Dark wave explained

Dark wave
Cultural Origins:Late 1970s – early 1980s, Europe (particularly in the United Kingdom, West Germany, Belgium, France and Italy)

Dark wave (also typeset as darkwave) is a music genre that emerged from the new wave and post-punk movement of the late 1970s.[1] [2] Dark wave compositions are largely based on minor key tonality and introspective lyrics and have been perceived as being dark, romantic and bleak, with an undertone of sorrow.[3] The genre embraces a range of styles including cold wave,[4] ethereal wave,[5] gothic rock,[6] neoclassical dark wave[7] and neofolk.

In the 1980s, a subculture developed primarily in Europe alongside dark wave music, whose followers were called wavers[8] [9] or dark wavers.[10] [11] In some countries, such as Germany, the movement also included fans of gothic rock[12] (so-called trad-goths).[13]

Origins (1980s)

Since the 1980s,[14] [15] [16] the term has been used in Europe to describe the gloomy and melancholy variant of new wave and post-punk music.[17] At that time, the term "goth" was inseparably connected with gothic rock,[18] whereas "dark wave" acquired a broader meaning, including music artists that were associated with gothic rock and synthesizer-based new wave music.[19]

The movement spread internationally, developing such strands as ethereal wave, with bands such as Cocteau Twins, and neoclassical dark wave, initiated by the music of Dead Can Dance and In the Nursery.[20] [21] Simultaneously, different substyles associated with the new wave and dark wave movements started to merge and influence each other.

German dark wave bands were partially associated with the Neue Deutsche Welle (i.e. German new wave).[22] Other bands, such as Malaria! added elements of chanson and cabaret music, which became known as cabaret noir (or "dark cabaret", a term popularized by U.S. dark wave label Projekt Records).[23]

Second generation (1990s)

After the new wave and post-punk movements faded in the mid-1980s,[24] dark wave was renewed as an underground movement.[25] [26] [27] Ataraxia and the Frozen Autumn from Italy, and the French Corpus Delicti also evolved from this movement and became the leading artists of the west Romanesque scene.[28] These bands followed a path based on the new wave and post-punk music of the 1980s.

At the same time, a number of German artists developed a more theatrical style, interspersed with German poetic, metaphorical lyrics, called Neue Deutsche Todeskunst (literally New German Death Art).[29] [30] Other bands combined synthesizers with elements of neofolk and neoclassical dark wave.

After 1993, in the United States the term dark wave (as the one-word variant "darkwave") became associated with the Projekt Records label, because it was adopted by the label founder Sam Rosenthal after leafing through the pages of German music magazines such as Zillo, and has been used to promote and market artists from German label Hyperium Records in the U.S. (e.g. Chandeen and Love Is Colder Than Death).[31]

Projekt featured bands such as Lycia, Black Tape for a Blue Girl, and Love Spirals Downwards, some of these characterized by atmospheric guitar and synth-sounds and female vocals. This style took cues from 1980s bands like Cocteau Twins[32] [33] and is often referred to as ethereal dark wave.[34] Projekt has also had a long association with Attrition, who appeared on the label's earliest compilations.[35] Joshua Gunn, a professor of communication studies at Louisiana University, described the U.S. type of dark wave music as:

Revival (2010s-2020s)

In the 2010s, a new generation of bands rekindled the darkwave genre for a new generation of fans. The most prominent of these acts is Boy Harsher, but others include Drab Majesty, Twin Tribes and Pixel Grip.[36] [37] [38] Substance is an annual Darkwave and Industrial music festival occurring in Los Angeles which began in the 2010s.[39] Meanwhile, Verboden is an annual Darkwave festival in Vancouver, British Columbia.[40] The Wave-Gotik-Treffen festival in Leipzig, Germany, established in 1992, is considered one of the world's largest festivals for "dark" music and culture, taking place at Pentecost annually throughout the city. It attracts around 20,000 visitors from all over the world.

See also

Notes and References

  1. Book: Farin. Klaus. Neubauer. Hendrik. Artificial Tribes: Jugendliche Stammeskulturen in Deutschland. 2001. 493304020. Tilsner. Bad Tölz. 3-933773-11-3. 139. Orig.-Ausg..
  2. Book: Thomas . Hecken . Marcus S. . Kleiner . Handbuch Popkultur . J. B. Metzler Verlag . 2017 . 978-3-476-02677-4 . 79.
  3. Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,, p. 270
  4. Schilz, Andrea: Flyer der Schwarzen Szene Deutschlands: Visualisierungen, Strukturen, Mentalitäten. Waxmann Verlag, 2010,, p. 84.
  5. Bryan . Reesman . The Scene Is Now: Dark Wave . . 68 . 48 . April 1999 . Female vocals, both wispy and operatic, have become fashionable, particularly in the Ethereal subgenre. .
  6. Uecker, Susann: Mit High-Heels im Stechschritt, Hirnkost Verlag, 2014,
  7. Carstens, Olaf; Thalhofer, Frank: Duden - Das Fremdwörterbuch, Bibliographisches Institut, Auflage 11, 2015,, p. 726
  8. Book: Farin. Klaus. Wallraff. Kirsten. Archiv der Jugendkulturen e.V., Berlin. Die Gothics : Interviews, Fotografien. 1999. Tilsner. Bad Tölz. 9783933773098. Orig.-Ausg..
  9. Book: Matzke. Peter. Seeliger. Tobias. Die schwarze Musik-Szene in Deutschland. 2002. 742385153. Schwarzkopf & Schwarzkopf. Berlin. 3-89602-332-2. 217. 2., erg. Aufl..
  10. Haumann, Melanie: Fetisch Weiblichkeit. Der Mythos der schönen Frau?, Verlag für Wissenschaft und Forschung, 2001,, p. 2
  11. Farin, Klaus: "Jugend, Gesellschaft und Recht im neuen Jahrtausend", Forum Verlag Godesberg, 2003,, p. 66
  12. Book: Shirley R. . Steinberg . Priya . Parmar . Birgit . Richard . Contemporary Youth Culture. An International Encyclopedia. Volume II. . Greenwood Publishing Group . 2005 . 0-313-33729-2 . 431 .
  13. Hodkinson, Paul: Goth. Identity, Style and Subculture, Bloomsbury Academic, 2002,, p. 50
  14. [Spex (magazine)|SPEX]
  15. Bobby Vox: Gorgonen, Hydras & Chimären – Interview with Marquee Moon, E.B. music magazine, issue 3/86, p. 18, May 1986
  16. New Life Soundmagazine, issue 38, description of the single "Love Will Tear Us Apart" by Joy Division, p. 10, November 1988
  17. Issitt, Micah: Goths: A Guide to an American Subculture, Greenwood Publishing Group, 2011,, p. 111
  18. Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,, p. 261.
  19. News: Rouner. Jeff. The Seven Ages of Goth. Houston Press. 20 January 2011.
  20. Matzke, Peter; Seeliger, Tobias: Das Gothic- und Dark-Wave-Lexikon, p. 400, 2003,
  21. Nym, Alexander: Schillerndes Dunkel. Geschichte, Entwicklung und Themen der Gothic-Szene, Plöttner Verlag 2010,, p. 169
  22. Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,, p. 256
  23. Stücker, Bianca: Die Funktionalisierung von Technik innerhalb des subkulturellen Kontexts, Europäischer Hochschulverlag, 2013,, p. 74
  24. Schilz, Andrea: Flyer der Schwarzen Szene Deutschlands: Visualisierungen, Strukturen, Mentalitäten. Waxmann Verlag, 2010,, p. 92
  25. Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,, pp. 258/259
  26. Kilpatrick, Nancy. The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin, 2004,, pp. 84/85.
  27. Köble, Oliver: Editorial, Glasnost magazine, issue 28, p. 3, July/August 1991
  28. Stableford, Brian: News of the Black Feast and Other Random Reviews, Wildside Press 31 March 2009,, p. 24
  29. Matzke, Peter; Seeliger, Tobias: Das Gothic- und Dark-Wave-Lexikon, p. 311, 2002,
  30. Schmidt, Axel; Neumann-Braun, Klaus: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,, pp. 280/281.
  31. Web site: Projekt:Darkwave, Catalogue November 1996 . 17 July 2019 . https://web.archive.org/web/19970130043245/http://www.projekt.com/order/orderform.html . 30 January 1997 . dead .
  32. Dave Thompson, Kirsten Borchardt: Schattenwelt – Helden und Legenden des Gothic Rock., Hannibal Verlag 2003,, p. 362
  33. Mercer, Mick. Music to die for. London: Cherry Red Books, 2009,, p. 105
  34. Glasnost Wave-Magazin, issue 42, Description of the bands Trance to the Sun, This Ascension, p. 32/34, April 1994
  35. Various Artists: From Across this Gray Land, first appearance of Attrition on Projekt Records, 1986
  36. Web site: Be 'Careful': Boy Harsher Pushes its Darkwave Sound to Thrilling Ends. Leah. Mandel. 24 January 2019. 18 December 2022. NPR.
  37. Web site: Boy Harsher are the cinematic sound of heartbreak | Dazed. 3 September 2019 . 18 December 2022.
  38. Web site: Verboden Festival . 2023-05-02 . Verboden Festival . en.
  39. https://post-punk.com/los-angeles-post-punk-festival-substance-reveals-its-2022-lineup/ Los Angeles Post-Punk Festival Substance Reveals its 2022 Lineup
  40. Web site: Verboden Festival . 2023-05-02 . Verboden Festival . en.

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