Editing Gothic rock (section)

== History ==
=== Forerunners (1960s and 1970s) ===
[[File:The Doors in Copenhagen 1968.jpg|thumb|left|[[The Doors]] performing live in 1968. They have been cited as a major influence in the gothic rock genre.]]

Critic John Stickney used the term "gothic rock" to describe the music of [[the Doors]] in October 1967, in a review published in ''[[The Williams Record]]''.<ref name=Stickney>{{cite news|last=Stickney |first=John |date=24 October 1967 |title=Four Doors to the Future: Gothic Rock Is Their Thing |newspaper=[[The Williams Record]] |url=http://mildequator.com/performancehistory/articlesreviews1967.html |access-date=11 March 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130504231130/http://mildequator.com/performancehistory/articlesreviews1967.html |archive-date=4 May 2013}}</ref> Stickney wrote that the band met the journalists "in the gloomy vaulted wine cellar of the [[Trump Park Avenue|Delmonico hotel]], the perfect room to honor the gothic rock of the Doors".<ref name=Stickney/> The author noted that contrary to the "pleasant, amusing [[hippies]]", there was "violence" in their music and a dark atmosphere on stage during their concerts.<ref name=Stickney/> Stickney ultimately titled his article, "Four Doors to the Future: Gothic Rock Is Their Thing".<ref name=Stickney/> 

[[File:David-Bowie Early.jpg|thumb|right|150px|[[David Bowie]] influenced the post-punk bands that helped spawn the gothic rock genre]]

Musicians who initially shaped the aesthetics and musical conventions of gothic rock include [[Marc Bolan]],<ref name="A Life Less Lived">{{cite book |last=Reynolds |first=Simon |authorlink=Simon Reynolds |date=26 March 2008 |title=A Life Less Lived: The Gothic Box  |work=Blender}}</ref> [[the Velvet Underground]], the Doors, [[David Bowie]], [[Brian Eno]], and [[Iggy Pop]].<ref name=North>{{cite journal |last=North |first=Richard |date=19 February 1983 |title=Punk Warriors |journal=[[NME]]}}</ref> Journalist [[Kurt Loder]] would write that the song "[[All Tomorrow's Parties]]" by the Velvet Underground is a "mesmerizing gothic-rock masterpiece".<ref>{{cite book |last=Loder |first=Kurt |date=December 1984 |title=[[VU (album)|V.U.]] |publisher=Verve Records |type=album liner notes}}</ref> However, Reynolds considers [[Alice Cooper]] as "the true ungodly godfather of goth" due to his "theatrics and [[Black comedy|black humor]]".<ref name="A Life Less Lived"/>  [[Nico]]'s 1968 album ''[[The Marble Index]]'' is sometimes described as "the first truly gothic album".<ref>{{cite journal |last1=Thompson |first1=Dave|last2=Greene|author-link1=Dave Thompson (author)|first2=Jo-Ann |date=November 1994|title=Undead Undead Undead|journal=[[Alternative Press (music magazine)|Alternative Press]]|publisher=Alternative Press Magazine, Inc.}}.</ref> With its stark sound, somber lyrics, and Nico's deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement.<ref>{{cite book |last=Unterberger|first=Richie|author-link1=Richie Unterberger|date=1 June 2009|title=White Light/White Heat: The Velvet Underground day-by-day|publisher=Jawbone Press|page=201|isbn=978-1906002220}}</ref><ref>{{cite web |url=https://www.allmusic.com/album/the-marble-index-mw0000309995 |title=''The Marble Index'' – Nico |last=Unterberger |first=Richie |publisher=[[AllMusic]]|access-date=11 March 2013}}</ref> Gothic rock creates a dark atmosphere by drawing influence from the [[drone music|drones]] used by [[protopunk]] group the Velvet Underground, and many gothic singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at even lower pitches.{{sfn|Charlton|2003|p=353}} Although gothic rock is an offshoot of [[post-punk]],<ref name=gothrockAM>{{cite web |url=https://www.allmusic.com/style/goth-rock-ma0000002623 |title=Goth Rock |publisher=[[AllMusic]] |accessdate=22 May 2021}}</ref> [[glam rock]] is another forerunner genre of gothic rock.<ref name=story/> ''[[Pitchfork.com|Pitchfork]]'' wrote: "Although it abandoned the psychedelic color palette and exchanged alien worship for a vampire cult, goth kept glam's theatricality intact, as well as its openness to experimentation."<ref name=story>{{cite web |url=https://pitchfork.com/features/lists-and-guides/the-story-of-goth-in-33-songs/ |title=The Story of Goth in 33 Songs |work=[[Pitchfork.com|Pitchfork]] |date=25 October 2017 |accessdate=22 May 2021}}</ref> In April 1977, critic [[Dave Marsh]] of ''[[The Morning Record]]''  described [[Philip Glass]]'s current album ''North Star'' as "the best neo-Gothic rock since [[John Cale]] and [[Terry Riley]]'s ''[[Church of Anthrax]]'', or more appropriately, the first couple of Doors albums".<ref>{{cite work|first=Dave|last=Marsh|title=Record Reviews - Philip Glass ''North Star''|work=[[The Morning Record and Journal]] |date=April 16, 1977 |page=46}}</ref> Reynolds retrospectively described [[Kate Bush]]'s 1978 song "[[Wuthering Heights (song)|Wuthering Heights]]" as "Gothic romance distilled into four-and-a-half minutes of gaseous rhapsody".<ref>{{cite web |url=https://www.theguardian.com/music/2014/aug/21/kate-bush-queen-of-art-pop-defied-critics-london-concerts |author=Reynolds, Simon |title=Kate Bush, the queen of art-pop who defied her critics |work=The Guardian|date=21 August 2014 |access-date=10 March 2016}}</ref>

In the late 1970s, the word "gothic" was used to describe the atmosphere of [[post-punk]] bands like [[Siouxsie and the Banshees]], [[Magazine (band)|Magazine]] and [[Joy Division]]. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic [[Nick Kent]] wrote that concerning their performance, "parallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground".<ref>{{cite magazine|last=Kent |first=Nick |title=Banshees make the Breakthrough [live review - London the Roundhouse 23 July 1978] |magazine=[[NME]] |date=29 July 1978}}</ref> In March 1979, Kent used the gothic adjective in his review of Magazine's second album, ''[[Secondhand Daylight]]''. Kent noted that there was "a new austere sense of authority" to their music, with a "dank neo-Gothic sound".<ref name=magazine>{{cite magazine |last=Kent |first=Nick |title=Magazine's Mad Minstrels Gains Momentum (Album review) |magazine=[[NME]] |date=31 March 1979 |page=31}}</ref> The second Siouxsie and the Banshees album, also released in 1979, was a precursor in several aspects. For journalist [[Alexis Petridis]] of ''[[The Guardian]]'', "A lot of musical signifiers... – scything, effects-laden guitar, pounding tribal drums – are audible, on... ''[[Join Hands]]''".<ref name=petridis>{{cite news |first=Alexis |last=Petridis|url=https://www.theguardian.com/music/2012/apr/26/goth-life-fields-nephilim|title=Goth for life |newspaper=The Guardian|date=26 April 2012 |access-date=2 September 2017}}</ref> In September, Joy Division's manager [[Tony Wilson]] described their music as "gothic" on the television show ''[[Something Else (TV series)|Something Else]]'',<ref>{{cite web |url=https://www.youtube.com/watch?v=QMRZROGtm1Q  | archive-url=https://ghostarchive.org/varchive/youtube/20211211/QMRZROGtm1Q| archive-date=11 December 2021 | url-status=live|title=Something Else [featuring Joy Division] |publisher=BBC television [archive added on youtube] |date=15 September 1979 |quote=Because it is unsettling, it is like sinister and gothic, it won't be played. [interview of Joy Division's manager Tony Wilson next to Joy Division's drummer Stephen Morris from 3:31]}}{{cbignore}}</ref> and their producer [[Martin Hannett]] described their style as "dancing music with gothic overtones".{{sfn|Reynolds|2005|p=420}} In 1980, ''[[Melody Maker]]'' wrote that "Joy Division are masters of this gothic gloom".<ref>{{cite journal |last=Bohn |first=Chris |date=16 February 1980 |title=Joy Division: University of London Union – Live Review |journal=[[Melody Maker]]}}</ref> When their final album ''[[Closer (Joy Division album)|Closer]]'' came out a couple of months after the [[suicide]] of their singer [[Ian Curtis]], ''[[Sounds (magazine)|Sounds]]'' noted in its review that there were "dark strokes of gothic rock".<ref>{{cite journal |last=McCullough |first=Dave |date=26 July 1980 |title=Closer to the Edge |journal=[[Sounds (magazine)|Sounds]] |quote=Young men in dark silhouettes, some darker than others, looking inwards, looking out, discovering the same horror and describing it with the same dark strokes of gothic rock.}}</ref>

===Origins===
[[File:Bauhaus August 2006 UK.jpg|thumb|right|Gothic rock band [[Bauhaus (band)|Bauhaus]] performing live in August 2006]]

Not long after, the "gothic" label "became a critical term of abuse" for a band like [[Bauhaus (band)|Bauhaus]], who had arrived on the music scene in 1979.{{sfn|Reynolds|2005|p=420}} At the time, ''[[NME]]'' considered that "Siouxsie and the Banshees, [[Adam and the Ants]] and even... Joy Division" opened up "a potentially massive market" for newcomers like Bauhaus and [[Killing Joke]]: journalist Andy Gill then separated these two groups of bands, pointing out that there was a difference "between art and artifice".<ref name="Gill">{{cite journal |last=Gill |first=Andy |date=8 November 1980 |title=Gothic As a Brick |journal=[[NME]]|page=32}}</ref>

However, Bauhaus's debut single, "[[Bela Lugosi's Dead]]", released in late 1979, was retrospectively considered to be the beginning of the gothic rock genre.{{sfn|Reynolds|2005|p=432}} According to [[Peter Murphy (musician)|Peter Murphy]], the song was written to be tongue-in-cheek, but since the group performed it with "naïve seriousness", that is how the audience understood it.<ref name=Thompson>{{cite book |last=Thompson |first=Dave |date=1 November 2000 |title=Alternative Rock |publisher=Miller Freeman Books |isbn=0-87930-607-6}}</ref> Bauhaus released their debut album ''[[In the Flat Field]]'' in 1980, and the album is often considered the first gothic rock album.<ref>{{cite web |url=http://www.allmusic.com/album/in-the-flat-field-mw0000193854 |title=''In the Flat Field'' – Bauhaus |publisher=[[AllMusic]] |accessdate=20 May 2021 |last=Raggett |first=Ned}}</ref>

[[File:PrayerTour89.jpg|left|thumb|145px|[[Robert Smith (musician)|Robert Smith]] of the Cure in 1989, who was on the front cover of ''NME Originals: Goth'' in 2004.<ref name=NME />]]

In the early 1980s, post-punk bands such as Siouxsie and the Banshees and the Cure included more gothic characteristics in their music.{{sfn|Reynolds|2005|pp=428–429}} According to Reynolds, with their fourth album, 1981's ''[[Juju (Siouxsie and the Banshees album)|Juju]]'', the Banshees included several gothic qualities, lyrically and sonically,{{sfn|Reynolds|2005|p=428}} whereas according to ''The Guardian'', ''Juju'' was [[art rock]] on certain album tracks and [[pop music|pop]] on the singles.<ref>{{cite web |url=https://www.theguardian.com/music/2007/nov/21/1000tohearbeforeyoudie5 |title=Artists Beginning with S |date=21 November 2007 |work=[[The Guardian|guardian.co.uk]]}}</ref> Their bassist, [[Steven Severin]], attributed the aesthetic used by the Banshees around that time to the influence of [[the Cramps]].{{sfn|Reynolds|2005|pp=428–429}} [[The Cure]]'s "oppressively dispirited" trio of albums, ''[[Seventeen Seconds]]'' (1980), ''[[Faith (The Cure album)|Faith]]'' (1981) and ''[[Pornography (album)|Pornography]]'' (1982), cemented that group's stature in the genre.{{sfn|Reynolds|2005|p=429}} The line "It doesn't matter if we all die" began the ''Pornography'' album, which is considered as "the Cure's gothic piece de resistance".<ref>{{cite web |url=http://thequietus.com/articles/00620-the-cure-selecting-the-best-for-one-side-of-a-c90 |title=The Quietus &#124; Features &#124; It Started with a Mix &#124; The Cure: Selecting the Best for One Side of a C90 |last=Doran |first=John |date=27 October 2008 |work=[[The Quietus]] |access-date=11 March 2013}}</ref> They would later become the most commercially successful of these groups.<ref>{{cite web |url=https://www.riaa.com/goldandplatinumdata.php?table=SEARCH |title=RIAA – Gold & Platinum Searchable Database – March 10, 2013 |work=riaa.com |access-date=10 March 2013}}</ref> The Cure's style was "withdrawn",{{sfn|Reynolds|2005|p=429}} contrasting with their contemporaries like [[Nick Cave]]'s the Birthday Party, who drew on [[blues]] and violent turmoil.{{sfn|Reynolds|2005|pp=429–431}} With the Birthday Party's ''[[Junkyard (album)|Junkyard]]'' album, Nick Cave combined "sacred and profane" things, using [[Old Testament]] imagery with stories about sin, curses and damnation.{{sfn|Reynolds|2005|p=431}} Their 1981 single "[[Release the Bats]]" was particularly influential in the scene.{{sfn|Reynolds|2005|p=431}}

Killing Joke were originally inspired by [[Public Image Ltd.]], borrowing from funk, [[disco]], [[dub (music)|dub]] and, later, [[Heavy metal music|heavy metal]].{{sfn|Reynolds|2005|pp=433–435}} Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically charged visual style.{{sfn|Reynolds|2005|pp=433–435}} Reynolds identified the Birthday Party and Killing Joke as essential proto-goth groups.{{sfn|Reynolds|2005|p=433}} Despite their legacy as progenitors of gothic rock, those groups disliked the label.{{sfn|Hannaham|1999|p=114}} [[Adam Ant]]'s early work was also a major impetus for the gothic rock scene, and much of the fanbase came from his milieu.{{sfn|Reynolds|2005|p=421}} Other early contributors to the scene included [[UK Decay]] and Ireland's [[Virgin Prunes]].

Gothic rock would not be adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982.{{sfn|Reynolds|2005|p=420}} In London, the [[Batcave (club)|Batcave]] club opened 21 July 1982{{sfn|Reynolds|2005|p=552}} to provide a venue for the goth scene: the band [[Specimen (band)|Specimen]] gave many concerts there.<ref>{{cite news |url=https://shapersofthe80s.com/clubbing/69-dean-street-and-the-making-of-uk-club-culture/ |work=The Face |date=February 1983 |issue=34 |page=26 |via=Shapersofthe80s |first=David |last=Johnson |title=69 Dean Street: The Making of Club Culture |access-date=7 April 2018}}</ref>{{sfn|Steele|Park|2008|p=151}} That same year, [[Ian Astbury]] of the band [[Southern Death Cult]] used the term "gothic goblins" to describe [[Sex Gang Children]]'s fans.{{sfn|Steele|Park|2008|p=150}} Southern Death Cult became icons of the scene, drawing aesthetic inspiration from [[Indigenous peoples of the Americas|Native American]] culture and appearing on the cover of ''NME'' in October.{{sfn|Reynolds|2005|p=422}}

=== Expansion of the scene ===
[[File:This Burning Effigy - After Thought.ogg|thumb|right|"After Thought" (2000), an [[ethereal wave]] track by [[This Burning Effigy]]. Drum machines and [[Delay (audio effect)|delay]]-drenched guitar textures are typical of this style.]]
[[File:The-sisters-of-mercy-mera-luna-2005.jpg|thumb|right|The Sisters of Mercy performing at the [[M'era Luna Festival]] in 2005.]]

In February 1983, the emerging scene was described as "positive punk" on the front cover of ''NME'':<ref name=North/> in his article, journalist Richard North described Bauhaus, [[Theatre of Hate]] and UK Decay as "the immediate forerunners of today's flood", and declared, "So here it is: the new positive punk, with no empty promises of revolution, either in the rock'n'roll sense or the wider political sphere. Here is only a chance of self-awareness, of personal revolution, of colourful perception and galvanization of the imagination that startles the slumbering mind and body from their sloth".<ref name=North/> That year, myriad goth groups emerged, including [[Flesh for Lulu]], [[Play Dead (band)|Play Dead]], [[Rubella Ballet]], [[Gene Loves Jezebel]], Blood and Roses, and [[Ausgang]].{{sfn|Reynolds|2005|pp=423, 431 and 436}} The 4AD label released music in a more [[ethereal wave|ethereal]] style,<ref>Mercer, Mick. ''Music to die for''. London: Cherry Red Books, 2009, {{ISBN|190144726X}}, p. 5</ref> by groups such as [[Cocteau Twins]],<ref>Mercer, Mick. ''Music to die for''. London: Cherry Red Books, 2009, {{ISBN|190144726X}}, p. 105</ref> [[Dead Can Dance]], and [[Xmal Deutschland]].{{sfn|Reynolds|2005|pp=423, 431 and 436}} The Icelandic group [[Kukl (band)|Kukl]] also appeared in this period, which included [[Björk]] and other musicians who later participated in [[the Sugarcubes]].{{sfn|Reynolds|2005|pp=423, 431 and 436}}

Reynolds has spoken of a shift from early goth to gothic rock proper, advanced by [[the Sisters of Mercy]].{{sfn|Reynolds|2005|p=437}} As journalist Jennifer Park put it, "The original blueprint for gothic rock had mutated significantly. Doom and gloom was no longer confined to its characteristic atmospherics, but as the Sisters demonstrated, it could really rock".{{sfn|Steele|Park|2008|p=144}} The Sisters of Mercy, who cited influences such as Leonard Cohen, [[Gary Glitter]], [[Motörhead]], [[the Stooges]], the Velvet Underground, the Birthday Party, [[Suicide (band)|Suicide]], and [[The Fall (band)|the Fall]], created a new, harder form of gothic rock.{{sfn|Steele|Park|2008|p=145}} In addition, they incorporated a [[drum machine]].{{sfn|Steele|Park|2008|p=145}} Reynolds identified their 1983 single "[[Some Girls Wander by Mistake|Temple of Love]]" as the quintessential goth anthem of the year, along with Southern Death Cult's "Fatman".{{sfn|Reynolds|2005|p=438}} The group created their own record label, [[Merciful Release]], which also signed [[the March Violets]], who performed in a similar style.{{sfn|Steele|Park|2008|p=147}} According to Reynolds, the March Violets "imitated Joy Division sonically".{{sfn|Reynolds|2005|p=435}} Another band, [[the Danse Society]] was particularly inspired by the Cure's ''Pornography'' period.{{sfn|Steele|Park|2008|p=147}}

=== Subsequent developments ===
[[File:Daucus_Karota_-_Rozz_Williams.jpg|thumb|left|140px|Rozz Williams of Christian Death]]
American gothic rock began with [[45 Grave]] and [[Christian Death]]. This harder, more [[punk rock]]-influenced style of gothic rock became known as [[deathrock]].{{sfn|Kilpatrick|2004|p=89}} Christian Death combined "self-consciously controversial tactics" with [[Punk rock in California|Los Angeles punk]] and [[heavy metal music|heavy metal]] influences. Their singer [[Rozz Williams]] committed [[suicide by hanging]] in 1998 at age 34.<ref>{{cite web |url=https://www.allmusic.com/artist/christian-death-mn0000120060/biography |title=Christian Death {{!}} Biography & History |publisher=[[AllMusic]] |last=Huey |first=Steve |accessdate=20 May 2021}}</ref> 45 Grave was more inspired by heavy metal than Christian Death and featured female singer [[Dinah Cancer]]. Some punk and [[garage rock]]  bands like [[the Cramps]], [[the Gun Club]], [[Lydia Lunch]], [[the Nuns]], [[Misfits (band)|the Misfits]] and [[T.S.O.L.]] have been credited to be influential on both the sound and the aesthetics of the [[goth subculture]] in America, being subsequently credited to be pioneers in the "goth punk" sub-genre.<ref>{{Cite web |last=Stegall |first=Tim|title=10 bands who led the very grisly idea of goth-punk across history |url=https://www.altpress.com/best-goth-punk-bands/ |access-date=2023-01-25 |website=Alternative Press Magazine |date=17 March 2021 |language=en}}</ref> Notable 1980s American goth bands include [[Super Heroines]], [[Human Drama]], [[The Wake (American band)|the Wake]] and [[Kommunity FK]].{{sfn|Greene|2013|p=32}}
[[File:Fields of the Nephilim - Moonchild.ogg|thumb|right|"Moonchild", a late 1980s gothic song by Fields of the Nephilim with a more guttural [[baritone]] vocal style]]
Later stages of gothic rock came with a shift in sound and commercial success. Southern Death Cult reformed as [[the Cult]], a more conventional [[hard rock]] group.{{sfn|Reynolds|2005|p=438}} [[Bauhaus (band)|Bauhaus]] members reformed as the psychedelia-influenced [[Love and Rockets (band)|Love and Rockets]] achieving both critical and commercial success during the late 1980s and '90s.<ref>{{cite web | url=https://www.loudersound.com/features/love-and-rockets-how-three-british-goths-broke-america | title=Love and Rockets: How three British goths broke America | date=12 April 2018 }}</ref> In their wake, [[The Mission (band)|the Mission]], which included two former members of the Sisters of Mercy (Wayne Hussey and Craig Adams), achieved commercial success in the mid-1980s to early 1990s,<ref>{{cite web |url=https://www.allmusic.com/album/gods-own-medicine-mw0000650504 |title=''God's Own Medicine'' – The Mission UK  |last=True |first=Chris |publisher=[[AllMusic]]|access-date=11 March 2013}}</ref> as did [[Fields of the Nephilim]] and [[All About Eve (band)|All About Eve]].<ref>{{cite book |editor1-last=Larkin |editor1-first=Colin |title=The encyclopedia of popular music |date=1998 |publisher=Macmillan |location=London |isbn=033374134X |page=123 |edition=3}}</ref> European groups inspired by gothic rock also proliferated, including [[Clan of Xymox]].<ref>{{cite web |url=https://www.allmusic.com/artist/clan-of-xymox-mn0000784766 |title=Clan of Xymox – Music Biography |last=Sutton |first=Michael |publisher=[[AllMusic]]|access-date=11 March 2013}}</ref> Other bands associated with gothic rock include [[All Living Fear]], [[And Also the Trees]], [[Balaam and the Angel]], [[Claytown Troupe]], [[Dream Disciples]], Feeding Fingers, [[Inkubus Sukkubus]], Libitina, [[Miranda Sex Garden]], [[Nosferatu (band)|Nosferatu]], [[Rosetta Stone (band)|Rosetta Stone]], and [[Suspiria (band)|Suspiria]].{{sfn|Mercer|1996|pages=78–95}} The 1990s saw a resurgence of the goth subculture, fueled largely by crossover from the industrial, electronic and metal scenes; and goth culture and aesthetic again worked itself into the mainstream consciousness, inspiring thriving goth music scenes in most cities and notoriety throughout popular culture. Beginning in the early 1990s, [[gothic metal]] fused "the bleak, icy atmospherics of goth rock with the loud guitars and aggression of heavy metal."<ref name="AMG Goth">{{cite web |title=Goth metal |url=https://www.allmusic.com/style/goth-metal-ma0000011855 |publisher=[[AllMusic]]|access-date=30 April 2016}}</ref> In the 2000s, critics regularly noticed the influence of goth on bands of that time period.<ref name=Hodgkinson>{{cite news |title=The Horrors: ''Skying'' |first=Will |last=Hodgkinson |date=8 July 2011 |work=thetimes.co.uk |quote=sixties garage meets eighties goth}}.</ref><ref>{{cite web |url=https://www.nme.com/reviews/zola-jesus/11522 |title=''NME'' Album Reviews – Album Review: Zola Jesus ''Stridulum II'' |date=23 August 2010 |work=[[NME|nme.com]] |access-date=11 March 2013}}</ref> English band [[the Horrors]] mixed 1960s [[garage rock]] with 1980s goth.<ref name=Hodgkinson/> When referencing female singer [[Zola Jesus]], writers questioned if she announced the second coming of the genre<ref>{{cite web |url=https://www.theguardian.com/music/2010/aug/21/zola-jesus-stridulum-goth |title=Will Zola Jesus Herald the Second Coming of Goth? |last=Richards |first=Sam |date=21 August 2010 |work=[[The Guardian|guardian.co.uk]] |access-date=11 March 2013}}</ref> as her music was described with this term.<ref>{{cite web |url=http://www.dazeddigital.com/music/article/11560/1/20-qas-zola-jesus |title=20 Q&As: Zola Jesus |last=Orton |first=Karen |work=dazeddigital.com |date=3 October 2011 |access-date=11 March 2013}}</ref>