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(Redirected from Darkwave)
'Dark Wave', also written as 'Darkwave', is an umbrella term which refers to a movement that began in the late 1970s, coinciding with the popularity of New Wave and Post-punk music. Building upon the basic principles of those musical movements[1], Dark Wave evolved through the addition of dark, thoughtful lyrics and an undertone of sorrow. Dark Wave is inseparably connected with the stylistic developments of the late 1970s and the 1980s. In the 1980s a versatile subculture developed within the Dark Wave movement, whose members were called ''"(dark) wavers"''.[2][3] In many countries, the Dark Wave movement also included the early Goth subculture (''trad goth'').
The first usage of the term appears to have been in the 1980s, to describe the dark and melancholy variant of New Wave and Post-punk music, e.g. the early Gothic rock (in those days the genre wasn't frequently called ''"gothic"'' outside of the UK), the French Coldwave or dark Synthpop (also called Electrowave in Germany), and refers to the dark and moody music of bands such as Bauhaus[4], Joy Division[5][6], The Cure[6][8], Siouxsie & the Banshees[6], The Chameleons[6], Cocteau Twins, Anne Clark, Fad Gadget, Gary Numan, Psyche or Depeche Mode[8].
In the course of time, different Dark Wave genres, especially Coldwave, Gothic rock and others, blended up with electronic music (Synthpop, Ambient and Post-industrial). Attrition, Clan of Xymox, Die Form, In The Nursery and Pink Industry were some of the main bands playing this music in the 1980s and, while associated with the Gothic, Dark Wave and Post-industrial scenes, they had previously been something of an ill-fit in the those scenes.
After the New Wave and Post-punk movement faded between the middle and the end of the 1980s, Dark Wave survived and experienced a fresh impetus through the music of bands such as Deine Lakaien, Love Is Colder Than Death, Corpus Delicti, The Frozen Autumn, the early music of Love Like Blood,[12] The Garden of Delight, Wolfsheim and Diary of Dreams. All of these bands followed a straight-line path, based on the New Wave and Post-punk movement of the 1980s.
At the same time, a number of German artists, including Das Ich, Goethes Erben, Relatives Menschsein and Lacrimosa, developed a more theatrical style, interspersed with German poetic and metaphorical lyrics, called Neue Deutsche Todeskunst (''New German Death Art''). Other bands, such as Silke Bischoff, In My Rosary, Engelsstaub, Annabelle's Garden and Canticum Funebris mingled dark Synthpop or Goth rock with elements of the Neofolk or Neoclassical genre. A curious act is the German artist Sopor Aeternus & The Ensemble Of Shadows, which combined Gothic rock elements with Folklore and medieval sounds.
Since 1993/94, in the United States, the term Dark Wave became (as the one-word variant ''Darkwave'') largely associated with the Projekt Records label because it was used as the name of their printed catalog and was used to market and promote German products of artists like Project Pitchfork in the US.
The Projekt label featured bands such as Lycia, Black Tape for a Blue Girl, Love Spirals Downwards, Tearwave and Autumn's Grey Solace, all characterized by slow, moody ethereal female vocals, which had been an element in the music of some of the 1980s bands like Cocteau Twins. This music is often referred to as Ethereal Darkwave.[13] The label has also had a long association with Attrition, who appeared on the label's earliest compilations. Another label in this vein was Tess Records in the US, which featured This Ascension, Trance to the Sun, Faith and the Muse and, from 1997, Clan of Xymox, who had returned to a sound more like their 1980s sound following almost a decade as the more Synthpop Xymox.
A number of other US bands mixed elements of Dark Wave and Ethereal Wave with more modern electronic music to a high level of popularity. Love Spirals Downwards and Collide, for example, incorporated large elements of Trip hop, while the The Crüxshadows have combined a range of contemporary Dance music elements with their synth-based Alternative rock style.
The Machine In The Garden - The Unaware (2000)
Plastique Noir - Empty Streets (2006)
Pink Industry - What I Wouldn't Give (1985)
Opera Multi Steel - Un froid seul (1985)
Les Maîtres - Souvenir (1983)
Malaria! - Geld (1982)
1. Source: Arvid Dittmann · Artificial Tribes · Jugendliche Stammeskulturen in Deutschland · Page 139 · 2001 · ISBN 3-933773-11-3
2. Source: Klaus Farin · Die Gothics · Interview with Eric Burton from the German music group Catastrophe Ballet · Page 60 · 2001 · ISBN 3-933773-09-1
3. Source: Peter Matzke / Tobias Seeliger · Gothic! · Interview with Bruno Kramm from the German music group Das Ich · Page 217 · 2000 · ISBN 3-89602-332-2
4. Source: Peter Matzke / Tobias Seeliger · Das Gothic- und Dark-Wave-Lexikon · Page 39 · 2002 · ISBN 3-89602-277-6
5. Source: New Life Soundmagazine · Issue No. 38 · Description of the single „Love Will Tear Us Apart“ · Page 10 · November 1988
6. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
7. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
8. Source: Ingo Weidenkaff · Jugendkulturen in Thüringen · Die Gothics · Page 41 · 1999 · ISBN 3-933773-25-3
9. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
10. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
11. Source: Ingo Weidenkaff · Jugendkulturen in Thüringen · Die Gothics · Page 41 · 1999 · ISBN 3-933773-25-3
12. Source: Glasnost Wave-Magazin · Issue No. 23 · Interview with the German music group Love Like Blood · Page 13 · September 1990
13. Source: Glasnost Wave-Magazin · Issue No. 42 · Description of the bands Trance to the Sun, This Ascension and others · Pages 32/34 · Germany · April 1994
★ Ethereal
★ Gothic rock
★ Neoclassical
★ New Wave
★ Post-punk
★ List of Darkwave releases
'Dark Wave', also written as 'Darkwave', is an umbrella term which refers to a movement that began in the late 1970s, coinciding with the popularity of New Wave and Post-punk music. Building upon the basic principles of those musical movements[1], Dark Wave evolved through the addition of dark, thoughtful lyrics and an undertone of sorrow. Dark Wave is inseparably connected with the stylistic developments of the late 1970s and the 1980s. In the 1980s a versatile subculture developed within the Dark Wave movement, whose members were called ''"(dark) wavers"''.[2][3] In many countries, the Dark Wave movement also included the early Goth subculture (''trad goth'').
| Contents |
| History |
| The 1980s |
| The 1990s |
| Wave-untypical influences |
| Samples |
| Clips |
| References |
| See also |
History
The 1980s
The first usage of the term appears to have been in the 1980s, to describe the dark and melancholy variant of New Wave and Post-punk music, e.g. the early Gothic rock (in those days the genre wasn't frequently called ''"gothic"'' outside of the UK), the French Coldwave or dark Synthpop (also called Electrowave in Germany), and refers to the dark and moody music of bands such as Bauhaus[4], Joy Division[5][6], The Cure[6][8], Siouxsie & the Banshees[6], The Chameleons[6], Cocteau Twins, Anne Clark, Fad Gadget, Gary Numan, Psyche or Depeche Mode[8].
In the course of time, different Dark Wave genres, especially Coldwave, Gothic rock and others, blended up with electronic music (Synthpop, Ambient and Post-industrial). Attrition, Clan of Xymox, Die Form, In The Nursery and Pink Industry were some of the main bands playing this music in the 1980s and, while associated with the Gothic, Dark Wave and Post-industrial scenes, they had previously been something of an ill-fit in the those scenes.
The 1990s
After the New Wave and Post-punk movement faded between the middle and the end of the 1980s, Dark Wave survived and experienced a fresh impetus through the music of bands such as Deine Lakaien, Love Is Colder Than Death, Corpus Delicti, The Frozen Autumn, the early music of Love Like Blood,[12] The Garden of Delight, Wolfsheim and Diary of Dreams. All of these bands followed a straight-line path, based on the New Wave and Post-punk movement of the 1980s.
At the same time, a number of German artists, including Das Ich, Goethes Erben, Relatives Menschsein and Lacrimosa, developed a more theatrical style, interspersed with German poetic and metaphorical lyrics, called Neue Deutsche Todeskunst (''New German Death Art''). Other bands, such as Silke Bischoff, In My Rosary, Engelsstaub, Annabelle's Garden and Canticum Funebris mingled dark Synthpop or Goth rock with elements of the Neofolk or Neoclassical genre. A curious act is the German artist Sopor Aeternus & The Ensemble Of Shadows, which combined Gothic rock elements with Folklore and medieval sounds.
Since 1993/94, in the United States, the term Dark Wave became (as the one-word variant ''Darkwave'') largely associated with the Projekt Records label because it was used as the name of their printed catalog and was used to market and promote German products of artists like Project Pitchfork in the US.
The Projekt label featured bands such as Lycia, Black Tape for a Blue Girl, Love Spirals Downwards, Tearwave and Autumn's Grey Solace, all characterized by slow, moody ethereal female vocals, which had been an element in the music of some of the 1980s bands like Cocteau Twins. This music is often referred to as Ethereal Darkwave.[13] The label has also had a long association with Attrition, who appeared on the label's earliest compilations. Another label in this vein was Tess Records in the US, which featured This Ascension, Trance to the Sun, Faith and the Muse and, from 1997, Clan of Xymox, who had returned to a sound more like their 1980s sound following almost a decade as the more Synthpop Xymox.
Wave-untypical influences
A number of other US bands mixed elements of Dark Wave and Ethereal Wave with more modern electronic music to a high level of popularity. Love Spirals Downwards and Collide, for example, incorporated large elements of Trip hop, while the The Crüxshadows have combined a range of contemporary Dance music elements with their synth-based Alternative rock style.
Samples
Clips
References
1. Source: Arvid Dittmann · Artificial Tribes · Jugendliche Stammeskulturen in Deutschland · Page 139 · 2001 · ISBN 3-933773-11-3
2. Source: Klaus Farin · Die Gothics · Interview with Eric Burton from the German music group Catastrophe Ballet · Page 60 · 2001 · ISBN 3-933773-09-1
3. Source: Peter Matzke / Tobias Seeliger · Gothic! · Interview with Bruno Kramm from the German music group Das Ich · Page 217 · 2000 · ISBN 3-89602-332-2
4. Source: Peter Matzke / Tobias Seeliger · Das Gothic- und Dark-Wave-Lexikon · Page 39 · 2002 · ISBN 3-89602-277-6
5. Source: New Life Soundmagazine · Issue No. 38 · Description of the single „Love Will Tear Us Apart“ · Page 10 · November 1988
6. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
7. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
8. Source: Ingo Weidenkaff · Jugendkulturen in Thüringen · Die Gothics · Page 41 · 1999 · ISBN 3-933773-25-3
9. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
10. Source: Kirsten Wallraff · Die Gothics · Musik und Tanz · Page 47 · 2001 · ISBN 3-933773-09-1
11. Source: Ingo Weidenkaff · Jugendkulturen in Thüringen · Die Gothics · Page 41 · 1999 · ISBN 3-933773-25-3
12. Source: Glasnost Wave-Magazin · Issue No. 23 · Interview with the German music group Love Like Blood · Page 13 · September 1990
13. Source: Glasnost Wave-Magazin · Issue No. 42 · Description of the bands Trance to the Sun, This Ascension and others · Pages 32/34 · Germany · April 1994
See also
★ Ethereal
★ Gothic rock
★ Neoclassical
★ New Wave
★ Post-punk
★ List of Darkwave releases
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