:<span>”This article is about the musical style of gothic rock. For the goth scene in general, see [[goth subculture]].”</span>

<small>Small Text</small>:<span>”This article is about the musical style of gothic rock. For the goth scene in general, see [[goth subculture]].”</span>

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{{genrebox|name=Gothic Rock

{{genrebox|name=Gothic Rock

By 1985, the post-punk era was giving way to new musical styles, and many of the first generation gothic groups disbanded or changed their style. The Sisters of Mercy’s debut album ”[[First and Last and Always]]” (1985) cracked the British top ten, which showed the important influence that this ‘first generation’ goth band was having on the second generation. Vocalist [[Andrew Eldritch]]’s voice earned him the moniker “the Godfather of Goth”, and the bands’ use of a [[drum machine]] (along with fellow Leeds residents [[March Violets]]) was innovative for the goth scene. The [[Three Johns]] and [[Red Lorry Yellow Lorry]] (also Leeds-based bands) used drum machines as well, which became much more common during the second generation (drum machines continued to be common in goth music in the 2000s).

By 1985, the post-punk era was giving way to new musical styles, and many of the first generation gothic groups disbanded or changed their style. The Sisters of Mercy’s debut album ”[[First and Last and Always]]” (1985) cracked the British top ten, which showed the important influence that this ‘first generation’ goth band was having on the second generation. Vocalist [[Andrew Eldritch]]’s voice earned him the moniker “the Godfather of Goth”, and the bands’ use of a [[drum machine]] (along with fellow Leeds residents [[March Violets]]) was innovative for the goth scene. The [[Three Johns]] and [[Red Lorry Yellow Lorry]] (also Leeds-based bands) used drum machines as well, which became much more common during the second generation (drum machines continued to be common in goth music in the 2000s).

During the second wave of goth, the term and the style became noticed in mainstream British publications like The Face and the [[NME]]. Goth fans developed [[fanzines]], and goth clubs began to spring up in imitation of London’s Batcave. The 1983 vampire-genre film ”The Hunger”, starring David Bowie, featured an appearance by Bauhaus, which helped to cement the relationship between glam, horror, goth and [[mainstream]]. 4AD recording artists such as Clan of Xymox (who had a mainstream hit with “Imagination”), [[Dead Can Dance]], and the [[Cocteau Twins]] got US college radio airplay, and ‘first generation’ acts such as Siouxsie and the Banshees became the goth scene’s de facto spokespeople to the mainstream press. Others, such as [[Southern Death Cult]] and [[Death Cult]] evolved (see [[The Cult]]).

During the second wave of goth, the term and the style became noticed in mainstream British publications like The Face and the [[NME]]. Goth fans developed [[fanzines]], and goth clubs began to spring up in imitation of London’s Batcave. The 1983 vampire-genre film “The Hunger“, starring David Bowie, featured an appearance by Bauhaus, which helped to cement the relationship between glam, horror, goth and [[mainstream]]. 4AD recording artists such as Clan of Xymox (who had a mainstream hit with “Imagination”), [[Dead Can Dance]], and the [[Cocteau Twins]] got US college radio airplay, and ‘first generation’ acts such as Siouxsie and the Banshees became the goth scene’s de facto spokespeople to the mainstream press. Others, such as [[Southern Death Cult]] and [[Death Cult]] evolved (see [[The Cult]]).

Goth zines split their direction in much the same way that the scene itself did. Earlier magazines such as [[Permission magazine|Permission]] were allied to the [[Punk rock|punk]] roots of goth and tended to veer towards [[industrial music]], while later magazines such as [[Carpe Noctem]] focused more on the lace-and-poetry romantic sound.

Several goth magazines were published, such as [[Propaganda (magazine)|Propaganda]]Goth zines split their direction in much the same way that the scene itself did. Earlier magazines such as [[Permission magazine|Permission]] were allied to the [[Punk rock|punk]] roots of goth and tended to veer towards [[industrial music]], while later magazines such as [[Carpe Noctem]] focused more on the lace-and-poetry romantic sound.

By 1987, gothic groups started to emerge in Canadian cities such as Toronto and Montreal, such as [[Toronto goth scene|Masochistic Religion]], which included the singer from [[Armed and Hammered]]. Toronto band [[Exovedate (band)|Exovedate]] signed with German record label [[Pandaimonium Records]], and their album ”Seduced by Illusions” received airplay in Australia, Russia, the US, Brazil, Guam, Germany, and Canada.

By 1987, gothic groups such as [[Disappointed a Few People]] (Montreal 1986) and [[Masochistic Religion]] started to emerge in Canadian cities such as Toronto and Montreal. Masochistic Religion included the singer from [[Armed and Hammered]], the guitarist from [[technicolour rain coats]] and a member from [[Ichor]]. Toronto band [[Exovedate (band)|Exovedate]] signed with German record label [[Pandaimonium Records]], and their third CD “Seduced by Illusions” received airplay in Australia, Russia, the US, Brazil, Guam, Germany, and Canada.

By this time, a cross-pollination with the growing global [[Post-industrial (music)|post-industrial]] scene was developing. [[Depeche Mode]]’s blend of goth, industrial, and pop and synthesized sounds influenced many goth musicians. [[Synthpop]] acts such as Camouflage, Secession, Celebrate the Nun, and Red Flag followed Depeche Mode’s lead, and eventually gothic music found its way into club music, and synthpop began appearing in goth rock.

By this time, a cross-pollination with the growing global [[Post-industrial (music)|post-industrial]] scene was developing. The blending of goth and ‘industrial’ music scenes and subcultures can be heard in the music of [[Dog Pile]], [[Crash Worship]], and [[Skinny Puppy]]. [[Depeche Mode]]’s blend of goth, industrial, and pop and synthesized sounds influenced many goth musicians. [[Synthpop]] acts such as Camouflage, Secession, Celebrate the Nun, and Red Flag followed Depeche Mode’s lead, and eventually gothic music found its way into club music, and synthpop began appearing in goth rock.

==Third generation (”c.” 1995 to the present) ==

==Third generation (”c.” 1995 to the present) ==

In the 1990s, some of the influential 1980s “first generation” bands were still performing. At the same time, [[North America]]n bands such as [[Switchblade Symphony]] (released by the [[Cleopatra Records|Cleopatra]] label) and [[London After Midnight (band)|London After Midnight]] (released by Metropolis Records label in the USA) began releasing material. New English bands included [[Children on Stun]], [[All Living Fear]], Vendemmian and [[Rosetta Stone (band)|Rosetta Stone]]. Other popular goth acts to emerge in the 1990s included [[The Last Dance]], [[Sunshine Blind]], and [[The Shroud]].

In the 1990s, some of the influential 1980s “first generation” bands were still performing. At the same time, [[North America]]n bands such as [[Switchblade Symphony]] (released by the [[Cleopatra Records|Cleopatra]] label) and [[London After Midnight (band)|London After Midnight]] (released by Metropolis Records label in the USA) began releasing material. New English bands Included [[Children on Stun]], [[All Living Fear]], Vendemmian and [[Rosetta Stone (band)|Rosetta Stone]]. Other popular goth acts to emerge in the 1990s included [[The Crüxshadows]], [[The Last Dance]], [[Sunshine Blind]], [[Trance to the Sun]], and [[The Shroud]].

In [[Germany]], many labels such as Apocalyptic Vision, Apollyon Rekordings, Deathwish Office, Dion Fortune, Glasnost Records, Hyperium Records, Sounds Of Delight, and Talitha Records released Gothic compilations and recordings from bands such as [[Love Like Blood]], [[Mephisto Walz]], The Merry Thoughts, and Two Witches. [[France]] produced some new goth bands such as [[Corpus Delicti (band)|Corpus Delicti]] and Dead Souls Rising. Thanks to internet communities and broader CD distribution through such a plethora of record companies, fans of these labels and bands were no longer regionally based; the music was becoming more globalized than before.

In [[Germany]], many labels such as Apocalyptic Vision, Apollyon Rekordings, Deathwish Office, Dion Fortune, Glasnost Records, Hyperium Records, Sounds Of Delight, and Talitha Records released Gothic compilations and recordings from bands such as [[Love Like Blood]], [[Mephisto Walz]], The Merry Thoughts, [[Requiem In White]], and Two Witches. [[France]] produced some new goth bands such as [[Corpus Delicti (band)|Corpus Delicti]], Dead Souls Rising, and Brotherhood Of Pagans. Thanks to internet communities and broader CD distribution through such a plethora of record companies, fans of these labels and bands were no longer regionally based; the music was becoming more globalized than before.

In the mid and late 1990s, major record labels, particularly in the United States and Germany, began marketing hard rock and metal acts as “gothic” or “industrial” bands. The formerly underground subcultural aesthetic of goth was incorporated into the sound and image of several popular mainstream bands such as [[HIM (band)|HIM]], [[Marilyn Manson (band)|Marilyn Manson]], and more recently [[Evanescence]] although these bands did not produce goth rock. The term “goth” became associated in the public’s mind with these mainstream bands, the [[Hot Topic]] chain, the “mallgoth” aesthetic, and the [[Columbine school shooting]], which led to the US press’ subsequent vilification and scrutiny of the goth culture [http://www.washingtonpost.com/wp-srv/national/daily/april99/suspects21.htm]

In the mid and late 1990s, major record labels, particularly in the United States and Germany, began marketing hard rock and metal acts as “gothic” or “industrial” bands. The formerly underground subcultural aesthetic of goth was incorporated into the sound and image of several popular mainstream bands such as [[HIM (band)|HIM]], [[Marilyn Manson (band)|Marilyn Manson]], and more recently [[Evanescence]] although these bands did not produce goth rock. The term “goth” became associated in the public’s mind with these mainstream bands, the [[Hot Topic]] chain, the “mallgoth” aesthetic, and the [[Columbine school shooting]], which led to the US press’ subsequent vilification and scrutiny of the goth culture [http://www.washingtonpost.com/wp-srv/national/daily/april99/suspects21.htm]

Internally, the gothic subculture during this time had come to be dominated more and more by dance club attendance. Goth rock adapted in turn: contemporary [[dance club]] goth followed the footsteps of beat-driven [[industrial music]], using many of the same production techniques and aesthetics, though danceable industrial music tended to be “harder” sounding while goth was “softer” sounding, with less distortion and minimal influence from techno and metal. Much modern goth often has the evolutionary feel of New Wave music or [[synth pop]], though there are also “old school” or “first generation” gothic rock or faux-medieval acts.

Internally, the gothic subculture during this time had come to be dominated more and more by dance club attendance. Goth rock adapted in turn: contemporary [[dance club]] goth followed the footsteps of beat-driven [[industrial music]], using many of the same production techniques and aesthetics, though danceable industrial music tended to be “harder” sounding while goth was “softer” sounding, with less distortion and minimal influence from techno and metal. Much modern goth often has the evolutionary feel of New Wave music or [[synth pop]], though there are also “old school” or “first generation” gothic rock or faux-medieval acts.

Since 2000, some fans have embraced a [[Deathrock|Death Rock]] revival, returning to the 1980s music and fashions of the first generation of goth. Bands such as [[Cinema Strange]], [[Quidam]], and [[Black Ice (band)|Black Ice]] have contributed to the revitalization of the first generation-style goth, and [[Nina Hagen]] even headlined the 2005 [http://www.dropdeadfestival.com Drop Dead Festival] in New York City. The Cure and Bauhaus’s high-profile performances since 2004 have also helped to promote the earlier goth sound, characterized by “jangly” guitars and less club-oriented arrangement.

Since 2000, some fans have embraced a [[Deathrock|Death Rock]] revival, returning to the 1980s music and fashions of the first generation of goth. Bands such as [[Cinema Strange]], [[Quidam]], [[Antiworld]], and [[Black Ice (band)|Black Ice]], along with the website Deathrock.com, have contributed to the revitalization of the first generation-style goth, and [[Nina Hagen]] even headlined the 2005 [http://www.dropdeadfestival.com Drop Dead Festival] in New York City. The Cure and Bauhaus’s high-profile performances since 2004 have also helped to promote the earlier goth sound, characterized by “jangly” guitars and less club-oriented arrangement.

Though the goth rock has diminished in popularity and its record sales have fallen off, there are still events, labels, and publications supporting it. [[Dancing Ferret Discs]], [[Projekt Records]], and [[Metropolis Records]] are releasing goth music in the American market, new Gothic Music is being produced by European labels like [[Strobelight Records]], while the label [[Cherry Red]] has been reissuing early goth rock recordings in Europe.

Though the goth rock has diminished in popularity and its record sales have fallen off, there are still events, labels, and publications supporting it. [[Dancing Ferret Discs]], [[Projekt Records]], and [[Metropolis Records]] are releasing goth music in the American market, new Gothic Music is being produced by European labels like [[Strobelight Records]], while the label [[Cherry Red]] has been reissuing early goth rock recordings in Europe.