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Deathrock

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Not to be confused with Death metal, Death 'n' roll, or Suicide Rock.
Deathrock
Stylistic origins
Cultural originsEarly 1980s, Los Angeles, US
Other topics

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. By the middle of the decade, the genre had begun to interact with the United Kingdom's gothic rock scene, leading to the formation of English deathrock bands like Rudimentary Peni, Sex Gang Children and Alien Sex Fiend. However, soon after the genre declined in popularity, and its name largely fell out of use. In the late 1990s, a revival of the genre began, in which groups like Bloody Dead and Sexy, the Phantom Limbs and Tragic Black expanded the scope of the genre to including elements of psychobilly, electronic body music and futurepop.

Characteristics

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45 Grave vocalist Dinah Cancer in 2007

Deathrock songs usually incorporate a driving, repetitive rhythm section; the drums and bass guitar laying the foundation within a 4
4 time signature while the guitars either play simple chords or effects-driven leads to create atmosphere. Chorus effects, such as those produced by the Boss CE-2 pedal, are commonly used by deathrock guitarists to create a wider and more haunting tone. The use of lyrics can vary, but are typically introspective and surreal, and deal with the dark themes of isolation, gloom, disillusionment, loss, life, death, etc.; as can the style, varying from harsh and dark to upbeat, melodic, and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films.[1] Despite the similar-sounding name, deathrock has no connection to death metal, which is a subgenre of heavy metal.[2]

Etymology

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The term "deathrock" was first used in the 1950s to describe a thematically related genre of rock and roll, which began in 1958 with Jody Reynolds' "Endless Sleep"[3] and ended in 1964 with J. Frank Wilson's "Last Kiss".[4] The term was also applied to the Shangri-Las' "Leader of the Pack".[3] These songs about dead teenagers were noted for their morbid yet romantic view of death, spoken word bridges, and sound effects.[5] In 1974, the term "deathrock" was used by Gene Grier to describe the same phenomenon in rock music.[6]

The term later re-emerged to describe the sound of various West Coast punk bands.[7] It most likely came from one of three sources: Rozz Williams, the founding member of Christian Death, to describe the sound of his band; the music press, reusing the 1950s term to describe an emerging subgenre of punk; and/or Nick Zedd's 1979 film They Eat Scum, which featured a fictitious cannibalistic "deathrock" punk band called "Suzy Putrid and the Mental Deficients."[8]

History

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Predecessors (1950s–1970s)

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The earliest influences for some deathrock acts can be traced to the horror-themed novelty rock and roll acts of the late 1950s and early 1960s such as Bobby "Boris" Pickett and the Crypt-Kickers and Zacherle with "Monster Mash";[9] Screamin' Jay Hawkins with "I Put a Spell on You"; Screaming Lord Sutch & the Savages with "Murder in the Graveyard";[10] and Don Hinson and the Rigormorticians with "Riboflavin-Flavored Non-Carbonated Poly-Unsaturated Blood".[11] Contemporarily, the 1979 single "Bela Lugosi's Dead" by British post-punk group Bauhaus was one of the major influences amongst the early deathrock scene.[12] Other influences included the Doors, David Bowie,[13] Alice Cooper, the Cramps, Black Sabbath and the Damned.[12]

The Los Angeles punk rock scene began in the mid to late 1970s, with groups like the Runaways, the Weirdos and the Germs.[14] Within this scene the Gun Club's grim take on heavily blues indebted punk was a notable Los Angeles precursor.[1] The Flesh Eaters too took a macabre take on early LA punk, by merging the sound with lyrics influenced by Edgar Allan Poe, the Beat Generation and Catholicism.[15] Furthermore, T.S.O.L. were a defining group in the scene who briefly embraced gothic and deathrock elements.[16][17]

Origins (early 1980s)

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Christian Death members Rozz Williams and Johnnie Sage performing in 1983

At the beginning of the 1980s, deathrock merged as an offshoot of the Los Angeles punk rock scene, differentiating itself through its greater emphasis on horror.[18] According to a 2006 article by Stylus Magazine, one popular theory as to the reason for this split was the 1980 suicide of Germs vocalist Darby Crash. According to this interpretation, Crash's death led to a period of mourning amongst many of those in the scene and eventually to a fascination with the macabre.[1] Nonetheless, amongst this splinter bands began to form merging the sounds of Los Angeles punk rock with these darker elements to create deathrock. The most prominent of these groups were Christian Death, 45 Grave, Super Heroines and Kommunity FK.[10] Tracks by several of these acts were featured on 1981's Hell Comes to Your House compilation LP, which represented an early attempt to collect and promote local artists on the cutting edge of this new, darker version of L.A. punk. The bands generally performed and congregated at the Anti-Club, a club night in Hollywood that would change venues every few weeks;[19] the O.N. Klub, located in Silver Lake, also frequently hosted deathrock acts throughout the genre's inceptual period. Outside of this scene, Theatre of Ice from Fallon, Nevada independently created a sound which some sources have considered as pioneering deathrock.[10]

During this time, deathrock bands often performed alongside both hardcore punk and new wave bands. However, deathrock bands were not generally viewed as their own distinct genre, instead being seen as darker punk bands or sometimes even conflated with horror punk.[20]

Developments (mid–to late 1980s)

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During the mid–1980s, the United States' deathrock scene became increasingly connected to the United Kingdom's gothic rock scene, a genre which journalist James Greene described as "very much in line" with deathrock.[21][22] This cross-pollination was particularly influenced by the Gun Club's European tour in 1983, and Christian Death's tour in 1984.[23][22]

By 1984, Christian Death had departed from their early deathrock sound in favour of the gothic rock of Catastrophe Ballet,[24] while the sound of deathrock had begun to be embraced by English bands including Sex Gang Children and Alien Sex Fiend.[25] Furthermore, the sound spread to bands in the anarcho punk scene, influencing the sound of Rudimentary Peni[26] and Part 1.[27] By the time that the Sisters of Mercy gained widespread success in the scene, the term "deathrock" had predominantly fallen out of use and the style was viewed as simply a subgenre of gothic rock.[28]

Decline and revivals (1990s–present)

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Devil Master, a contemporary band who merge elements of deathrock and black metal

The mid-1990s marked a third wave of gothic rock, as the music drifted its furthest from the original punk and post-punk sound by incorporating many elements of the industrial music scene at the time (which itself had moved away from experimental noise and into a more dance-rock oriented sound) and the more repetitive and electronic sounds of electronic body music. Some clubs have even entirely removed deathrock and first-generation gothic rock from their setlists.[29]

Halloween 1998 saw the launch of Release the Bats, a monthly goth and deathrock club night in Long Beach, California. During its run time it became southern California's most frequented goth night and Long Beach's longest running club night, launching the careers of deathrock bands like Mephisto Walz.[30] The success of the club caused many other deathrock club nights to be established in the following years. This, along with the rise of online music piracy led to the increased popularity of older deathrock bands and establishment of new, international deathrock groups, like Bloody Dead and Sexy, commencing the first deathrock revival. During this period groups like the Phantom Limbs and Black Ice began to merge deathrock with elements of no wave and synthpunk. Many groups from this period, most notably Tragic Black, began to make use of an aesthetic heavily inspired by Batcave fashion.[29] This era was mostly based online, through websites including deathrock.com, post-punk.com, MySpace and LiveJournal. Furthermore, it embraced a broader spectrum of influences, including psychobilly, electronic body music and futurepop.[31]

During the 2010s, deathrock's influence was revived, in the form of the dark punk and G-beat styles. In these genres, bands including Deathcharge, Cemetery, Lost Tribe and Christ vs Warhol, merged deathrock into hardcore punk and D-beat templates.[32] Furthermore, during this time, bands such as Devil Master emerged, who merge the genre with black metal,[33] and Gatecreeper who incorporate the genre's influence into death metal.[34]

See also

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References

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  1. ^ a b c Stylus Staff: England Fades Away. Stylus Magazine's Guide to Goth, 7. August 2006
  2. ^ Sheppard, Oliver: Interview with Kommunity FK, CVLT Nation magazine, January 6, 2014
  3. ^ a b Larkin, Colin: The Virgin Encyclopedia of Fifties Music, Virgin Books, 1st edition, 1998, ISBN 0-753-50268-2, p. 353
    "In 1958 the band went to Los Angeles, where they were signed to the new Demon label. The label did not use the Storms but did record Reynolds, backed with a number of professional session musicians on his 1958 single 'Endless Sleep' (covered in the UK by Marty Wilde), a song Reynolds had written with George Brown (credited under the pseudonym Delores Nance). The song reached number 5 and became one of the first of the so-called 'death rock' hits of the 50s and 60s (others in that category included 'Tell Laura I Love Her', 'Terry', 'Teen Angel' and 'Leader Of The Pack'). Reynolds made the charts once more with 'Fire Of Love' (also in 1958), but none of his subsequent recordings for Demon, Smash or other labels charted."
  4. ^ Miletich, Leo: Rock Me with a Steady Roll, Reason magazine, March 1987
  5. ^ Bernards, Neal; Modl, Tom: The Mass Media: Opposing Viewpoints, Greenhaven Press 1988, ISBN 0-899-08425-7, p. 130
    "There was a trend, of a sort, in 'death rock' in the early '60s, epitomized by morbid teen songs like 'Deadman's Curve' and 'Last Kiss.' But before death rock came 'Gloomy Sunday.' According to David Ewen's 'All the Years of American Popular Music', the song was 'promoted by its publishers as a "suicide song"' because it was reputed to have encouraged the suicidal tendencies of the tormented and the harassed of the early thirties."
  6. ^ Grier, Gene: The Conceptual Approach to Rock Music, Manual, Charter Publications, 1st edition, Valley Forge, Pennsylvania, 1974, p. 6
    "In class, discuss the History of Rock Development Chart. A. Use an overhead projector to present this or any other appropriate materials. NOTE: Not all types of Rock are listed on the Chart. The students may name some you might want to include, such as Death Rock, Surf Rock, etc. Use your own discretion. B. To really give the student a good insight into the historical development of Rock, he should be exposed to the development of the European influence and the African influence."
  7. ^ Kilpatrick, Nancy. The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin, 2004, ISBN 0-312-30696-2, p. 89.
  8. ^ Hawkins, Joan Defining Cult Movies, pp 227-228. Manchester University Press (2003). ISBN 0-7190-6631-X, 9780719066313. [1]
  9. ^ Ohanesian, Liz: Egrets on Ergot at The Echo, LA Weekly, March 2015
  10. ^ a b c Sheppard, Oliver: Deathrock: A Brief History, Part I, Souciant magazine, April 16, 2012
  11. ^ Greene, James: This Music Leaves Stains. The Complete Story of the Misfits, Scarecrow Press 2013, ISBN 1-589-79892-9, p. 33
  12. ^ a b Rasen, Edward (May 1985). "Is there life after Death rock?". Spin: 75. They consider Alice Cooper, Black Sabbath, The Damned and the Cramps as progenitors, and Fetish patrons regularly request their songs, but the big favorite is "Bela Lugosi is Dead" by Bauhaus.
  13. ^ Gitane Demone: 20 Years in Death, published in Matzke, Peter; Seeliger, Tobias: Gothic!, Schwarzkopf Verlag, Germany 1999, ISBN 3-89602-332-2, p. 45
  14. ^ Stegall, Tim. "10 essential '70s punk bands from Los Angeles you should already know 10 essential '70s punk bands from Los Angeles you should already know 10 essential '70s punk bands from Los Angeles you should already know". Alternative Press. Retrieved October 10, 2022.
  15. ^ Stegall, Tim. "15 bands that defined LA punk in the '80s, from Black Flag to the Go-Go's". Alternative Press. Retrieved October 11, 2022.
  16. ^ Gotrich, Lars (April 25, 2017). "The Mountain Goats On Growing Up, And Growing Older, In Goth". NPR. Retrieved October 10, 2022.
  17. ^ Stegall, Tim. "15 bands that defined LA punk in the '80s, from Black Flag to the Go-Go's". Alternative Press. Retrieved October 10, 2022.
  18. ^ Bag, Alice: Interview with Dinah Cancer of 45 Grave, Women in L.A. Punk, November 2004
    "The first prowlings of death rock came in the early '80s before we were labeled as our other counterparts – the gothic movement. There were no Goths. The Death rockers were splintered off from the punk/hardcore scene that was going on at the time. We played punk rock but we loved Halloween and we looked like vampires. So the phrase Death rock was born."
  19. ^ Rasen, Edward (May 1985). "Is there life after Death rock?". Spin: 75. The club is a roving underground mecca, which has a new home every couple of weeks although always in Hollywood.
  20. ^ Sfetcu, Nicolae (May 7, 2014). The Music Sound. These early Deathrock bands took the pre-existing base of punk rock and added dark yet playful and themes borrowed horror. And in some cases blending hardcore punk with a gothic sound; a prime example of this would be TSOL; and Burning Image. During this time, however, these early Deathrock bands were not immediately identified as part of a new subgenre of punk; they were simply considered a darker flavor of punk or maybe even horror punk. During this time, these bands would play at the same venues as punk, hardcore and New Wave bands and were not yet considered part of a separate music scene.
  21. ^ Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004, ISBN 3-531-14353-0, p. 262.
  22. ^ a b Greene, James: This Music Leaves Stains. The Complete Story of the Misfits, Scarecrow Press 2013, ISBN 1-589-79892-9, p. 32
    "Los Angeles bands like T.S.O.L., 45 Grave, the Flesh Eaters, Kommunity FK, and Christian Death focused on a grim, discordant, and echoey musical offering very much in line with overseas goth proprietors such as Bauhaus and Joy Division."
  23. ^ Matzke, Peter; Seeliger, Tobias: Das Gothic- und Dark-Wave-Lexikon, Schwarzkopf Verlag, 2003, ISBN 3-89602-522-8, p. 144
  24. ^ Sande, Kiran (November 2, 2010). "20 best: Goth records ever made". Fact. p. 1. Retrieved November 29, 2020.
  25. ^ "MORTICIA – HEAVEN AND HELL RECORDS TO REISSUE THREE ALBUMS". Brave Words & Bloody Knuckles. Retrieved December 17, 2024.
  26. ^ Sacher, Andrew. "Rudimentary Peni announce first album in over 25 years, share 2 songs". Retrieved December 17, 2024.
  27. ^ Jameson, Neill. "Noise Pollution #23: Pictures of Pain". Invisible Oranges. Retrieved December 17, 2024.
  28. ^ Sfetcu, Nicolae (May 7, 2014). The Music Sound. In early 1983, the Batcave scene in the UK had acquired the label "positive punk", but in less than a year it had changed to "goth" and "gothic". In 1983, The Gun Club began touring in Europe as did Christian Death which meant the European Batcave and American Deathrock scenes were now able to directly influence one another. Two years later in 1985, deathrock band Kommunity FK began touring with the Batcave band Alien Sex Fiend which continued this trend. Around this point in time, deathrock and Batcave began to merge with one another and evolve into gothic rock. Eventually, the term 'gothic rock' replaced Deathrock, which Rozz Williams attributes to the influence of the Sisters of Mercy.
  29. ^ a b Sheppard, Oliver (May 21, 2012). "A Brief History of Deathrock, Part III". Retrieved October 12, 2022.
  30. ^ Kang, Esther (October 26, 2018). "Long Beach death-rock/goth night Release the Bats ends after 20 years". Retrieved October 11, 2022.
  31. ^ Sfetcu, Nicolae (May 7, 2014). The Music Sound. The current Deathrock scene is similar to the original deathrock scene in Los Angeles and the Batcave scene in London. In addition to clubs, the current scene is centered around concerts, special events, parties, and horror movie screenings. The internet is playing a major role in the Deathrock revival. There are websites devoted to the discussion deathrock music, bands and fashions as well as horror movies, such as deathrock.com and post-punk.com, plus mailing lists for Deathrockers on Yahoo! and on-line virtual communities on LiveJournal and MySpace. In contrast to the early Deathrock scene, the current scene has four additional influences which didn't exist in the late 1970s or early 1980s. First, there is the influence of post-punk and glam which came from Batcave bands such as Specimen, Sex Gang Children, Alien Sex Fiend, etc... Second, there is the influence of psychobilly. (another music fusion genre of horror and punk) which is noted for being strongly apolitical... Third, there is a more serious horror movie influence on Deathrock, based in part on fewer unintentionally campy horror movies being made, plus the increasing availability of horror movie film scores through CDs and legal online music download. Deathrockers also frequently participate on internet discussion forums and mailing lists for horror fans, and many deathrock discussion forums have separate sections specifically for horror movies.) Fourth, and perhaps most importantly, there now exists the influence of older Deathrockers still active in the scene on a new generation of Deathrockers. A significant percentage of modern Deathrockers were part of the deathrock scene in the 1980s and are now in their 30s or 40s.
  32. ^ Sheppard, Oliver (July 5, 2017). "Six Gloomy Gems From the Dark Punk Revival". Bandcamp Daily. Retrieved December 17, 2024.
  33. ^ Pearce, Dutch (October 31, 2018). "Inhabit the Corpse: An Interview (+Full Album Stream) with Devil Master". Decibel. Retrieved December 17, 2024.
  34. ^ ENIS, ELI. "GATECREEPER ANNOUNCE NEW ALBUM: HEAR DEATHROCK-INFUSED SINGLE". Revolver. Retrieved December 17, 2024.
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