Black music

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The gothic rock of groups like Bauhaus , here live in 2006, has long been considered a key style of black music

Black music , dark music , dark alternative music and indie dance floor have been common collective names for music received in the black scene since the 1990s .

Concept emergence

The names arose after the solution of the black scene from the context of the dark wave and the increasing importance of previously untypical forms of music. According to Nym, the black scene assimilates almost every musical aesthetic, as a result of which the previously identity-creating musical styles lost their meaning for communityizing the scene. "The clearly recognizable diversification within the spectrum of 'Black Music' [...] came early and without conscious planning, simply due to artistic output and individual listening preferences." (Judith Platz: Die Schwarze Musik ) This development took place within the scene a specialization and differentiation in different directions. The musical development was on the one hand summarized with various terms such as black music or dark music, but on the other hand it was also subsumed under the style names of previously popular genres.

Terms

Third-party uses

Without a direct musical or sociocultural connection, the music of performers like [x] -Rx is often referred to as industrial in the scene.

Despite the emergence of different collective terms, already existing and differentiated terms in the scene are reinterpreted and used synonymously for other received musical forms. Style names such as Gothic Metal , Gothic , Wave , EBM and Industrial are used synonymously for newer forms of music in the scene such as Aggrotech , Rhythm 'n' Noise , Dark Rock , Synth Rock or Symphonic Metal . Thus Technoid embossed music often called EBM or she sodenn with Distortionseffekten and samples will be presented, called Industrial. The entirety of the rock music received in the scene is often referred to as Gothic Rock, while Gothic Metal is the equivalent in the spectrum of Metal , while Industrial Rock is parts of the Synth Rock received in the scene. However, there is seldom a direct connection to the styles originally designated with these terms. Lederer therefore speaks of a tendency in the black scene to "use genre terms indiscriminately or incorrectly [.]" (Stefan Lederer: Industrial) As early as 1995, Jochen Kleinherz complained with regard to industrial rock that the stylistic term industrial was used as a "sticker on sound carriers, that transport the worst kind of Bickermucke, “is common. In addition to industrial, the term Gothic in particular is often misconstrued. According to Nym, music journalists use it as a super term for all of the music in the scene , without establishing a connection to the relevant subculture or music.

Collective names

Nym, Rutkowski and Platz used the term black music to delimit stylistic terms that have been adopted in this way and to unify the entire spectrum of music received. Platz summarizes it as “not possible” to define a comprehensive generic term for music beyond the term black music. The terms Dark Music and Dark Alternative Music are increasingly used in the English-speaking world for the music of the black scene. The term indie dance floor, on the other hand, was derived from the term independent and was used at the beginning of the 1990s by the sampler series We Came to Dance as a temporary synonym for black music, but could not establish itself as a general term in the long term.

development

The alternative rock band Nick Cave and the Bad Seeds , here live in Deinze in 1986 , is also considered black music, although their style has hardly any points of contact with the music of the scene

In the development of black music at the beginning of the 1990s, "new musical sub-styles emerged which differed from previous currents [...] through the use of classical, sacred or electronic stylistic devices." (Ministry for Women, Youth, Family and Health of the state of North Rhine-Westphalia: Children and adolescents on the threshold of the 21st century ( quoted by Rutkowski) The crossover and alternative hype of the 1990s caused increasing upheavals and influence in the scene. Metal and techno in particular flowed into the music styles received by the black scene and partly replaced existing genres. As one of the first style hybrids of Dark Wave and Metal, Gothic Metal established an increasing opening towards new musical influences within the scene. The Gothic Metal trend was short-lived and was partly criticized by musicians and followers of the scene. However, from the mid-1990s onwards, it formed the breeding ground for a following within the black scene that was flowing into Dark Metal , Dark Rock and Symphonic Metal.

Similar developments and influences have taken place several times since the 1990s. Under the influence of metal, among other things, New German Hardness , parts of alternative , dark and symphonic metal became part of black music. The growing influence of techno gave rise to aggrotech and future pop in the synth-pop and electro environment . Other styles of music followed this development and in addition to the constant further development of old and new styles, the influence also led to the appropriation of music that was not scene-related within the framework of scene-typical stereotypes. In the meantime, performers who developed from the styles of the scene remained part of the music consumed by the scene, which means that music by performers of the scene that is actually atypical for the scene continues to be counted as black music. The ongoing development up to the present has led to a “heterogeneous eclecticism ”, which is nourished by an abundance of different musical styles. What remained common to the interpreters of black music according to Nym was the “preference for the morbid, the absurd and the macabre”. Thomas Rainer from L'Âme Immortelle sees the commonality of black music regardless of the basic musical form and adds that if the background music changes, “the black music of all generations will always unite: dark poetry, that of longing, love and death narrated. ”In addition to the different musical styles of dark wave and post-industrial , which are considered the original styles of the scene, the term black music subsumes the different music groups and genre that are received in the scene up to the present day. This includes music styles such as Gothic Metal, New German Hardness and Industrial Rock , which at least partially originated from the scene, as well as scene interpreters from music styles that are completely unrelated to the scene, such as Techno, Dark Metal and Alternative, whereby the attribution to the scene is based on lyrical, aesthetic and subcultural stereotypes .

See also

Portal: Black Scene  - Everything about the Black Scene in Wikipedia

Individual evidence

  1. ↑ a b Alexander Nym: The revenants . In: Alexander Nym (ed.): Shimmering darkness: history, development and topics of the Gothic scene . Plötter Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 142–143, here 142 .
  2. ^ Judith Platz: The Black Music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics. Scope of dark connotations of transcendence . VS Verlag für Sozialwissenschaften, Wiesbaden 2004, ISBN 3-531-14353-0 , pp. 253–284, here 257 .
  3. ↑ a b Stefan Gnad: Gothic Metal . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 189–199, here p. 196 .
  4. ↑ a b c Stefan Lederer: Industrial and other errors . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 242-246, here p. 242 .
  5. ↑ debug: Through the night with Marcel Dettmann. de: bug magazine, accessed on August 26, 2016 .
  6. ^ Wolf Röben: History . In: Sonic Seducer (Ed.): Starfacts . 15 years of Gothic Metal. No. 6 . T.Vogel Musikzeitschriftenverlag, Oberhausen 2005, p. 4 .
  7. ^ Stefan Lederer: Industrial and other errors . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 242-246, here p. 244 .
  8. ^ Jochen Kleinherz: Industrial Music for Industrial People . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 88–99, here p. 91 .
  9. ↑ Alexander Nym: Iridescent Dark . History, development and topics of the Gothic scene. Ed .: Alexander Nym. 2010, ISBN 978-3-86211-006-3 , The Gothic scene does not exist, p. 13-15 .
  10. ^ Roman Rutkowski: The charisma of the grave . Book on Demand, Norderstedt 2004, ISBN 3-8334-1351-4 , pp. 68 .
  11. ^ Judith Platz: The Black Music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics. Scope of dark connotations of transcendence . VS Verlag für Sozialwissenschaften, Wiesbaden 2004, ISBN 3-531-14353-0 , pp. 253–284, here 253 .
  12. ^ Judith Platz: The Black Music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics. Scope of dark connotations of transcendence . VS Verlag für Sozialwissenschaften, Wiesbaden 2004, ISBN 3-531-14353-0 , pp. 253-284, here 261 .
  13. ^ Liisa Ladouceur, Gary Pullin: Encyclopedia Gothica . 2011, p. 239 .
  14. ^ Roman Rutkowski: The charisma of the grave . Book on Demand, Norderstedt 2004, ISBN 3-8334-1351-4 , pp. 61 .
  15. ↑ Thomas Vogel: Interview with the former gothic metal band Paradise Lost . In: Sonic Seducer . 1995, p. 30 .
  16. ↑ Stefan Gnad: Gothic Metal . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 189–199, here p. 193 ff .
  17. ↑ Stefan Gnad: Gothic Metal . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 189–199, here p. 196 f .
  18. ↑ a b c Alexander Nym: The Gothic scene does not exist . In: Alexander Nym (ed.): Shimmering darkness: history, development and topics of the Gothic scene . Plötter Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 13–15, here p. 13 .
  19. ↑ Hans Wanders: The Wonderful and frightening World of… In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast Verlag, Hamburg 2002, p. 23–68, here p. 38 .
  20. ^ Judith Platz: The Black Music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics. Scope of dark connotations of transcendence . VS Verlag für Sozialwissenschaften, Wiesbaden 2004, ISBN 3-531-14353-0 , pp. 253–284, here 282 .
  21. ↑ Thomas Rainer: Songs that bleed like wounds. In: Peter Matzke, Tobias Seeliger (eds.): Gothic! The scene in Germany from the point of view of its makers . Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-332-2 , p. 73–78, here p. 77 .
  22. ↑ Stefan Gnad: Gothic Metal . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 189–199, here p. 196 ff .