Origins and early development
 * 2.2 Expansion of the scene
 * 2.3 Subsequent developments
 * 3 Visual elements
 * 4 Impact
 * 5 See also
 * 6 References
 * 7 Bibliography
 * 8 External links

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">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, religious symbolism, or supernatural mysticism.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005430.E2.80.93431_8-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[8]  Musicians who initially shaped the aesthetics and musical conventions of gothic rock include Marc Bolan,<sup class="reference" id="cite_ref-A_Life_Less_Lived_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  The Velvet Underground,<sup class="reference" id="cite_ref-North_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]  The Doors,<sup class="reference" id="cite_ref-North_10-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]  David Bowie, Iggy Pop, and the Sex Pistols.<sup class="reference" id="cite_ref-North_10-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10] <sup class="reference" id="cite_ref-FOOTNOTEPark2008118.E2.80.93125_11-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[11]  Journalist Kurt Loder would write that the song "All Tomorrow's Parties" of the Velvet Underground is a "mesmerizing gothic-rock masterpiece".<sup class="reference" id="cite_ref-12" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[12]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor".<sup class="reference" id="cite_ref-A_Life_Less_Lived_9-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  Nico's 1969 album, The Marble Index, was also particularly influential.<sup class="reference" id="cite_ref-13" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[13]  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.<sup class="reference" id="cite_ref-FOOTNOTECharlton2003353_7-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[7]  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.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005428.E2.80.93429_14-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[14]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">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 24/7. 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".<sup class="reference" id="cite_ref-Thompson_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[15] ==History<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Origins and early development<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === Robert Smith of The Cure in 1989, who was on the front cover of NME Originals: Gothin 2004<sup class="reference" id="cite_ref-NME_3-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:9.60000038146973px;">[3] <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">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.<sup class="reference" id="cite_ref-Stickney_16-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  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".<sup class="reference" id="cite_ref-Stickney_16-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  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.<sup class="reference" id="cite_ref-Stickney_16-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]

MENU    0:00 ‚Arabian Knights‘, an early gothic song by Siouxsie & The Banshees. The track illustrates some characteristics of the genre, such as chorus and flanger guitar sounds, dominant bassline, and a cacophonous punk-type vocal style.<p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Joy Division and Siouxsie and the Banshees. In 1979, Martin Hannett described Joy Division as "dancing music with gothic overtones"<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005420_1-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[1]  and in September, their manager Tony Wilson described their music as "gothic" on the television show Something Else.<sup class="reference" id="cite_ref-17" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[17]  In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom".<sup class="reference" id="cite_ref-18" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[18]  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".<sup class="reference" id="cite_ref-19" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[19]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Not long after, this appellation "became a critical term of abuse" for a band like Bauhaus that had arrived later on the music scene.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005420_1-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[1] However, the term would not be adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005420_1-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[1]  In addition, Simon Reynolds identifies The Birthday Party and Killing Joke as essential proto-goth groups.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005433_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[20]  Despite their legacy as progenitors of gothic rock, these groups disliked the label.<sup class="reference" id="cite_ref-FOOTNOTEHannaham1997114_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[21]  Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fan base came from his milieu.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005421_22-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Bauhaus's debut single, "Bela Lugosi's Dead", released in late 1979, is retrospectively considered to be the beginning of the gothic rock genre.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005432_23-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[23]  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.<sup class="reference" id="cite_ref-Thompson_15-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[15]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In the early 80's, post-punk bands such as Siouxsie and the Banshees and The Cure included more gothic characteristics in their music.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005428.E2.80.93429_14-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[14]  According to Simon Reynolds, with their fourth album, 1981's Juju, Siouxsie and the Banshees introduced several gothic qualities, lyrically and sonically,<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005428_24-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[24]  where as according The Guardian, Juju was art rock on certain album tracks and pop on the singles.<sup class="reference" id="cite_ref-25" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[25]  Their bassist Steven Severin attributes the aesthetic used by the Banshees around that time to the influence of The Cramps.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005428.E2.80.93429_14-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[14]  The Cure's "oppressively dispirited" trio of albums, Seventeen Seconds (1980), Faith (1981) andPornography (1982), cemented that group's stature in the genre.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005429_26-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26]  The line "It doesn't matter if we all die" began thePornography album which is considered as "The Cure's gothic piece de resistance".<sup class="reference" id="cite_ref-27" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[27]  They would later become the most commercially successful of these groups.<sup class="reference" id="cite_ref-28" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28] The Cure's style was "withdrawn",<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005429_26-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[26]  contrasting with their contemporaries like Nick Cave's first band The Birthday Party, who drew on blues and spastic, violent turmoil.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005429.E2.80.93431_29-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[29]  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.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005431_30-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[30]  Their 1981 single "Release the Bats" was particularly influential in the scene.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005431_30-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[30]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Killing Joke were originally inspired by [http://en.wikipedia.org/wiki/Public_Image_Ltd. Public Image Ltd.], borrowing from funk, disco, dub, and, later, heavy metal.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005433.E2.80.93435_31-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically charged visual style.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005433.E2.80.93435_31-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  After being a punk band, The Damned performed dramatic surges with a crooner's voice on The Black Album.<sup class="reference" id="cite_ref-32" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[32]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Gothic rock thrived in the early 1980s. In London, the Batcave club opened in July 1982<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005552_33-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[33]  to provide a venue for the goth scene.<sup class="reference" id="cite_ref-FOOTNOTEPark2008151_34-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[34]  That same year, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans.<sup class="reference" id="cite_ref-FOOTNOTEPark2008150_35-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[35]  Southern Death Cult appeared on the cover of NME in October:<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005422_36-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[36] they became themselves icons of the scene, drawing aesthetic inspiration from Native American culture. ===Expansion of the scene<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === MENU    0:00 ‚After Thought‘, an ethereal gothtrack by This Burning Effigy. Drum machines and delay-drenched guitar textures are typical of the style.<p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In February 1983, the emerging scene was described as "positive punk" on the front cover of the NME:<sup class="reference" id="cite_ref-North_10-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]  in his article, journalist Richard North described Bauhaus and Theatre of Hate 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".<sup class="reference" id="cite_ref-North_10-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]  That year, myriad goth groups emerged, includingFlesh for Lulu, Play Dead, Rubella Ballet, Gene Loves Jezebel, UK Decay, Blood and Roses, The Virgin Prunes andAusgang.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005423.2C_431_and_436_37-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  The 4AD label released music in a more ethereal style, by groups such as Cocteau Twins, Dead Can Dance and Xmal Deutschland.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005423.2C_431_and_436_37-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  The Icelandic group Kukl also appeared in this period, which included Björk and other musicians who later participated in The Sugarcubes.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005423.2C_431_and_436_37-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Simon Reynolds speaks of a shift from early goth to gothic rock proper, advanced by The Sisters of Mercy.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005437_38-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[38]  As journalist Jennifer Park puts 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".<sup class="reference" id="cite_ref-FOOTNOTEPark2008144_39-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  The Sisters of Mercy, who cited as influences Leonard Cohen, Gary Glitter, Motörhead, The Stooges, The Velvet Underground, The Birthday Party, Suicideand The Fall, created a new, harder form of gothic rock.<sup class="reference" id="cite_ref-FOOTNOTEPark2008145_40-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[40]  In addition, they incorporated a drum machine.<sup class="reference" id="cite_ref-FOOTNOTEPark2008145_40-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[40]  Reynolds identifies their 1983 single "Temple of Love" as the quintessential goth anthem of the year, along with Southern Death Cult's "Fatman".<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005438_41-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[41]  The group created their own record label, Merciful Release, which also signed The March Violets, who performed in a similar style.<sup class="reference" id="cite_ref-FOOTNOTEPark2008147_42-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[42]  According to Simon Reynolds, The March Violets "imitated Joy Division sonically".<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005435_43-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43]  Another band, The Danse Society was particularly inspired by The Cure in their Pornography period.<sup class="reference" id="cite_ref-FOOTNOTEPark2008147_42-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[42] ===Subsequent developments<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === Fields of the Nephilim at the Agra Hall, Leipzig, Germany 2008  MENU    0:00 ‚Moonchild‘, a late '80s gothic song by Fields of the Nephilim with a more guttural baritone vocal style, which was an innovation at that time.<p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Southern Death Cult reformed as The Cult, a more conventional hard rock group.<sup class="reference" id="cite_ref-FOOTNOTEReynolds2005438_41-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[41]  In their wake, The Mission UK, which included two former members of The Sisters of Mercy, achieved commercial success in the mid-1980s,<sup class="reference" id="cite_ref-44" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[44]  as did Fields of the Nephilim and All About Eve.<sup class="reference" id="cite_ref-FOOTNOTEMercer199463_45-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[45]  Bands who continue to be 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,Fields of the Nephilim, Nosferatu, Rosetta Stone and Suspiria.<sup class="reference" id="cite_ref-FOOTNOTEMercer199678.E2.80.9395_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">American gothic rock began with 45 Grave and Christian Death, both of whom were strongly influenced by The Cramps.<sup class="reference" id="cite_ref-FOOTNOTEMercer198860_47-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[47]  This style is often described as deathrock.<sup class="reference" id="cite_ref-FOOTNOTEKilpatrick200489_48-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[48]  European groups inspired by gothic rock have also proliferated, including Xmal Deutschland<sup class="reference" id="cite_ref-FOOTNOTEMercer199856.E2.80.9357_49-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[49]  and Clan of Xymox.<sup class="reference" id="cite_ref-50" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[50]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In the 2000s decade, critics regularly noticed that newcomers were marked by the genre.<sup class="reference" id="cite_ref-Hodgkinson_51-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[51] <sup class="reference" id="cite_ref-52" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[52]  English band The Horrorsmixed 1960s garage with 1980s goth.<sup class="reference" id="cite_ref-Hodgkinson_51-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[51]  When presenting female singer Zola Jesus, writers questioned if she announced the second coming of the genre<sup class="reference" id="cite_ref-53" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[53]  as her music was described with this term.<sup class="reference" id="cite_ref-54" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[54] ==Visual elements<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">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.<sup class="reference" id="cite_ref-55" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[55]  Gothic fashions within the subculture range from deathrock, punk, androgynous, Victorian, some Renaissance and Medieval style attire, or combinations of the above, most often with black clothing, makeup and hair.<sup class="reference" id="cite_ref-FOOTNOTESteele_and_Park2008_56-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[56]  Gothic singers used to crimp their hair in the 1980s.<sup class="reference" id="cite_ref-57" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[57] ==Impact<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In the 1990s, several mainstream acts including PJ Harvey,<sup class="reference" id="cite_ref-58" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[58]  Marilyn Manson,<sup class="reference" id="cite_ref-59" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[59]  Manic Street Preachers<sup class="reference" id="cite_ref-60" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[60]  and Nine Inch Nails<sup class="reference" id="cite_ref-61" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[61]  put gothic characteristics in their music without being assimilated to 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" where as American bands like Marilyn Manson combined "atmosphere from goth and disco"<sup class="reference" id="cite_ref-62" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[62]  with "industrial sound".