Editing Deathrock

{{short description|Rock music subgenre}}
{{Distinguish|Death metal|Death 'n' roll}}
{{Use American English|date=October 2022}}
{{Use mdy dates|date=February 2024}}
{{Infobox music genre
| name              = Deathrock
| stylistic_origins = {{flatlist|*[[Punk rock]]
* [[horror film score]]
* [[post-punk]]
* [[glam rock]]}}
| cultural_origins  = Early 1980s, Los Angeles, US
| derivatives       = 
| other_topics      = {{hlist|[[List of deathrock bands]]|[[horror punk]]|[[gothabilly]]|[[punk rock in California]]}}
}}
'''Deathrock''' (or '''death rock''') is a [[rock music]] subgenre that merges [[punk rock]] and [[post-punk]] with [[Gothic fiction|gothic]] and [[glam rock]] visuals and elements of [[horror film score]]s. Often overlapping with, and sometimes considered a subgenre of, [[gothic rock]], the genre was pioneered by bands from the early 1980s [[Los Angeles]] punk scene, including [[Christian Death]], [[Kommunity FK]], [[45 Grave]] and the [[Super Heroines]]. By the middle of the decade, the genre had begun to interact with the United Kingdom's gothic rock scene, leading to the formation of English deathrock bands like [[Sex Gang Children]] and [[Alien Sex Fiend]]. However, soon after the genre declined in popularity, and its name largely fell out of use. In the late 1990s, a revival of the genre began, in which groups like [[Bloody Dead and Sexy]], [[the Phantom Limbs]] and [[Tragic Black]] expanded the scope of the genre to include elements of [[psychobilly]], [[electronic body music]] and [[futurepop]].

==Characteristics==
[[File:Dinah Cancer 45 Grave Blue Cafe Long Beach 3.jpg|thumb|[[45 Grave]] vocalist [[Dinah Cancer]] in 2007|150px]]
Deathrock songs usually incorporate a driving, repetitive rhythm section; the drums and bass guitar laying the foundation within a [[4/4 time|{{music|time|4|4}}]] time signature while the guitars either play simple chords or effects-driven leads to create atmosphere. Chorus effects, such as those produced by the [[Boss Corporation|Boss CE-2]] pedal, are commonly used by deathrock guitarists to create a wider and more haunting tone. The use of lyrics can vary, but are typically [[Introspection|introspective]] and [[surrealism|surreal]], and deal with the dark themes of [[solitude|isolation]], [[gloom]], disillusionment, loss, life, death, etc.; as can the style, varying from harsh and dark to upbeat, melodic, and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy [[horror film|horror]] and [[science fiction film|sci-fi]] films.<ref name="stylus">Stylus Staff: ''[https://web.archive.org/web/20060825001923/http://www.stylusmagazine.com/articles/weekly_article/england-fades-away-stylus-magazines-guide-to-goth.htm England Fades Away. Stylus Magazine's Guide to Goth]'', 7. August 2006</ref> Despite the similar-sounding name, deathrock has no connection to [[death metal]], which is a subgenre of [[Heavy metal music|heavy metal]].<ref name="Sheppard2014">Sheppard, Oliver: ''[http://www.cvltnation.com/interview-deathrock-band-kommunity-fk/ Interview with Kommunity FK]'', CVLT Nation magazine, January 6, 2014</ref>

==Etymology==
The term "deathrock" was first used in the 1950s to describe [[Teenage tragedy song|a thematically related genre of rock and roll]], which began in 1958 with [[Jody Reynolds]]' "[[Endless Sleep]]"<ref name="Larkin353">Larkin, Colin: ''The Virgin Encyclopedia of Fifties Music'', Virgin Books, 1st edition, 1998, {{ISBN|0-753-50268-2}}, p. 353</ref> and ended in 1964 with [[J. Frank Wilson]]'s "[[Last Kiss]]".<ref>Miletich, Leo: ''[http://reason.com/archives/1987/03/01/rock-me-with-a-steady-roll/1 Rock Me with a Steady Roll]'', Reason magazine, March 1987</ref> The term was also applied to [[the Shangri-Las]]' "[[Leader of the Pack]]".<ref name="Larkin353" /> These songs about dead teenagers were noted for their morbid yet romantic view of death, spoken word bridges, and sound effects.<ref>Bernards, Neal; Modl, Tom: ''The Mass Media: Opposing Viewpoints'', Greenhaven Press 1988, {{ISBN|0-899-08425-7}}, p. 130.</ref> In 1974, the term "deathrock" was used by Gene Grier to describe the same phenomenon in rock music.<ref>Grier, Gene: ''The Conceptual Approach to Rock Music'', Manual, Charter Publications, 1st edition, Valley Forge, Pennsylvania, 1974, p. 6.</ref>

The term later re-emerged to describe the sound of various West Coast punk bands.<ref name="Kilpatrick89">Kilpatrick, Nancy. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, {{ISBN|0-312-30696-2}}, p. 89.</ref> It most likely came from one of three sources: [[Rozz Williams]], the founding member of [[Christian Death]], to describe the sound of his band; the music press, reusing the 1950s term to describe an emerging subgenre of punk; and/or [[Nick Zedd]]'s 1979 film ''They Eat Scum'', which featured a fictitious cannibalistic "deathrock" punk band called "Suzy Putrid and the Mental Deficients."<ref>Hawkins, Joan ''Defining Cult Movies'', pp 227-228. Manchester University Press (2003). {{ISBN|0-7190-6631-X}}, 9780719066313. [https://books.google.com/books?id=cVVxu6D-ARgC&pg=PA227]</ref>

==History==
===Predecessors (1950s–1970s)===
The earliest influences for some deathrock acts can be traced to the horror-themed novelty rock and roll acts of the late 1950s and early 1960s such as [[Bobby Pickett|Bobby "Boris" Pickett and the Crypt-Kickers]] and [[John Zacherle|Zacherle]] with "[[Monster Mash]]";<ref>Ohanesian, Liz: ''[http://www.laweekly.com/event/45-grave-nervous-gender-egrets-on-ergot-sunflower-bean-dj-david-j-5436558 Egrets on Ergot at The Echo]'', LA Weekly, March 2015</ref> [[Screamin' Jay Hawkins]] with "[[I Put a Spell on You]]"; [[Screaming Lord Sutch|Screaming Lord Sutch & the Savages]] with "Murder in the Graveyard";<ref name="Souciant1">Sheppard, Oliver: ''[http://souciant.media/2012/04/deathrock-a-brief-history-part-i/ Deathrock: A Brief History, Part I]'', Souciant magazine, April 16, 2012</ref> and Don Hinson and the Rigormorticians with "Riboflavin-Flavored Non-Carbonated Poly-Unsaturated Blood".<ref>Greene, James: ''This Music Leaves Stains. The Complete Story of the Misfits'', Scarecrow Press 2013, {{ISBN|1-589-79892-9}}, p. 33</ref> Contemporarily, the 1979 single "[[Bela Lugosi's Dead]]" by British post-punk group [[Bauhaus (band)|Bauhaus]] was one of the major influences amongst the early deathrock scene.<ref name="Rasen75">{{cite journal |last1=Rasen |first1=Edward |title=Is there life after Death rock? |journal=[[Spin (magazine)|Spin]] |date=May 1985 |page=75 |url=https://books.google.com/books?id=9ugCQfxwym0C&pg=PA5}}</ref> Other influences included [[the Doors]], [[David Bowie]],<ref name="Demone45">Gitane Demone: ''20 Years in Death'', published in Matzke, Peter; Seeliger, Tobias: ''Gothic!'', Schwarzkopf Verlag, Germany 1999, {{ISBN|3-89602-332-2}}, p. 45</ref> [[Alice Cooper]], [[the Cramps]], [[Black Sabbath]] and [[The Damned (band)|the Damned]].<ref name="Rasen75" />

The [[Punk rock in California|Los Angeles punk rock scene]] began in the mid to late 1970s, with groups like [[the Runaways]], [[the Weirdos]] and the [[Germs (band)|Germs]].<ref>{{cite web |last1=Stegall |first1=Tim |title=10 essential '70s punk bands from Los Angeles you should already know |url=https://www.altpress.com/los-angeles-punk-bands-70s/ |website=[[Alternative Press (magazine)|Alternative Press]] |access-date=October 10, 2022}}</ref> Within this scene [[the Gun Club]]'s grim take on heavily blues indebted punk was a notable Los Angeles precursor.<ref name="stylus" /> [[The Flesh Eaters]] too took a macabre take on early LA punk, by merging the sound with lyrics influenced by [[Edgar Allan Poe]], the [[Beat Generation]] and [[Catholicism]].<ref>{{cite web |last1=Stegall |first1=Tim |title=15 bands that defined LA punk in the '80s, from Black Flag to the Go-Go's |url=https://www.altpress.com/80s-los-angeles-punk-bands-black-flag-the-go-gos/ |website=[[Alternative Press (magazine)|Alternative Press]] |access-date=October 11, 2022}}</ref> Furthermore, [[T.S.O.L.]] were a defining group in the scene who briefly embraced gothic and deathrock elements.<ref>{{cite web |last1=Gotrich |first1=Lars |title=The Mountain Goats On Growing Up, And Growing Older, In Goth |url=https://www.npr.org/sections/allsongs/2017/04/25/525383835/the-mountain-goats-on-growing-up-and-growing-older-in-goth |website=[[NPR]] |date=April 25, 2017 |access-date=October 10, 2022}}</ref><ref>{{cite web |last1=Stegall |first1=Tim |title=15 bands that defined LA punk in the '80s, from Black Flag to the Go-Go's |url=https://www.altpress.com/80s-los-angeles-punk-bands-black-flag-the-go-gos/ |website=[[Alternative Press (magazine)|Alternative Press]] |access-date=October 10, 2022}}</ref>

===Origins (early 1980s)===
[[File:1983 live photo Christian Death Rozz Williams Johnnie Sage.jpg|thumb|[[Christian Death]] members [[Rozz Williams]] and Johnnie Sage performing in 1983|150px]]
At the beginning of the 1980s, deathrock emerged as an offshoot of the Los Angeles punk rock scene, differentiating itself through its greater emphasis on [[Horror fiction|horror]].<ref name="DinahCancer">[[Alice Bag|Bag, Alice]]: ''[https://web.archive.org/web/20050205161057/http://www.alicebag.com/dinahcancerinterview.html Interview with Dinah Cancer of 45 Grave]'', Women in L.A. Punk, November 2004.</ref> According to a 2006 article by ''[[Stylus Magazine]]'', one popular theory as to the reason for this split was the 1980 suicide of Germs vocalist [[Darby Crash]]. According to this interpretation, Crash's death led to a period of mourning amongst many of those in the scene and eventually to a fascination with the [[macabre]].<ref name="stylus" /> Nonetheless, amongst this splinter bands began to form merging the sounds of Los Angeles punk rock with these darker elements to create deathrock. The most prominent of these groups were [[Christian Death]], [[45 Grave]], [[Super Heroines]] and [[Kommunity FK]].<ref name="Souciant1" /> Tracks by several of these acts were featured on 1981's ''[[Hell Comes to Your House]]'' compilation LP, which represented an early attempt to collect and promote local artists on the cutting edge of this new, darker version of L.A. punk. The bands generally performed and congregated at the Anti-Club, a club night in [[Hollywood, Los Angeles|Hollywood]] that would change venues every few weeks;<ref name="Rasen75"/> the O.N. Klub, located in [[Silver Lake, Los Angeles|Silver Lake]], also frequently hosted deathrock acts throughout the genre's inceptual period. Outside of this scene, [[Theatre of Ice]] from [[Fallon, Nevada]] independently created a sound which some sources have considered as pioneering deathrock.<ref name="Souciant1" />

During this time, deathrock bands often performed alongside both [[hardcore punk]] and [[new wave music|new wave]] bands. However, deathrock bands were not generally viewed as their own distinct genre, instead being seen as darker punk bands or sometimes even conflated with [[horror punk]].<ref name="The Music Sound">{{cite book |last1=Sfetcu |first1=Nicolae |title=The Music Sound |date=7 May 2014}}</ref>

===Developments (mid–to late 1980s)===
During the mid–1980s, the United States' deathrock scene became increasingly connected to the United Kingdom's [[gothic rock]] scene, a genre which journalist James Greene described as "very much in line" with deathrock.<ref>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. 262.</ref><ref name="Greene32">Greene, James: ''This Music Leaves Stains. The Complete Story of the Misfits'', Scarecrow Press 2013, {{ISBN|1-589-79892-9}}, p. 32.</ref> This cross-pollination was particularly influenced by the Gun Club's European tour in 1983, and Christian Death's tour in 1984.<ref name="Greene32" /><ref>Matzke, Peter; Seeliger, Tobias: ''Das Gothic- und Dark-Wave-Lexikon'', Schwarzkopf Verlag, 2003, {{ISBN|3-89602-522-8}}, p. 144</ref>

By 1984, Christian Death had departed from their early deathrock sound in favour of the gothic rock of ''[[Catastrophe Ballet]]'',<ref>{{cite magazine |url=http://www.factmag.com/2010/11/02/20-best-goth/ |title=20 best: Goth records ever made |magazine=[[Fact (UK magazine)|Fact]] |date=2 November 2010 |access-date=29 November 2020 |last=Sande |first=Kiran |page=1}}</ref> while the sound of deathrock had begun to be embraced by English bands including [[Sex Gang Children]] and [[Alien Sex Fiend]].<ref>{{cite web |title=MORTICIA – HEAVEN AND HELL RECORDS TO REISSUE THREE ALBUMS |url=https://bravewords.com/news/morticia-heaven-and-hell-records-to-reissue-three-albums |website=[[Brave Words & Bloody Knuckles]] |access-date=17 December 2024}}</ref> Furthermore, the sound spread to bands in the [[anarcho-punk]] scene, influencing the sound of [[Rudimentary Peni]]<ref>{{cite web |last1=Sacher |first1=Andrew |title=Rudimentary Peni announce first album in over 25 years, share 2 songs |url=https://www.brooklynvegan.com/rudimentary-peni-announce-first-album-in-over-25-years-share-2-songs/ |access-date=17 December 2024}}</ref> and Part 1.<ref>{{cite web |last1=Jameson |first1=Neill |title=Noise Pollution #23: Pictures of Pain |url=https://www.invisibleoranges.com/noise-pollution-23/ |website=[[Invisible Oranges]] |access-date=17 December 2024}}</ref> By the time that [[the Sisters of Mercy]] gained widespread success in the scene, the term "deathrock" had predominantly fallen out of use and the style was viewed as simply a subgenre of gothic rock.<ref name="The Music Sound"/>

===Decline and revivals (1990s–present)===
[[File:Devil Master.jpg|thumb|[[Devil Master]], a contemporary band who merge elements of deathrock and [[black metal]]]]
The mid-1990s marked a third wave of gothic rock, as the music drifted its furthest from the original punk and post-punk sound by incorporating many elements of the [[industrial music]] scene at the time (which itself had moved away from experimental noise and into a more dance-rock oriented sound) and the more repetitive and electronic sounds of [[electronic body music]]. Some clubs have even entirely removed deathrock and first-generation gothic rock from their setlists.<ref name="Sheppard 2012" />

Halloween 1998 saw the launch of Release the Bats, a monthly goth and deathrock club night in [[Long Beach, California]]. During its run time it became southern California's most frequented goth night and Long Beach's longest running club night, launching the careers of deathrock bands like [[Mephisto Walz]].<ref>{{cite web |last1=Kang |first1=Esther |title=Long Beach death-rock/goth night Release the Bats ends after 20 years |date=October 26, 2018 |url=https://lbpost.com/hi-lo/music/death-rock-goth-night-release-the-bats-closing/ |access-date=October 11, 2022}}</ref> The success of the club caused many other deathrock club nights to be established in the following years. This, along with the rise of online [[music piracy]] led to the increased popularity of older deathrock bands and establishment of new, international deathrock groups, like [[Bloody Dead and Sexy]], commencing the first deathrock revival. During this period groups like [[the Phantom Limbs]] and [[Black Ice (band)|Black Ice]] began to merge deathrock with elements of [[no wave]] and [[synthpunk]]. Many groups from this period, most notably [[Tragic Black]], began to make use of an aesthetic heavily inspired by [[Batcave (club)|Batcave]] fashion.<ref name="Sheppard 2012">{{cite web |last1=Sheppard |first1=Oliver |title=A Brief History of Deathrock, Part III |date=May 21, 2012 |url=http://souciant.media/2012/05/a-brief-history-of-deathrock-part-iii/ |access-date=October 12, 2022}}</ref> This era was mostly based online, through websites including deathrock.com, post-punk.com, [[MySpace]] and [[LiveJournal]]. Furthermore, it embraced a broader spectrum of influences, including [[psychobilly]], electronic body music and [[futurepop]].<ref>{{cite book |last1=Sfetcu |first1=Nicolae |title=The Music Sound |date=7 May 2014 }}</ref>

During the 2010s, deathrock's influence was revived, in the form of the dark punk and G-beat styles. In these genres, bands including Deathcharge, Cemetery, Lost Tribe and Christ vs Warhol, merged deathrock into hardcore punk and D-beat templates.<ref>{{cite web |last1=Sheppard |first1=Oliver |title=Six Gloomy Gems From the Dark Punk Revival |url=https://daily.bandcamp.com/lists/dark-punk-revival-list |website=[[Bandcamp Daily]] |date=July 5, 2017 |access-date=17 December 2024}}</ref> Furthermore, during this time, bands such as [[Devil Master]] emerged, who merge the genre with [[black metal]],<ref>{{cite web |last1=Pearce |first1=Dutch |title=Inhabit the Corpse: An Interview (+Full Album Stream) with Devil Master |url=https://www.decibelmagazine.com/2018/10/31/29258/ |website=[[Decibel (magazine)|Decibel]] |date=October 31, 2018 |access-date=17 December 2024}}</ref> and [[Gatecreeper]] who incorporate the genre's influence into [[death metal]].<ref>{{cite web |last1=ENIS |first1=ELI |title=GATECREEPER ANNOUNCE NEW ALBUM: HEAR DEATHROCK-INFUSED SINGLE |url=https://www.revolvermag.com/music/gatecreeper-announce-new-album-hear-deathrock-infused-single/ |website=[[Revolver (magazine)|Revolver]] |access-date=17 December 2024}}</ref>

==See also==
*[[List of deathrock bands]]
*[[Gothic rock]]
*[[Horror punk]]
*[[Gothabilly]]
*[[Dark cabaret]]

==References==
{{Reflist}}

==External links==
* [http://souciant.com/2012/04/deathrock-a-brief-history-part-i/ "Deathrock: A Brief History, Part I"] (''Souciant'' magazine, 2012)
* [http://souciant.com/2012/04/a-brief-history-of-deathrock-part-ii/ "A Brief History of Deathrock, Part II"] (''Souciant'' magazine, 2012)
{{Goth subculture}}
{{Punk rock}}
{{Horror fiction}}

[[Category:Death rock| ]]
[[Category:20th-century music genres]]
[[Category:Rock music genres]]
[[Category:American styles of music]]
[[Category:Gothic music genres]]
[[Category:Goth subculture]]
[[Category:Punk rock genres]]