Editing Gothic rock (section)

===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}}