Is 'Goth' still big?Moderators: Christophe, Mark Is 'Goth' still big?Interesting. Like I said Canada, was kinda messed up when it came to 'goth' Somehow Nettwerk seemed to become the 'goth label' for some messed up reason? I guess mainly because of Skinny Puppy.
But yeah, I agree - even with that Ministry song. Everyone talked about it and started dressing up to it before I heard it. Then I was at this club at it came on, and everyone freaked. And i was like 'are you shitting me?' I like Ministry and all, but never heard them really do 'goth' per say (Maybe 'With Sympathy' was a vane attempt?) And 'Southern Death Cult' - they became just 'The Cult' right? Again, over here they were 'rock' alongside Billy Idol's 'Mony Mony' (If you can call any of that rock? She Sells Sanctuary, I guess?) So when do you say 'Goth' became a recognised genre Bones? Mid 80's? Interesting about This Corrosion.
Is 'Goth' still big?Wow, wow, wow... The debate continues... Cool!
It could be that in different countries the term "Goth" means different things. Because here in London (and it could also be that Goth means something slightly different from one city to the other) Goth meant people of a certain fashion sense. That's why the scope for Goth music or should I say the Goth musical backdrop can be vast. Sticking to what I know about the London scene... There was never really a Gothic music genre. Again, we'd know that stuff as Alternative Rock. Maybe music magazines just pidgeonhole it Gothic as an easy way to refer to the music. Record shops would also place such music in that pidgeonhole too to make it easy for people to find it. The bands themselves don't refer to their music as Gothic. They'd rather call it "Darkwave" - if anything other than Alternative / Indie / Rock. Check out this UK band: Adoration You should be able to hear the Cocteau Twins, Sisters Of Mercy, etc. I've been to concerts of the Cocteau Twins and you'll see a mass of Goths, but the band themselves would never allow Goth to be in the same sentence as them. Oh, think Adoration has even got themselves a female bass player like Sisters... Lol! So therefore I can only conclude that the term "Goth" applies to a movement of people who embrace certain music genres from Alternative Rock to Synth-Pop to Industrial to EBM, etc. Look what happened to Evanescence... As soon as they say that their Goth they narrow themselves down and they feel that pressure to play up the that nonexistent expectation.
She's In Parties, that's Reggae influenced. But there's no such thing as "Dark Reggae" (resist the racist jokes ha ha ha). Look at the Police they married Reggae with Punk or Punk with Reggae, but their music won't be found under the Reggae section in record shops. You'll find it under Punk or Rock. But Dub Reggae influenced enough Alternative music from Rock to Electronic.
I don't know about that... I think that the record industry was in trouble for the last 20 years. The execs have been too greedy and that has been their downfall. The Net has made it possible for artists to get and / or serve their following and to do things on their own terms. Marrillion and Prince to name a few.
Of course not. Why? I'll tell you why (from the UK perspective). This is because the major labels bought out a lot of the independents. Mute was once thriving with bands like Nitzer Ebb, Depeche Mode and Add N to X and so on. But once the majors got a hold of Mute they haven't been the same. The only decnet label that I can think of is Warp Records... I don't think they have been bought out by a major. Add to the fact that London has had this policy of "Pay To Play" and "We'll Pay You A Pittance To Play" meant that bands struggled to play and cultivate a following. It's not practical for bands to play in London because it doesn't pay - simple as. Bands like Nizter Ebb were better off playing the European circuit. As a result this has had a hard impact on the "scene" as it were. The scene is just mainly a clique now. It's still hard to for any Electronic act to get through. Sure, it's always been the case that you have to know someone who knows someone. But there doesn't seem to be people out there who are in it for the music. It's about their vanity... "I'm so important because I own or write for a magazine..." "Oooh, I am part of such an exclusive scene..." It's bullshit! It's not what music is supposed to be about! So the Net has come to the rescue! Bands can get more exposure and decent reviews / opinions from people who actually like the music! Again, the UK music press don't really understand Electronic music. There are more magazines for Metal and Club / DJs, than there are specialist Electronic magazines. And magazines that cater for Electronic music are too cliquey for their own good (for the reasons above). Another thing that has killed Electro-Industrial / EBM are the clones! While it's good to respect your inspirations it doeesn't flatter them when you start cloning the music. You just had to go to the clubs where they play that kind of music and after a while you don't know who you're listening to anymore. Also, it didn't help that bands like Front 242 went off to do side projects that sounded like Front 242. Great. It simply kills the scene. Good, original music keeps the scene alive. It's not rocket science. In a way I think the Net has kept Electro-Industial / EBM alive. I think it allows for bands / artists to experiment more and deviate from restrictive rules that didn't allow the music to develop. This is a great time for Alternative Electronic music. We've got access to amazing music making hard and software that would have cost thousands otherwise... We can gather a following via MySpace, etc. We can sell it ourselves with PayPal, etc.! Sure, it's hard bloody work! But it can be done. You just have to make the effort! Of course it would be great to be signed to a label that can do the publicity for you. But it's not going to happen anytime soon... So make the most of it. Punk said D.I.Y. so let's get on with it!
Is 'Goth' still big?There's the other term - 'Darkwave'. What's that about? For the few 'darkwave' things I've heard it seemes like Trance with more minor notes and chords? And there seems to be a merging of 'darkwave' and 'goth' these days?
But yes, i agree that magazines and the 'industry' has nearly bankrupted themselves with all these 'labels' and 'styles'. Sure, everyone wants to be 'new and unique'. But I always considered anyone to grace the cover of Rolling Stone to be 'commercial rock' from that point on. Be it Bob Dylan, Janet Jackson or Trent Reznor. And they used to be pretty good in their tag lines ala 'Bob Dylan: Revisted Yet Again', 'The Queen Of Pop?', 'Mr. Reznor: Electronic Rock And Your Worst Nightmare' and things of that nature? But now I see countless magazines (and maybe even Rolling Stone?) with bands and people with tag lines 'NIN: Reigning Prince Of Darkwave', 'Missy Elliott: Coming Back Crunk', 'Britney Spears: Maturing To IDM?' It's like the bands and people are only to serve these new labels now and glorify Sony's and Future Music's marketing department? The relevance of the band name 'Pop Will Eat Itself' is more profound now than ever.
Is 'Goth' still big?Darkwave is the preferred term to Gothic.
Hmmm... I think Trent Reznor / NIN did that on a massive level with Downward Spiral and it downward spiraled from there... The only band after that to make the headlines and the mainstream was his protege Marilyn Manson. From there the other Alternative bands didn't get a look in. It's as though record labels have a cut of point and it's a case of "...that's it! We're not signing any more Electronic music or Industrial-Rock / Metal..." There's noone to take their places. What the record companies seem to be doing right now is repackaging their geese that lay the golden eggs with the latest music definitions. There you go..
Is 'Goth' still big?Ahhh, okay so 'Darkwave' is 'Goth' then. I was thinking it was moody dramatic music like Pink Floyd or Joy Division. So with my Dark Child song, it should be 'Darkwave' as opposed to 'Goth' (if the label is there that is?) But then dosen't Depeche Mode get 'Darkwave' as well?
They're not exactly 'snappy happy pop tunes' lately. And Sony seems to be signing a lot of 'daring bands' lately? Some are okay, but pretty weird (coming from me, that's saying A LOT! :rofl: ) One band who I can't remember their name - do a song called 'Sweaters And Footballs'. It's got this Phil Spector soul beat, weird dark imagery, and weird song arrangement. It's not 'shoe gazing', or 'darkwave', or alternative rock' - it's just weird? Kudos to Sony for taking a chance on these guys... But it's nothing unique or catchy or stylish - just weird? There's a few other acts I caught that were somewhat similar - interesting, but weird? And surprised to see they were mostly Sony? Universal also seems to be getting on the act. So in a way, it's kinda promising. Indie labels just seem like a lot of pot heads looking for the next Kayne West or Nickelback. And if they DO make a find - sell the band and the filing cabinets to Warner Bros. as soon as they get the chance. SO the majors have finally come around and say 'Why don't we cut out the middlemen, sublabel crap, avoid the bidding wars, and get and make THE NEXT BIG THING ourselves for a fraction of the cost?' Last time they took that type of attitude.... Disco. Sexy gals, R+B performers, rock and rollers all got a break with just that one disco song. Maybe now it's 'Alternative'? Darkwave, EBM, Trance... Just give us one really unique weird song, and we'll give you a break. You may just give us a landmark once again. Oh, I might still have a chance yet.
Is 'Goth' still big?Yes, I think that this is the preferred term, "Darkwave". I think Darkwave can cover a range of music that has a melancholy theme, lyric, tone etc. That's the point I was making earlier. Because people who would call themselves Goths would listen to Black / Death Metal also. But I don't know of any Goth who would limit his / herself to one particular form of music.
Is 'Goth' still big?
NIN have never achieved a fraction of the success of Nirvana. In fact, if you stopped 100 people in the street in the middle of Sydney, I'd be surprised if more than 10% of them had ever heard of NIN, even though Closer did chart OK in it's time. OTOH, "Smells Like Teen Spirit" was recently voted in at no. 1 on JJJ's "All-Time Hottest 100" for the second time. [JJJ is our national youth radio network. They do the "Hottest 100" every year but they have only done the all-time one three times, and Nirvana have topped it twice]. None of the majors went aroudn signing every electro-industrial act they could find when NIN started doing OK, but when Nirvana broke every band in Seattle got signed. NIN aren't even Goth.
That's because they are businesses that need to generate income. Thanks to the internet, that is now much harder for them than it once was, so they cannot afford to take any risks or nurture new talent any more. So any non-mainstream genres can no longer get a look in at the top level and the second level of big independents with good distribution, which is how NIN got started, have been forced out of business by the internet all altogether. Darkwave is more a subset of Goth. I wouldn't call much of the Goth music I like Darkwave - most of The Sisters of Mercy or Play Dead, for example. Darkwave is more the Cold Meat Industries kind of thing, more ethereal, less obviously rock 'n' roll. Other bands just like to appropriate it so they can avoid the "G" word. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
novakill.com
Is 'Goth' still big?But the thing with Nirvana is that essentially they are a Rock band... I mean this "Grunge" label pertained, in my opinion, to the scruffy way they dressed compared to the clean-ish Metal look. I bet half the bands that were signed up to capitalise on "Grunge" aren't doing so well now.
Again, most record labels couldn't understand NIN. It's Electro... It's Rock... It's Industrial... This confusion proved to be too much for record labels to handle. Record labels are essentially lazy. They don't to bother themselves with marketing such a diverse music. Goth was used as a loose term in the UK to describe music of a darker nature and thus NIN was embraced by Gothics. This is why, in the UK at least, Darkwave has replaced the "Gothic" label as it covers a more diverse spectrum of darker edged music. If you watch the movie, The Crow, you can hear NIN as part of the soundtrack and it fits with that Gothic story.
Yes, of course... But it's a strange notion to think that independent labels are not in the business of making money. Because the majors are out of touch they stick to what they know. The record industry is a billion dollar industry and they can easily invest in their artists. But they are too greedy. Look at what George Michael and Prince did! They took their companies to court saying that they were taking away their freedom as artists and making them pay over the odds for the manufacturing of the records / CDs, etc. The truth is that major labels just want to have clones of what sells: Michael Jackson = Prince Britney Spears = Christina Aguilera Spice Girls = Girls Aloud Whitney Houston = Mariah Carey This model is even more rampant with independent labels were Electro-Industrial / EBM is concerned. Front 242 = BiGod 20, Code V, And One... I could go on... But a lot of those clones have fallen by the wayside... I used to live in Berlin and there were so many clones that I could see this was having a negative effect on the industry. I witnessed Techno taking over from Industrial / EBM. Only bands who were original were able to survive. The Germans got pretty tired of the same ol' = Dude wearing biker jacket shouting and screaming to a 4 / 4 beat and squidgy bassline. "No words" this is what a lot of Germans wanted and Techno was like a tonic - for a while. Electro-Industrial / EBM held its own and still has a following in Germany, though not at big as it once was. And this primarly down to the fact that Electro-Industrial / EBM labels wouldn't take a chance on something a little different. It had to sound like what's been signed already. Pretty stupid. So the Internet is not to blame. It's because of the Internet that bands and artists can own some cyber-real estate. They can have their own shop! But they have to generate passing trade. I can also tell you that independent distributors became corrupted and cilquey in the UK. You couldn't, as an independent label starting out, call up a distributor to discuss your product and the possibility of distribution... They'd tell you to fuck off in such a off-ish way that they may as well use the words "FUCK OFF". Again, this is the industry shooting themselves in the foot (yet again). New music possibilities means keeping the market place fresh! What I like about MySpace, for example, you add people who look like they may appreciate your music. You get very good feedback... It's pretty much like this forum; Synapse Audio Forum can point out good music and provide a support network! Maybe forum members will buy a CD or two from some of the artists / bands that reside here! Thanks to MySpace.com people can get exposure in a way that would have been impossible if you were in London trying to play live. If you were trying to get a record deal... The record industry as I have known it in the UK is a cunt! In Germany it's been a coward. In the States it's been too freaking greedy! Embrace the Internet. Forget genres and do the music that you love and let as many people as you can know about it!
Is 'Goth' still big?Okay, this is indeed getting interesting. So I'm getting the sense that 'Darkwave' is kinda gothic electronic predominent bands. But 'goth' music is more the 4 or 5 piece organic band aspect?
Labels used to be cloning, but I think i'm seeing a new trend? Especially with MJ gone and Prince so mellow now. Good time for a revolution.
Is 'Goth' still big?Well, in the UK "Darkwave" encompasses any alternative music with a dark edge to it...
All this talk has made me want to go to Camden (the hub of all things alternative in London) and go to some clubs / gigs to see what's happening... Hmmm... I think you could be right to that "Gothic" was applied to a proper Rock band as a way to distinguish them as "different"... Again, most bands / artists never want to associate themselves with the term simply because it makes them too obscure for commercial success. As you'd imagine they'd want a wider audience as possible. This is why bands like Sisters of Mercy, etc. could enjoy breaking into the Top 10 Charts. It was Rock music. The situation kinda reminded me of U2; they were forced into a certain branding and thus they kept reinventing their sound to survive. Had they kept bashing out their Irishness (for want of a better expression) they'd have faded away by now. When your stuck with the label "Goth" you may find it hard to expand / develop your sound. Look at NIN; Trent Reznor's happy, he's getting married and he can't do NIN anymore. Just wait for the divorce! Ha ha! Like I say, it's the fans who would identify with the term "Goth" who are embracing certain bands / artists. The labeling of bands as Goth is driven by a fan-base who are Goth. That's it. Yes, we need a revolution!
Is 'Goth' still big?There was never anything Irish about U2. Their first album sounded like Echo and the Bunnymen and it wasn't really until "War" that they found their own feet, only to move on to an even more of a stadium rock sound that made them squillions. Any band worth it's salt evolves. Sometimes they evolve into something more popular, other times they evolve into obscurity.
18 years after the event, I'd say you're right but the legacy of all that lives on in the mainstream everywhere. it's what NIN do now, then there is former Nirvana member's Foo Fighters and countless others. It's now a big part of the mainstream.
NIN are a rock band with a keyboard player, like the Stranglers or Simple Minds or Devo or Ultravox or any number of hugely successful bands of the 80s and 90s. There is nothing particularly special or in any way different in what NIN was doing when they started [or the rubbish they do now]. It's a well established formula that Reznor maybe tweaked a little, but it's hardly anything a label wouldn't recognise. Closer charted because he said "fuck" in the chorus, not because it was a particularly brilliant song or anything. If anything, I'd describe NIN as a "teen angst" band. He has certainly never in his life created a Goth song, even when he was working with John Fryer, and the stuff they have released in the last decade or so is nothing but very ordinary rock with strange production.
Not any more but they used to. None of the bands I listed above could possibly be successful today but, in the 80s, they got a break because record companies could afford to nurture talent and take risks on things they actually liked and persevere with them until they broke through. But it's not just the labels, radio has lost much of it's diversity, which makes it harder again for the labels to promote anything new or different.
Maybe by you but in the broader community Gothic Rock is a very specific genre, like every other genre.
As I said yesterday, Darkwave is a sub-genre of Gothic, not an uber-genre.
It also has tracks from Stone Temple Pilots, Rollins Band and Violent Femmes, none of whom would ever be considered Goth.
I would suggest the vast majority of independent labels are established because of someone's love of music, rather than as a means of making money. i.e. They are labours of love.
The majors aren't out of touch, they have simply been forced to stick to what works and they are actually really good and working out what that is.
Of course they do. They have thousands of jobs riding on their success. If you got used to flying everywhere in your corporate jet, would you be willing to give that up so that you could sign a few bands who were never going to make money for you? Of course you wouldn't and it's hypocritical and/or extremely naive to expect them to act any differently.
Now you are just showing your ignorance. BiGod20 were essentially a synth-pop band and never, at any time, held even the slightest resemblance to Front 242, who were much more like an electronic rock band, similar to Armageddon Dildos. Zip Campesi may have had the ability to sound like Jean-Luc DeMeyer at times but he has a much better voice that was capable of doing a lot more.
Really? Because last time we were there, it seemed it was still doing pretty well. The techno scene almost pre-dates EBM anyway, so they basically grew up side-by-side. Your revisionist history is pretty easy to refute.
That's just rubbish. Zoth Ommog, for example, would sign pretty much anybody and if they felt something was maybe a little outside the bounds of what their customers expected, they had several more dance-oriented labels to release that stuff on. Machinery had acts as diverse as Dance or Die and Cubanate whilst Off-Beat signed many different bands, from Bionic to Forma Tadre. Trouble is, they all went broke once the internet started to eat into their sales, which only left the labels that catered to a more mainstream or cross-over audience, who were forced to tread a much finer line than had been the case in the early 9os. Even our label, RepoRecords, has a very diverse roster that not only includes us and Funker Vogt but also Cruxshadows and Birthday Massacre. But it's because of the massive success of one or two bands that Repo can indulge us.
The internet is absolutely to blame. It has removed the excellent quality control filters that labels provided, making it impossible to sort the chaff from the wheat any more. In our case, for example, we'll never be able to do more than cover the label's costs and much of that is down to the fact that almost half the Google returns for "novakill" will be links to ways of getting our music without paying anything to us or our label. How can you combat that? You simply cannot. The big, safe acts survive on sheer weight of numbers. i.e. They are popular enough that even if the internet robs them of 50%, maybe even 80% or more, of sales they can get by. But it's the small, diverse acts like us, that rely on maximising sales, that get shafted. I can say with complete confidence that the internet has not helped us one little bit to make up for all that it has done to make things harder, and we go to a lot of trouble to try and exploit it.
You may as well stand in the town square and try and sell your music for all the good it does. In fact, I'd suggest busking is probably a better way to get your music out.
No, it's an industry trying to survive on a much smaller cut of the market than they used to have, competing against people acting illegally.
Well I place zero value in that. The "feedback" we've had on MySpace is completely useless and the only music I have found there worth listening to is stuff I already knew about. It's actually an excellent example of the total lack of quality filtering I mentioned before.
I'll agree with that. I am yet to hear anything here that I would want to listen to again, let alone pay for.
That's obviously because you have no experience of life in the music industry before the internet. Using Sydney as an example. Through the 80's there were 5 independent record stores in the CBD, catering for all manner of music that was never released locally. Every week I would do the rounds, starting at Kent Records or Phantom, moving on to Record Plant, then Utopia or Waterfront and finally Red-Eye, who had everything but were more expensive than the others. Today, only Red-Eye survive and their range is pathetic compared to it's hey-day. Utopia, who specialise in metal, are still around but have been forced out of the CBD because of declining sales. I worked at Waterfront after our own specialist Goth/Industrial record shop went under, and watched it's slow decline into insolvency. I know exactly why my shop failed and why Waterfront and all the rest failed and it has nothing at all to do with the record industry. If the internet has a role to play, it is that of the press. An article in a music newspaper, a fanzine or monthly magazine were all that was needed to get noticed back in the day. It was just as effective as the internet, because it was targeted, and it got the message out perfectly well. Magazines like Alternative Press or Industrial Nation got me into a lot more bands than the internet has, that's for sure. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
novakill.com
Is 'Goth' still big?MySpace and the like are somewhat almost like the early 80's again with 'buttons'. I'm sure Bones had this down under too.... There was a point to how many cool band/label buttons you could wear on your jacket or lapel. PiL was very stylish, Stiff Records, Rough Trade (label and/or band here in Canada) Sex Pistols and/or Sid Vicious, etc. I used to scour record stores and 'head shops' for the rare bands I liked and proudly wear them as badges of honour. But then it got to the point of cool looking bands and labels and shit I never heard, but looked neat. That and/or 'political causes' - and that's when the button craze died off. So I think the same can be said for MySpace and FaceBook these days - yeah they're great to show off your music and get criticisms and make 12845 friends... But out of a huge # like that, 80% really are useless trolls and losers, 10% are decent and 'in the realm' and the other 10% are corporate affiliates and marketing agents for Coca Cola, Nike, American Express, you name it. But they come in as 'Joe Blow', 'Sexy Sarah', 'Goth King'. And it's when you get 12845 friends - 1% may think you're awesome at music, but it's 99% that see you merely as 'a connection' - a way to hit a huge audience quickly by just posting 'So what do you think of Coke's Zero One?' to 'You're as gay as Barrack Obama'. What's your response? What's your friends support? Barrack Obama's married with kids right? Yeah, but so is Tom Cruise.... And so on. Maybe Coca-Cola is behind making 'Goth' big, maybe Darkwave is making Coke big with their new slogan 'Taste The Dark'? Nothing but a big online focus group you're not getting paid for, but know more about you than Dick Cheney with a hidden microphone and your library card#. And like the 80's, we can all talk about Nuclear War, Ronald Regan is Satan, South Africa... But it's when people starting handing out petitions, posting contact info, asking why YOU are not involved? That will be the death of My Space and FaceBook et al.
I think record companies thought this could be cool at first. Some scout could sit in their office as opposed to going out to some club on a lousy night and 'get the bands and trends' going down. I'm sure there's a bit of this going on, and could be an asset. But they know as well as I do the yak, flak, and talkback are empty, unfocused, and grand standing because they have nothing better to do. Not quite the fan base or marketing drive Virgin or EMI ws hoping for. But now 'Goths' on the other hand... They're focused, unpolitcal, attracted by anything 'dark', 'ominous', and medival like moths to a flame... Now how to get them an American Express 'Black Card'? ANd thankfully Goths don't put up with that crap... So they become even cooler. The Dark Rebels.... A good name for Universal to make note of for that band in Tuscon currently known as '5 Pence The Wiser' getting a draw. Hell of a lot better than MGMT.
Is 'Goth' still big?
Ha ha... There are two things wrong with that paragraph... 1. If Zip Campesi sounds like Jean-Luc DeMeyer then it supports my "clone" theory. 2. Their hit single, Back Into The Bog, featured one or two Front 242 members and that track could have been on any of the Front 242 albums. I would know this because I interviewed them for a German music magazine when I lived there.
No. Far from it... Techno NEVER pre-dated Electro-Industrial / EBM. NEVER! Lets skip past bands like The Can, Tangerine Dream and Kraftwerk... After that came the Neue Deutsche Welle (German New Wave) and from there we got Euro Disco and Electro-Punk (DAF) which involved into Industrial / EBM (Die Krupps). This was post Punk. Mid 80s In the States there was a movement that fused House with Euro Disco (Kraftwerk was a part of that as they got discovered later). At the same time Acid House was all the range in the UK! Soon enough we got Techno / Detroit Techno. While Techno was forming in the States and the UK Europe was already rich with Industrial and EBM. Germany was doing it's thing with Industrial / Experimental. Belgium was doing NuBeat and EBM. From there we got Electro-Industrial / EBM. Remember if it wasn't for Kraftwerk and the German New Wave there'd be no Depeche Mode. No Depeche Mode & Kraftwerk no Detroit and UK Techno. This influenced German Electronic music and we got German Techno. I didn't say that Electro-Industrial / EBM died a death. I am just saying that a lot of Industrial / EBM German's turned to the Techno sounds coming from the UK (notably Manchester) and Stateside. Well, at least Berlin. That's where I lived. I saw it happen. Because Techno was fresh in Berlin at the time it took attention away from Industrial / EBM. Naturally there were die hard Industrial / EBM people and they kept that scene going. However, the once famous Atonal Festival (Berlin) got taken over by Techno artists. The Atonal Festival up until the advent of Techno was previously the domain for Experimental / Industial music. I know this because I knew the guy that ran it and the UFO club. When the hype of Techno settled we got a fusion of Industrial and Techno styles, which was called Tekkno and / or Industial Techno and so on. Again, I am talking about my experience in Berlin. I know that in Frankfurt Electro-Industrial / EBM was still holding strong. But the shift from Industrial / EBM to Techno lead to the Berlin Love Parade. I am going back about 20 yrs ago. If you did your homework, bones, you'll see that I am right with the order of music styles... I am not going to be entirely accurate as I could write a book on the subject. If I were to do so I would be as accurate as possible. But what I have stated is the gist of it.
So where are Zoth Omog now? They signed people who were similar. Cubanate had only one decent track: Oxyacetalyne. Cubanate would be lost in the wilderness if not for the Net. The Internet didn't eat into the sales of those record labels. The consumers needed fresh meat and they never got it. It's that simple. I know Cubante and every once in a while they would do yet another remix of Oxyacetalyne. Again, looking at Machinery Records, their acts kept putting out the same type of music. It's not rocket science. The scene needed diversity. No diversity = a dead music scene. Play It Again Sam? Please... No! No fucking way! Back in the day you can distinguish Marc Bolan from David Bowie, Slade from Sweet, Kiss from Alice Cooper. But when it came to Industrial / EBM there were a few originals and the rest copied. And that's what killed record sales. I used to have to review the bloody music for a magazine. I was bored shitless! I hardly kept any of it. I sold most of the CDs. So basically, you're saying that your riding on the coat-tails of the success of other acts??? That you can't make it on your own steam?
Ha ha ha... Very funny! If you had been in London trying to do what you do you'd never make it! I witnessed a brilliant band from Ireland, Arkane Asylum, who tried to get gigs, a deal, etc. I used to follow them. What they got for playing live wasn't worth the hassle. At one time I had to give them money out of my own pocket because the lads couldn't get their gear home! I concede to the fact that I don't know anything about the Australian scene, but I know about the UK scene and it's cliques that help ruin record labels, clubs and magazines. People in the UK just live up their own assholes just because they got a label or a magazine, etc. Cunts like that thought that they WERE the scene! But the labels die, the magazines die because they don't want to let others through. The UK scene is centred around a handful of people and their egos. It's all horseshit! Again, I knew some obnoxious cunt who used to run the Hard Club (Soho, London) he told me straight that he didn't do it for the music. He did it to exploit the market. Needless to say that club didn't last long. Media Whore (The model of nepotism) One minute you are watching some woman shoving a dildo up her asshole on the UK Adult Channel, the next she's modelling for alternative music mags and fetish mags, then she's an extra for some movie, then she's offering her services as a dominatrix, oh and there she is on tv in a little documentary about someone trying to get somewhere in the movie world, oh look she's in a music video and the next thing you know she's on the cover of an "alternative" magazine fronting a band. Fuck that shit! But that's typical of the UK scene. Not that I am saying that porn models can't make something of themselves outside porn, but you can see that certain people get the attention through whoring themselves around. As a result there's no more discovery of new talent. The wonder of discovery is practically gone. And that's what kills an industry. I'll write the next installment later... Last edited by RobotSYNAPSE on Fri Jul 24, 2009 4:33 am, edited 1 time in total.
Is 'Goth' still big?whow, thanks you to take the time to answer a well documented post
i suggest you to write a book ! Yamaha CS-30, Roland SH-1, Roland MKS70, Focusrite Scarlett 18i6, Yamaha FS1R, Oberheim Matrix 1000, Novation Remote 37SL, Korg Legacy, Alesis M1Active 520, Novation Launchpad Pro, Push2, Intel i7-7700HQ
Is 'Goth' still big?You're very welcome... Y'know... I might write that book!
Who is onlineUsers browsing this forum: No registered users and 491 guests |
© 2017 Synapse Audio Software. All Rights Reserved. |