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United States Bernd 2022-06-30 19:21:49 ⋅ 1d
No. 189056
Slovenia Bernd 2022-06-30 20:31:29 ⋅ 1d No. 189088
>>189056 good choice t. knower of

Gothic Music: Post-Punk, Darkwave Deathrock and more

United States Bernd 2022-04-06 01:28:28 ⋅ 2mn
No. 145141
Let's discuss music associated with Gothic subculture. I'm talking about the gloomy side of '80s Post-Punk and New Wave along with Deathrock, Industrial, Neofolk, Darkwave, Coldwave and other genres popular with the kids in black. We can even include Gothic Metal so long as it has obvious influences from those other bands. Stuff like Type O Negative, Saviour Machine, Moonspell, The Gathering, Stillborn or Tiamat are fine whereas Coal Chamber, Marilyn Manson, Within Temptation, Epica, After Forever or Lacuna Coil are not. As much as dear Siouxsie Sioux actively avoided being termed "Goth" or "Gothic", her influence in music and especially fashion is undeniably significant. Were it not for her, the entire subculture may not have existed in the form we know today. Fascinating how she went from gloomy Post-Punk to gloomy New Wave and Art Pop as time went on. What inspired Siouxsie's sudden change to the Louise Brooks look was growing weary from the scores of fawning teenage goth girls who did everything in their power to emulate her fashion. I imagine it'd get exhausting and downright creepy being surrounded by perfect strangers who'd imitate you down to your underwear if possible: Equally important was The Sisters of Mercy: It hardly gets more Goth than Deathrock legends Christian Death, especially with Rozz's sneering vocals: And, of course, what thread would be complete without The Cure or Bauhaus?
Slovenia Bernd 2022-04-06 20:51:00 ⋅ 2mn No. 145215
Does this count?
Slovenia Bernd 2022-04-24 15:17:01 ⋅ 2mn No. 147026
>>145215 new release, actually
Argentina Bernd 2022-06-28 19:22:02 ⋅ 3d No. 187245
Here are some argie songs that i managed to find on my free time. They are always small indie groups as niche genres like darkwave and goth didn't really reach into the mainstream, adding in the almost constant like economic crisis that Argentina suffers, it's no wonder why it remains an untouched genre here. >Post-Punk: >Goth rock:
Spain Bernd 2022-06-28 19:43:57 ⋅ 3d No. 187257

Germany Bernd 2022-06-21 23:37:40 ⋅ 1w No. 177290
The Mars Volta released a new song after 10 years

Rock Identitaire Français

United States Bernd 2022-06-09 04:28:09 ⋅ 3w
No. 165502
Rock Identitaire Français (RIF) was a musical movement of French Identitarians supported by various organizations close to nationalist movements in the Francosphere. Music from these movements is commonly referred to as Identity Rock. The backbone of the first wave of Identitarian bands were Vae Victis and Île de France. Both bands' founding members Jean-Christophe Bru and Fabrice Lauffenburger were veterans of the French skinhead scene with their first musical foray being Ultime Assaut. Their music was typical for the French Oi! scene with the added twist of Post-Punk influences which were decidedly less common in the worldwide Rock Against Communism (RAC) scene. Although Ultime Assaut disbanded in 1992, Jean-Christophe and Fabrice Lauffenburger were far from finished. In 1993, Jean-Christophe and Fabrice formed Vae Victis during their time as undergraduates, recruiting bassist Cathie Mollius and drummer Thibaud Lamy. Vae Victis was a firebrand Identitarian band whose members had ties to the French Third Position organization Nouvelle Résistance. Later on, the band would recruit Carine who would become their female lead singer and serve as an instrumental part of the band's identity: In an interview with Tribune Musicale, Jean-Christophe stated that Vae Victis's aim was to bridge their ideological convictions with their passion for music. "We have always been fascinated by Alternative Rock bands from the 1980s. Despite the fact that the message they carried was [far from ours], we always considered their approach sincere and honest. In the face of the musical desert that has formed on the Nationalist scene, we wanted to create a new style that brings together musicians who could identify with the rebellious energy of Berurier Noir." Lyrically speaking, RIF bands eschewed the racial political of the French RAC scene in favor of their identity as Frenchmen in the face of financialization of European society and the effects of globalization. They also were concerned with their identity as Frenchmen. Vae Victis would openly demonstrate their commitment to Catholicism and sing the heroes of the Paris Commune of 1871 as in the song "La Commune" which would later be famously covered by Peste Noire: Around March 1995, Jean-Christophe and Cathie would leave Vae Victis and form the other most identifiable RIF band: Île de France (IDF). IDF was probably the RIF band that most clearly paid tribute to the 1980s Alternative Rock scene both in sound and politically as well. Indeed, much of their music fiercely criticized capitalism and liberalism in general much more than any other band in their scene. Each release would contain several critiques of liberal society detailing the lengths to which capitalism has irreparably warped human relations. Taking on the sound of such bands as La Souris Déglinguée, Bérurier Noir, Camera Silens, Banlieue Rouge, Molodoï and seasoning it with funky riffs a la Red Hot Chili Peppers and the occasional traditional French folklore motifs, IDF clearly sounded quite distinct from much of their ideological brethren. IDF were clearly looking to expand beyond their conservative and Nationalist base within the French right, proudly proclaiming to be neither left nor right and declaring solidarity and civic nationalism, addressing the representatives of the working class in their lyrics:
Slovenia Bernd 2022-06-12 15:24:05 ⋅ 2w No. 168824
>>168261 Mes Aïeux are a bit like this, no?
United States Bernd 2022-06-12 15:53:27 ⋅ 2w No. 168844
>>165502 >>168261 >>168805 Other Italian bands of note: Amici del Vento, Compagnia dell'Anello, Zetapiemme / ZPM, Fabrizio Marzi, Sköll, 270bis, Malnatt, Aurora, Topi Neri, Sopra le Rovine, Sotto Fascia Semplice Also, if you're looking for something French, be sure to give Carré.Ladich.Marchal a go.
United States Bernd 2022-06-12 15:56:53 ⋅ 2w No. 168849
>>168824 I don't know much about this band. Tell me more.
Slovenia Bernd 2022-06-12 16:10:00 ⋅ 2w No. 168857
>>168849 Folk rock band from Québec's traditionalist scene. They got songs on local folklore and criticism of modernisation and globalism. Their most famous song is probably this one on transition from old rural life to urban modernity, arguing humorously that people nowadays are poorer than their rural ancestors, despite all the hardships we no longer have to endure.

Italy Bernd 2022-03-17 21:14:28 ⋅ 3mn No. 141512
Watchu listening to? I'm listening to Chernikovskaya Hata.
Luxembourg Bernd 2022-06-02 16:43:16 ⋅ 4w No. 157066
>>156181 Great stuff bro, here's some of my top picks
Peru Bernd 2022-06-11 05:10:10 ⋅ 3w No. 167681

Una canción que hace apología a la heroína

Colombia Bernd 2022-06-11 05:11:59 ⋅ 3w
No. 167683 Golden brown, texture like sun Lays me down, with my mind she runs Throughout the night, no need to fight Never a frown with golden brown
Spain Bernd 2022-06-12 11:21:41 ⋅ 2w No. 168698

United States Bernd 2022-06-09 21:15:08 ⋅ 3w No. 166095
thoughts on baroque tuning?

Germany Bernd 2022-06-07 17:01:54 ⋅ 3w No. 163749
Any Talking Heads or David Byrne fans here? If so, can you explain why you like their music? It's weird, because their music is exactly the genre I like, but I just can't seem to grasp it or at least it doesn't sound good to me, so I'm wondering, if I'm missing something here.
Mexico Bernd 2022-06-07 17:08:22 ⋅ 3w No. 163761
>>163749 I really like talking heads and the mindset(autism) of David Byrne. I think you must feel it feels off, because it is the mix of african rhytms with anglo melodies making a psychedelic output. Born under punches is a great example that also makes you feel a lil like a schizo. Speaking in tounges is my fav album. Or what is it from the music/band that you dont like/understand?
Iran Bernd 2022-06-07 17:09:14 ⋅ 3w No. 163763
Everyone thinks their music is too deep Meanwhile IIRC they wrote the lyrics to Once In a Lifetime in 5 minutes or so
Mexico Bernd 2022-06-07 17:11:27 ⋅ 3w No. 163768
>>163763 >they wrote the lyrics to Once In a Lifetime in 5 minutes or so that doesnt mean is bad or hollow
Germany Bernd 2022-06-07 18:52:41 ⋅ 3w No. 163932
>>163761 >Or what is it from the music/band that you dont like/understand? IMO they lack melodies and catchiness, I also dislike Byrne's singing.

request threda

Germany Bernd 2022-06-05 20:43:39 ⋅ 3w
No. 161560
ITT post requests of music you want and you maybe can't find anywhere and I will see, if I can fill it. You can also request specific formats, if you like, but for KC lossy formats are better, because of the file size limit. But I can upload FLACs as well to third-party sites and then post the link here.

I discovered this masterpiece

Switzerland Bernd 2022-04-29 23:40:13 ⋅ 2mn
No. 147488
Switzerland Bernd 2022-04-30 13:54:20 ⋅ 2mn No. 147517
>>147489 very based thank you
Russia Bernd 2022-04-30 17:01:25 ⋅ 2mn No. 147533
>>147517 You're welcome. Also I've remembered another case of "discovering" cool music. These [s]absolute chads[/s] performance artists: (And it was before the gif with them got memed.)
United States Bernd 2022-06-03 04:54:14 ⋅ 4w No. 158241
>>147488 good shit, thanks for the recc.
Brazil Bernd 2022-06-05 02:20:17 ⋅ 3w No. 160879
i kinda miss discovering new music

Various Artists - Until the End of the World (1991)

Germany Bernd 2022-06-04 14:06:46 ⋅ 3w
No. 159980
Write a song that sounds like the future. This was the challenge German filmmaker Wim Wenders posed to some of his favorite acts back in 1990, when he began compiling the soundtrack for his dystopian road movie Until the End of the World. What will you be writing about in ten years? How will your music sound? Set in 1999, the film follows its characters around the globe, across different continents and through different landscapes, chasing a machine that allows you to see your dreams. Music plays a crucial part, often mingling with these dreams until they become indistinguishable—fitting for a long-gestating project inspired by Aboriginal concepts of the subconscious. Of the 20 artists to whom Wenders posed that challenge, almost all of them complied (Ray Davies was allegedly a holdout). Each seemed to rise to the occasion in a different way. R.E.M. and U2 offered outtakes from their recent hit albums, while David Byrne reclaimed an old Naked outtake to create one of Talking Heads’ final songs. Can reunited for a single session, inviting original vocalist Malcolm Mooney to chant the percolating “Last Night’s Sleep.” Such was Wenders’ reputation after 1984’s Paris, Texas and 1987’s Wings of Desire that he could coax rarities out of the world’s biggest bands and persuade others to get back together. Despite a soundtrack with so many endorsements, the film was a flop, mainly because Wenders was forced to pare his five-hour opus down to a more marketable two-and-a-half hours. The theatrical cut was leaden and confusing. That makes Criterion’s new release of Wenders’ director’s cut a revelation, even more startling than Run-Out Groove’s new vinyl reissue of the soundtrack. The two have always existed slightly apart from each other; many more people heard the soundtrack than bothered to see the film. Still, they both start in the same place and trace similar journeys. With its woozy horns and debauched beats, Talking Heads’ “Sax & Violins” offers a jittery vision of the future, even if the track itself was a few years old by then. There are a few detours, most notably Julee Cruise’s otherworldly cover of Elvis Presley’s “Summer Kisses Winter Tears”; if it sounds like it’s from a very different kind of movie, that might be because it was produced by David Lynch and Angelo Badalamenti. What’s most remarkable about the album, however, is its consistency despite the variety of artists and sounds. Its tone is forlorn, almost decadent in its melancholy, which manifests in a strange, uneasy shimmer that runs through so many of these songs. Lou Reed’s “What’s Good” ponders the everyday details that change when a close friend dies. On the spoken-word number “It Takes Time,” Patti Smith and husband Fred “Sonic” Smith sound like they’re circling the same dark memory, each afraid to approach it directly, as the music thrums and shivers around them. Depeche Mode trade their synths and guitars for what sounds like a Black Lodge jazz combo, and Martin Gore’s lyrics welcome death as a respite from an unruly world: “Mother, are you waiting? Father, are you pacing? I’m coming home.” It could be a cover of an Appalachian hymn from 1899. Fitting for a film by Wenders, these are songs full of vehicles and highways, evoking the odd isolation of hours spent hurtling alone down an empty road. “Whispering, as I was driving/Quietly the car rolling like a bullet,” Neneh Cherry chants on “Move With Me (Dub),” a sleek disassembling of a track from 1992’s Homebrew. Only Nick Cave, in one of his most actorly performances, offers much in the way of a story within his song, which involves a bomb in a bread basket, an exploding hotel, a blind pencil seller and his dead dog, set to a drinking-song chorus that’s one of the soundtrack’s purest highlights. There is a sense of finality, to these songs, as though the soundtrack is marking the end of… something. Maybe an era of alternative music. Until the End of the World includes three legendary bands that were defunct by the time it was released—Talking Heads and Can, but also Berlin-based goth-adjacent outfit Crime & the City Solution. There are several acts that were moving permanently out of the underground and into the mainstream—not just R.E.M. and Depeche Mode but k.d. lang (who duets with Jane Siberry on “Calling All Angels”). Until the End of the World was released just three months after Ten and two months after Nevermind, two albums that redefined rock music for the new decade. This soundtrack doesn’t live in that world. Like the movie, it remains unmoored from the past, gesturing towards a future that’s always enticingly out of reach.
Germany Bernd 2022-06-04 14:07:10 ⋅ 3w No. 159981
Germany Bernd 2022-06-04 14:07:33 ⋅ 3w No. 159982
Germany Bernd 2022-06-04 14:08:06 ⋅ 3w No. 159983
Germany Bernd 2022-06-04 14:08:20 ⋅ 3w No. 159984