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Dark wave

From Wikipedia, the free encyclopedia
Genre of music
For the 1956 documentary film, seeThe Dark Wave.

Dark wave
Other names
Stylistic origins
Cultural originsLate 1970s – early 1980s, Europe (particularly in the United Kingdom, West Germany, Belgium, France and Italy)
Typical instruments
Subgenres
Regional scenes

Dark wave, ordarkwave, is a music genre that emerged from thenew wave andpost-punk movement of the late 1970s.[5][6] Dark wave compositions are largely based onminor key tonality and introspective lyrics and have been perceived as being dark, romantic and bleak, with an undertone of sorrow.[5][7] Common features include the use ofchordophones such as electric and acoustic guitar, violin and piano, as well as electronic instruments such as synthesizer, sampler and drum machine. Like new wave, dark wave is not considered an "unified genre but rather an umbrella term"[8] that encompasses a variety of musical styles, includingcold wave,[9]ethereal wave,[10]gothic rock,[9][11][6]neoclassical dark wave[12] andneofolk.[11]

In the 1980s, a subculture developed primarily in Europe alongside dark wave music, whose followers were called "wavers"[13][14] or "dark wavers".[15][16] In some countries, most notably Germany, the movement also included fans of gothic rock[1] (so-called "trad-goths").[17]

History

[edit]

Origins in Europe

[edit]

1980s: Foundations

[edit]
Clan of Xymox

Since the 1980s,[18][19][20] the term "dark wave" has been used in Europe by the music press[21] to describe the gloomy and melancholy variant of new wave and post-punk music.[5][22] At that time, the term "goth" was inseparably connected with gothic rock,[23] whereas "dark wave" acquired a broader meaning, embracing bands and solo artists that were associated with gothic rock[22] and synthesizer-based new wave music,[6][24] such asBauhaus,[25]Joy Division,[20][26][27]the Cure,[26][28]Siouxsie and the Banshees,[26]the Sisters of Mercy,[26]Anne Clark,[29]Depeche Mode,[28][24]Gary Numan[24] andthe Chameleons.[26]

The term darkwave originated in the 1980s as an indicator of the dark counterpart of new wave. Bands such as Cocteau Twins,Soft Cell, and Depeche Mode are exponents of this first generation of darkwave. Darkwave... employs relatively slower tempos, lower pitches, and more minor keys in its musical settings of melancholy texts than new wave.[30]

— Isabella van Elferen, Professor of Musicology,Kingston University, London

The movement spread internationally, developing such strands asethereal wave, with bands such asCocteau Twins, andneoclassical dark wave, initiated by the music ofDead Can Dance andIn the Nursery.[31][32] Frenchcold wave groups such as Clair Obscur[33] andOpera Multi Steel[34] have also been associated with the dark wave scene;[8] Rémy Lozowski, guitarist of French cold wave band Excès Nocturne, described his music asnew wave noire ("dark new wave").[35]

Simultaneously, different substyles associated with the new wave and dark wave movements started to merge and influence each other, e.g. synth-wave[3] (a kind of new wave with synthesizers, also referred to as "electro-wave"[36][37]) with gothic rock, or began to borrow elements ofpost-industrial music.Attrition,[38]Die Form (France),Pink Industry (UK),Psyche (Canada),Kirlian Camera (Italy) andClan of Xymox (Netherlands)[39] performed this music in the 1980s. Other bands such asMalaria! and the Vyllies added elements ofchanson andcabaret music. This sort of dark wave music became known ascabaret noir (or "dark cabaret", a term popularized by U.S. dark wave labelProjekt Records).[22][40]

German dark wave bands were partially associated with theNeue Deutsche Welle (i.e. German new wave),[41] and includedXmal Deutschland,[42] Mask For, Asmodi Bizarr,[8] II. Invasion,[8] Unlimited Systems, Moloko †, Maerchenbraut,[43][8] Cyan Revue,[18] Leningrad Sandwich,[18] Stimmen der Stille, Belfegore,[44] andPink Turns Blue.[45][8]

1990s: Second generation

[edit]
The Frozen Autumn

After the new wave and post-punk movements faded in the mid-1980s,[46] dark wave was renewed as an underground movement[47][43][48] by German bands such asGirls Under Glass,Deine Lakaien,[43]Love Like Blood,[26]Love Is Colder Than Death,[49]Diary of Dreams,[50][29]the Eternal Afflict,[51] andWolfsheim, as well asProject Pitchfork and its offshootAurora Sutra.[47][43]Ataraxia andthe Frozen Autumn from Italy, and the FrenchCorpus Delicti also evolved from this movement and became the leading artists of the west Romanesque dark wave scene.[52] These bands followed a path based on the new wave and post-punk music of the 1980s.[26][30]

In the 1990s, a second generation of darkwave bands became popular, including Diary of Dreams, Deine Lakaien, and the Frozen Autumn... The German band Deine Lakaien ... is audibly influenced by the dark synthesizer sounds of Depeche Mode.[30]

— Isabella van Elferen, Professor of Musicology

At the same time, a number of German artists, includingDas Ich,[53]Goethes Erben,[53]Relatives Menschsein,[53] andEndraum,[53] developed a more theatrical style, interspersed with German poetic, metaphorical lyrics, calledNeue Deutsche Todeskunst (literallyNew German Death Art).[53][54] Other bands, such as Silke Bischoff,In My Rosary,[55]Engelsstaub,[56] and Impressions of Winter[57] combined synthesizers with elements ofneofolk and neoclassical dark wave.[56]

United States

[edit]

After 1993, in the United States the term dark wave (as the one-word variant "darkwave") became associated with theProjekt Records label,[24] because it was adopted by label founderSam Rosenthal after leafing through the pages of German music magazines such asZillo, and has been used to promote and market artists from German labelHyperium Records in the U.S., e.g.Chandeen andLove Is Colder Than Death.[58]

I first became aware of the term "Dark Wave" back in 1992. It appeared in German magazines – such as Zillo – describing a style of European music that followed other "waves" such as New Wave ... I found those two words ("dark" and "wave") quite interesting. This was something underground, submerged, obscure... which swept over you, immersed you, surrounded you. It was a poetic phrase that could describe many different sounds. At the time, I was looking for a name for my little mail-order company. I wanted something that would encompass the variety of music available in my catalog.[59]

— Sam Rosenthal, Projekt Records, 2000
Faith and the Muse (Monica Richards and Marzia Rangel of Christ vs. Warhol and Scarlet's Remains)

Projekt featured bands such asLycia,Black Tape for a Blue Girl, andLove Spirals Downwards, some of these characterized by atmospheric guitar and synth-sounds and female vocals.[60] This style took cues from 1980s bands likeCocteau Twins[56] and is often referred to asethereal dark wave.[61][56] Projekt Records has also had a long association withAttrition, who appeared on the label's earliest compilations.[62] Another American record label in this vein was Tess Records, which featuredThis Ascension,Faith and the Muse,[63] and the reunitedClan of Xymox.[64]

Joshua Gunn, a professor of communication studies at Louisiana University, described the U.S. type of dark wave music as:

...an expansion of the rather limited gothic repertoire into electronica and, in a way, the US answer to the "ethereal" subgenre that developed in Europe (e.g. Dead Can Dance). Anchored by Sam Rosenthal's now New York-based label Projekt, dark wave music is less rock and more roll, supporting bands who tend to emphasize folk songcraft, hushed vocals, ambient experimentation, and synthesized sounds [...] Projekt bands like Love Spirals Downwards and Lycia are the most popular of this subgenre.[63]

Neoclassical dark wave

[edit]
Dead Can Dance (Brendan Perry andLisa Gerrard)

Neoclassical dark wave is a subgenre of dark wave music[65][12] that is characterized by incorporating elements ofclassical music[56] to create an ethereal, dramatic or melancholy atmosphere.[66][67] Neoclassical dark wave makes extensive use of orchestral components; many bands utilize modern production equipment (orchestra-derived synthesizersamples),[66] while others make use ofchamber orchestras and acoustic instruments (e.g.string andbrass instruments andorchestral percussion).[31] Vocals in the subgenre can vary; female voices predominate.[66][31]

In the second half of the 1980s, former post-punk bands such as Dead Can Dance (Within the Realm of a Dying Sun, 1987[68]) and In the Nursery (Stormhorse, 1987[67]) released influential albums which essentially laid the foundations of the genre.[66][56]

Other artists includeArcana,[31]Ataraxia,[66]Autumn Tears,[69]Camerata Mediolanense,[70]Dargaard,[71]Dark Sanctuary[31] Impressions of Winter,[72] Ophelia's Dream,[73] Les Secrets de Morphée,[56]Love Is Colder Than Death,[74] Stoa,[67] andWeltenBrand.[66]

Revival and influence (2010s–present)

[edit]

In the 2010s, as part of thepost-punk revival,[75] a new generation of bands rekindled several sonic characteristics of early dark wave music for a new generation of fans. Some prominent acts includeShe Wants Revenge,[75]the Soft Moon,[75]She Past Away,[75]Drab Majesty,[75]Twin Tribes, Selofan[75] andBoy Harsher.[76][77]

Substance is an annual Darkwave and Industrial music festival occurring in Los Angeles which began in the 2010s.[78] Meanwhile, Verboden is an annual Darkwave festival in Vancouver, British Columbia.[79] TheWave-Gotik-Treffen festival inLeipzig, Germany, established in 1992, is considered one of the world's largest festivals for "dark" music andculture, taking place atPentecost annually throughout the city. It attracts around 20,000 visitors from all over the world.

References

[edit]
  1. ^abSteinberg, Shirley R.; Parmar, Priya; Richard, Birgit (2005).Contemporary Youth Culture. An International Encyclopedia. Volume II. Greenwood Publishing Group. p. 431.ISBN 0-313-33729-2.
    "The subculture of the Goths (in Germany called "Grufties") started in Britain in the early 1980s and derives from the gloomy, resigned side of punk and new wave, in the field of music called 'dark wave' or 'doom.'"
  2. ^Dumeier, Michael:Smalltalk & Concerts, The Mettmist music magazine, issue 1, 1984, p. 24
    Janning, Frank:The Lawyers of Death,SPEX. Musik zur Zeit, issue 9/86, September 1986, p. 10
    Schubert, Dieter:Was ist ein Perfect Beat?, My Way music magazine, issue 9, 1988, p. 20
  3. ^abOgiba, Jeff (11 July 2012)."A Brief History of Musical Waves from NEW to NEXT".Vice.
    "Dark Wave was another late-'70s off-shoot of New Wave. The genre contained the gloomiest of the groups, featuring with slower tempos, deeper vocals, and intense lyrical content. Some bands include the Danse Society, the Sisters of Mercy, and Bauhaus. The Dark Wavers still exist, and the popularity of the genre has seen a revival in recent years."
  4. ^Webb, Peter:Exploring the Networked Worlds of Popular Music, Routledge Chapman & Hall, 2007,ISBN 0-415-95658-7, p. 60
  5. ^abcFarin, Klaus; Neubauer, Hendrik (2001).Artificial Tribes: Jugendliche Stammeskulturen in Deutschland (Orig.-Ausg. ed.). Bad Tölz: Tilsner. p. 139.ISBN 3-933773-11-3.OCLC 493304020.
  6. ^abcHecken, Thomas; Kleiner, Marcus S. (2017).Handbuch Popkultur. J. B. Metzler Verlag. p. 79.ISBN 978-3-476-02677-4.
  7. ^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. 270
    "Textlich und musikalisch ergibt sich für Dark Wave ein Stimmungsbild, das sich gezähmt zwischen Härte und Romantik bewegt, sehnsuchtsvoll und melancholisch, Wut kommt kaum aggressiv zum Ausdruck, alles wirkt ausgewogen und reflektiert."
  8. ^abcdefStrother, Eric S. (2019). Sturman, Janet (ed.).The SAGE International Encyclopedia of Music and Culture.SAGE Publications. p. 727.ISBN 978-1-50635-338-8.
  9. ^abSchilz, Andrea:Flyer der Schwarzen Szene Deutschlands: Visualisierungen, Strukturen, Mentalitäten. Waxmann Verlag, 2010,ISBN 978-3-8309-2097-7, p. 84.
    "Dark Wave ist ein ... Oberbegriff für düstere Spielarten des Wave, der auch Gothic darunter subsumiert. Cold Wave bezeichnet eine Untergattung experimenteller, minimalistischer Elektronikmusik aus Frankreich."
  10. ^Reesman, Bryan (April 1999). "The Scene Is Now: Dark Wave".CMJ New Music Monthly (68): 48.Female vocals, both wispy and operatic, have become fashionable, particularly in the Ethereal subgenre.
  11. ^abUecker, Susann:Mit High-Heels im Stechschritt, Hirnkost Verlag, 2014,ISBN 3-943-77453-8
    "Die Dark-Wave-Szene unterteilt sich unter anderem in den klassischen Dark Wave, den Gothic-Rock, elektronische Gruppen oder auch den Neofolk."
  12. ^abCarstens, Olaf; Thalhofer, Frank:Duden - Das Fremdwörterbuch, Bibliographisches Institut, Auflage 11, 2015,ISBN 3-411-04061-0, p. 726
    "Genre der Dark-Wave-Musik, das durch verschiedene Stilmittel und Komponisten der Romantik, der Alten Musik oder der Neuen Musik inspiriert ist."
  13. ^Farin, Klaus; Wallraff, Kirsten; Archiv der Jugendkulturen e.V., Berlin (1999).Die Gothics : Interviews, Fotografien (Orig.-Ausg. ed.). Bad Tölz: Tilsner. p. 60.ISBN 9783933773098.
  14. ^Matzke, Peter; Seeliger, Tobias (2002).Die schwarze Musik-Szene in Deutschland (2., erg. Aufl. ed.). Berlin: Schwarzkopf & Schwarzkopf. p. 217.ISBN 3-89602-332-2.OCLC 742385153.
  15. ^Haumann, Melanie:Fetisch Weiblichkeit. Der Mythos der schönen Frau?, Verlag für Wissenschaft und Forschung, 2001,ISBN 3-897-00326-0, p. 2
    "Die Dark Waver, Waver – oder belächelnd auch "Grufties" genannt – sind eine Jugendkultur, die in den 80er Jahren aus der Punk-Bewegung entstanden ist."
  16. ^Farin, Klaus:Jugend, Gesellschaft und Recht im neuen Jahrtausend, Forum Verlag Godesberg, 2003,ISBN 3-930-98284-6, p. 66
  17. ^Hodkinson, Paul:Goth. Identity, Style and Subculture, Bloomsbury Academic, 2002,ISBN 1-859-73605-X, p. 50
  18. ^abcSPEX. Musik zur Zeit: Classified Ad by German distribution company EFA – Spots 5/85, issue 5/85, p. 17, May 1985,online picture
  19. ^Bobby Vox:Gorgonen, Hydras & Chimären – Interview with Marquee Moon, E.B. music magazine, issue 3/86, p. 18, May 1986
  20. ^abNew Life Soundmagazine, issue 38, description of the single "Love Will Tear Us Apart“ by Joy Division, p. 10, November 1988
  21. ^Völker, Florian (2023).Kälte-Pop – Die Geschichte des erfolgreichsten deutschen Popmusik-Exports (Orig.-Ausg. ed.). Berlin/Boston: Walter de Gruyter GmbH. p. 182.ISBN 978-3-11-124515-7.
  22. ^abcIssitt, Micah:Goths: A Guide to an American Subculture, Greenwood Publishing Group, 2011,ISBN 0-313-38604-8, p. 111
  23. ^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. 261.
  24. ^abcdRouner, Jeff (20 January 2011)."The Seven Ages of Goth".Houston Press.
    "The term 'darkwave' came from back in the 1980s, and was one of the terms used to describe the Golden Age bands, as well as dark electronica acts like Gary Numan and Depeche Mode."
  25. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 39, 2002,ISBN 3-89602-277-6
  26. ^abcdefgFarin, Klaus; Wallraff, Kirsten; Archiv der Jugendkulturen e.V., Berlin (1999).Die Gothics : Interviews, Fotografien (Orig.-Ausg. ed.). Bad Tölz: Tilsner. p. 47.ISBN 9783933773098.
  27. ^Peter Jandreus,The Encyclopedia of Swedish Punk 1977–1987, Stockholm: Premium Publishing, 2008, p. 11.
  28. ^abFarin, Klaus; Weidenkaff, Ingo (1999).Jugendkulturen in Thüringen (Orig.-Ausg. ed.). Bad Tölz: Tilsner. p. 41.ISBN 3-933773-25-3.OCLC 651857996.
  29. ^abvan Elferen, Isabella (2007).Nostalgia or Perversion?. Cambridge Scholars Publishing. p. 127.ISBN 978-1847182470.
  30. ^abcIsabella van Elferen, Jeffrey Andrew Weinstock:Goth Music: From Sound to Subculture. Routledge Studies in Popular Music, 2015, p. 25,ISBN 0-415-72004-4
  31. ^abcdeMatzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 400–401, 2003,ISBN 3-89602-522-8
  32. ^Nym, Alexander:Schillerndes Dunkel. Geschichte, Entwicklung und Themen der Gothic-Szene, Plöttner Verlag 2010,ISBN 3-862-11006-0, p. 169
  33. ^SPEX.Musik zur Zeit: Classified Ad by German distribution company EFA, issue 12/88, p. 58, December 1988
  34. ^Opera Multi Steel - Official band biography
  35. ^Illusions Perdues magazine:Interview with Excès Nocturne, issue 1, p. 18, January 1989
  36. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 222, 2003,ISBN 3-89602-522-8
  37. ^Stücker, Bianca (2013)."Electro Wave".Gothic Electro. Die Funktionalisierung von Technik innerhalb des subkulturellen Kontexts (in German). Europäischer Hochschulverlag. p. 76.ISBN 978-3-86741-863-8.
  38. ^"Composing noises". Sorted magAZine. 1999.
  39. ^DeBord, Jason:Clan of Xymox at DNA Lounge, Rock Subculture Journal, March 21, 2015
    "A pioneer of Darkwave music, the mix of Synth Wave, Post-Punk, and Gothic Rock had its golden age in the '80s among contemporaries like Bauhaus, Joy Division, the Cure, Sisters of Mercy, Siouxsie and the Banshees, Cocteau Twins, and Depeche Mode."
  40. ^Stücker, Bianca:Die Funktionalisierung von Technik innerhalb des subkulturellen Kontexts, Europäischer Hochschulverlag, 2013,ISBN 3-867-41863-2, p. 74
  41. ^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. 256
  42. ^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. 257
  43. ^abcdKilpatrick, Nancy.The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin, 2004,ISBN 0-312-30696-2, pp. 84/85.
  44. ^Esch, Rüdiger:Electri_city, Berlin: Suhrkamp Verlag, 3rd edition, 2015,ISBN 978-3-518-46464-9, p. 356
  45. ^Oliver Sheppard:Pink Turns Blue – An interview with German darkwave pioneers. CVLT Nation magazine, 9 September 2016
  46. ^Schilz, Andrea:Flyer der Schwarzen Szene Deutschlands: Visualisierungen, Strukturen, Mentalitäten. Waxmann Verlag, 2010,ISBN 978-3-8309-2097-7, p. 92
  47. ^abSchmidt, Axel; Neumann-Braun, Klaus:Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,ISBN 3-531-14353-0, pp. 258/259
  48. ^Köble, Oliver:Editorial, Glasnost magazine, issue 28, p. 3, July/August 1991
    "Der Trend ist eindeutig: Die großen Star-Bands verschwinden immer mehr aus dem Rampenlicht, während eine Vielzahl junger Nachwuchsbands sich stetig wachsenden Interesses seitens des Szene-Publikums erfreut. Und ohne unangenehmes Gefühl darf gesagt werden, dass Deutschland momentan das absolute Zentrum der Wave-Musik ist."
  49. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 266, 2002,ISBN 3-89602-277-6
  50. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 111, 2002,ISBN 3-89602-277-6
  51. ^Platz, Judith (2008). Schmidt, Axel (ed.).Die Welt der Gothics – Spielräume düster konnotierter Transzendenz. Verlag für Sozialwissenschaften. p. 273.ISBN 978-3-531-15880-8.
  52. ^Stableford, Brian:News of the Black Feast and Other Random Reviews, Wildside Press 31 March 2009,ISBN 1-434-40336-X, p. 24
  53. ^abcdeMatzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 311, 2002,ISBN 3-89602-277-6
  54. ^Schmidt, Axel; Neumann-Braun, Klaus:Die Welt der Gothics. Spielräume düster konnotierter Transzendenz., Wiesbaden: VS Verlag für Sozialwissenschaften 2004,ISBN 3-531-14353-0, pp. 280/281.
  55. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, pp. 221/222, 2002,ISBN 3-89602-277-6
  56. ^abcdefgStrother, Eric S. (2019). Sturman, Janet (ed.).The SAGE International Encyclopedia of Music and Culture.SAGE Publications. p. 728.ISBN 978-1-50635-338-8.
  57. ^Matzke, Peter; Seeliger, Tobias:Das Gothic- und Dark-Wave-Lexikon, p. 219, 2002,ISBN 3-89602-277-6
  58. ^"Projekt:Darkwave, Catalogue November 1996". Archived fromthe original on 30 January 1997. Retrieved17 July 2019.
  59. ^Various Artists:Darkwave: Music of the Shadows, K-Tel International Inc., Liner Notes, Februar 2000
  60. ^Dave Thompson, Kirsten Borchardt:Schattenwelt – Helden und Legenden des Gothic Rock., Hannibal Verlag 2003,ISBN 3-85445-236-5, p. 362
  61. ^Glasnost Wave-Magazin, issue 42, Description of the bandsTrance to the Sun,This Ascension, p. 32/34, April 1994
  62. ^Various Artists:From Across this Gray Land, first appearance of Attrition on Projekt Records, 1986
  63. ^abKilpatrick, Nancy.The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin, 2004,ISBN 0-312-30696-2, p. 90.
  64. ^Spracklen, Karl; Spracklen, Beverley (2018).The Evolution of Goth Culture: The Origins and Deeds of the New Goths. Emerald Publishing Limited. p. 103.ISBN 978-1-78714-677-8.
  65. ^Ladouceur, Liisa (2011). "Neoclassical".Encyclopedia Gothica. ECW Press. p. 192.ISBN 978-1-77041-024-4.
  66. ^abcdefPlatz, Judith (2008). Schmidt, Axel (ed.).Die Welt der Gothics – Spielräume düster konnotierter Transzendenz. Verlag für Sozialwissenschaften. p. 282.ISBN 978-3-531-15880-8.
  67. ^abcStücker, Bianca (2013)."Neo-Klassik".Gothic Electro. Die Funktionalisierung von Technik innerhalb des subkulturellen Kontexts (in German). Europäischer Hochschulverlag. p. 82.ISBN 978-3-86741-863-8.
  68. ^Vantyghem, Pieter (2019)."The Serpent's Egg".365 albums die je beluisterd moet hebben (in Dutch). Lannoo Meulenhoff. p. 30.ISBN 978-9-40145-972-3.
  69. ^Matzke, Peter; Seeliger, Tobias:Autumn Tears In:Das Gothic- und Dark-Wave-Lexikon, p. 44, 2003,ISBN 3-89602-522-8
  70. ^Matzke, Peter; Seeliger, Tobias:Camerata Mediolanense. In:Das Gothic- und Dark-Wave-Lexikon, p. 82, 2003,ISBN 3-89602-522-8
  71. ^Matzke, Peter; Seeliger, Tobias:Dargaard. In:Das Gothic- und Dark-Wave-Lexikon, p. 139, 2003,ISBN 3-89602-522-8
  72. ^Matzke, Peter; Seeliger, Tobias:Impressions of Winter. In:Das Gothic- und Dark-Wave-Lexikon, p. 287, 2003,ISBN 3-89602-522-8
  73. ^Matzke, Peter; Seeliger, Tobias:Ophelia's Dream. In:Das Gothic- und Dark-Wave-Lexikon, p. 421, 2003,ISBN 3-89602-522-8
  74. ^Marks, Peter."Review ofTime".Release Music Magazine.For the first half of the 1990s, this band were in the vanguard of the neo-classical movement...
  75. ^abcdefBoucanier, Thierry (2020).Goth. Histoire d'une subculture. Camion Blanc. p. ?.ISBN 978-2-378-48161-2.
  76. ^Mandel, Leah (24 January 2019)."Be 'Careful': Boy Harsher Pushes its Darkwave Sound to Thrilling Ends". Retrieved18 December 2022 – via NPR.
  77. ^"Boy Harsher are the cinematic sound of heartbreak | Dazed". 3 September 2019. Retrieved18 December 2022.
  78. ^Los Angeles Post-Punk Festival Substance Reveals its 2022 Lineup
  79. ^"Verboden Festival".Verboden Festival. Retrieved2 May 2023.

Bibliography

[edit]
  • Farin, Klaus; Wallraff, Kirsten:Die Gothics. Bad Tölz: Verlag Thomas Tilsner, 1999,ISBN 9783933773098.
  • Mercer, Mick.Hex Files: The Goth Bible. New York: The Overlook Press, 1997,ISBN 0-879-51783-2.
  • Steinberg, Shirley; Parmar, Priya; Richard, Birgit:Contemporary Youth Culture. An International Encyclopedia. Volume II., Greenwood Publishing Group, 2005,ISBN 0-313-33729-2.
  • van Elferen, Isabella; Weinstock, Jeffrey Andrew:Goth Music: From Sound to Subculture. Routledge Studies in Popular Music, 2015,ISBN 0-415-72004-4.
  • Hecken, Thomas; Kleiner, Marcus:Handbuch Popkultur, J. B. Metzler Verlag, 2017,ISBN 978-3-476-02677-4.
  • Sturman, Janet:The SAGE International Encyclopedia of Music and Culture. SAGE Publications, 2019,ISBN 978-1-50635-338-8.

External links

[edit]

Media related toDark wave at Wikimedia Commons

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