oneweekoneband: Coming up: Morrissey (solo & The Smiths) Thank you, Danice! How did we ever manage to get to almost a hundred and twenty weeks of tales of fandom and devotion without talking about the one who inspires those more than (most) any other!? Well, we’ll be rectifying that next week. Kimberly Huston will pick her favourite moments from Morrissey’s career both with The Smiths and solo. You can find Kim on her Tumblr. Till tomorrow. — Hendrik
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oneweekoneband:

Coming up: Morrissey (solo & The Smiths)

Thank you, Danice!

How did we ever manage to get to almost a hundred and twenty weeks of tales of fandom and devotion without talking about the one who inspires those more than (most) any other!?

Well, we’ll be rectifying that next week. Kimberly Huston will pick her favourite moments from Morrissey’s career both with The Smiths and solo.

You can find Kim on her Tumblr.

Till tomorrow.

— Hendrik

britticisms:

DOSSIER: My queen, Lizzy Mercier Descloux

On the brink of graduating college, I fell into something akin to obsession. Why? Lizzy Mercier Descloux. Her cover of “Jim on the Move” drew me in, but I found completion through Mambo Nassau, the perfect mix of post-punk, no wave, and worldbeat. The weather was so perfect today. I couldn’t help but listen to a little Lizzy. 

Pieces of Lizzy:

And earlier Britticisms Dossiers: On “All Night Long” by Mary Jane Girls, on Henri Fantin-Latour and “Power, Corruption, Lies,” on Cristina, Grace Jones, and Jean-Paul Goude

Well, the difference is, Pixies wrote wild albums that challenged the imagination, that mixed science fiction with nautical themes, and The Smiths wrote complaint slips that nobody read. Morrissey’s influence is so crippling that it could even deteriorate the flower of modern creative thought. It’s like a pungent death shroud over the future and the past.

Deerhunter Really, Really Dislike Morrissey And The Smiths

funny interview

Source: BuzzFeed

velveteenrabbit:

kvetchlandia:

Soft Cell     It’s A Mug’s Game     1982

Oh god its another night

And your head is feeling

Like a lump of lead

You should never have drunk

Those party-fours

You should of been home being good instead

Ever been in a deja vue

and the end is the same again

You ran out of your silver thins

And you’re trying to be so high class

Though you need a bath and your

hair’s looking like string

And though you’re nearly broke

you end up paying for all the

drinks

And you tell them ‘Oh its nothing

There’s a million where those come from’

And then you whisper to your

longest-suffering friend

‘Please lend me a few quid’

Oh god it’s another day

And your stomach’s feeling

Like a blown-up balloon

You should never have eaten that greasy food

The doctor told you that chile

was bad for your blood

And you’re standing at the chemist in Boots

Coughing up your guts like

you’re at deaths door

All this for a packet of Do-Do’s

And the assistant gives you a wink

and you turn bright red

It’s at time like this that

you wish you were dead

And you take the whole packet and

you feel like you’ve drunk

A bottle of bleach

And you tell yourself ‘Never, never again

Well, not until next week anyway’

And you were never one for holding drink

And you stagger off to the toilet

And you throw up like it was Christmas

And you miss the bowl and you hit your shoes

And there’s no paper towels

Now what else can go wrong for you

Find more similar lyrics on http://mp3lyrics.com/hPe

It’s a choice between a cab fare home

And a packet of cigarettes

So you choose and the money sticks

In the machine and the manager says

‘Tough shit - drink up and leave’

Oh god it’s another disease

And you just got rid of the last

You were beginning to feel OK

And the friends you gave it to

Were speaking to you again.

And you find yourself having sex

In the back of a car

And the girl underneath

Doesn’t care who you are

And you’re nearly there

And she still doesn’t care

And her chewing gum

Is getting stuck in your hair

And there’s something wrong

Something that you forgot

Oh Shit, you’ve forgotten the rubber

And you don’t want a kid

Well, deny it was you

Oh Christ, If your dad finds out

Then he’ll make you stay in

And do your homework

And cut your hair

And wear your school uniform

Out in the street

What a fate worse than death

Oh well he can’t hit you

You can hit him back

And play your records so loud

All the ones that he especially hates

Deep Purple in Rock, Led Zeppelin II

Well even you hate those

Well on second thought

I think I’ll leave home

And go and live in America

Because they earn more money there

And you can get away with murder - Yeah!

Oh this is a Mugs game

I can’t wait until I’m twenty one

And I can tell them all to sod off

this might actually be my favorite Soft Cell song.

but that would be really difficult to identify.

i just love them so much.

Source: kvetchlandia

theskysgoneout: A Short, Reductive, Timeline of Dark Music 1979 - 1984: Post-Punk’s Dark Romantics Goth crawls out of the primordial ooze of punk, spawning Siouxsie, Bauhaus, Killing Joke, The Cure, The Birthday Party, the Batcave scene, “positive punk,” and UK Decay (among others). Dark, experimental, angular, and transgressive. Meanwhile, Deathrock was simmering in California, spawning Christian Death, 45 Grave, and other acts that would soon cross-pollinate with the UK Goth acts.  1979 - 1991: The Classic Era of 4AD’s Sound 4AD’s distinctive roster would end up being hugely influential for years to come on dark music: Cocteau Twins, The Mortal Coil, Clan of Xymox, Dead Can Dance, Throwing Muses, Lush, in addition to releasing important singles from first-wave Goth acts like Bauhaus and The Birthday Party. Essentially road-mapped Darkwave, and several other musical currents. Ended in 1991 with the release of the last This Mortal Coil record. Still vital today as a label with bands like Grimes, Ariel Pink, and The Big Pink. 1982 - 1992: At Play in the Post-Industrial Park As the first iteration of Industrial music seemed to come to a creative impasse, many of the artists involved, and those inspired by them, went on to create strange, bizarre, and beautiful sounds. Most notably from Psychic TV, Coil, and Current 93. From this nexus of creative individuals would emerge Neofolk and Electro-Industrial styles. Heavily influential on the Empire of Dirt that would follow.  1983 - 1993: The Rise and Fall of Gothic Rock Goth’s second wave begins with the rise of the Gothic Rock bands, most notable being The Sisters of Mercy. They, along with The Mission, Fields of the Nephilim, The Cult, The March Violets, and, All About Eve would spawn several imitators and define the “Goth” sound for many to this day. Unofficially ended with the wrapping up of The Sister’s “Vision Thing” tour in 1993, by which time the other bands were in decline, imploding, or taking long hiatuses. They left dozens of imitators, some good, some not, in their wake. 1983 - 1993: (Dark) Music for the Masses Goth gets big. Many bands get signed to major labels, Goth bands make the (college) charts, and for a time, just before grunge happened, dark music seemed poised to be dominant alternative style. Siouxsie plays the first Lollapalooza (along with Nine Inch Nails), The Sisters have their biggest albums, Peter Murphy strikes gold solo, while the rest of Bauhaus see big hits as Love & Rockets. The Cure become international superstars, Depeche Mode fills stadiums, and 120 Minutes is full of teased black hair and post-punk echoes. Sadly, this was more swan-song than harbinger.  1993 - 2003: The Darkwave Decade  Goth goes back underground (at least in America and the UK), and Darkwave emerges as the most vital creative force in the scene. Switchblade Symphony, Lycia, Trance to the Sun, The Cruxshadows, Black Tape for A Blue Girl, Faith and the Muse, and many more, all emerge during this era. This period also sees the rise of Convergence, Whitby Gothic Weekend, and Wave Gotik Treffen (in 1992), and sees Goth truly become a lifestyle with its own businesses and media. The era, musically at least, ended around 2003 as many of the top bands break up, or go on extended hiatuses.  1994 - 2004: The Empire of Dirt While Goth went underground, Industrial-rock took its place in the mainstream. Nine Inch Nails was THE entry point for dark music for millions, and many of the bands who had hits during this era were connected in some way with Trent Reznor (Marilyn Manson, Filter, Stabbing Westward, etc). In addition, bands like Gravity Kills, White Zombie, and Ministry also had hits. Alas, all empires must fall, so too did the popularity of this sound by the mid-2000s.  1998 - 2006: The Deathrock Revival Feeling that the Goth clubs had lost the plot, playing more dance-oriented EBM and Futurepop than the post-punk sounds they had grown to love, a number of “Deathrock” events and “old school” club nights arose, just as bands like Cinema Strange, Scarlet’s Remains, and The Brides were rising up to reclaim Goth’s punk (and post-punk) roots. This movement founds its purest expression in the Drop Dead Festival, which started in 2003, intermingled with the dark art-damaged West Coast bands (which I’ll get to in a moment), and provided a much-needed shot-in-the-arm. Drop Dead Festival left America after 2006, and became a much broader event in regard to what music it plays.  2002 - 2007: Art Damaged Darkness Starting the early 2000s bands like Subtonix, The Vanishing, Erase Errata, Sixteens, Black Ice, Swann Danger, and several others, largely based in San Francisco and the West Coast generally, started making dark, experimental, music that took influence from early post-punk, Goth, and Industrial pioneers. Two compilations that came out in 2007, “Nostalgia del Buio,” and “Golden Grouper vol.1,” captured the diversity of this musical current but also served as a capstone as many of the acts changed, broke up, or moved into different sonic territory.   2002 - 2009: Post-Punk: The Revenge In 2002 an immaculately dressed band named Interpol released “Turn On The Bright Lights” and signaled a renewed shift towards post-punk, specifically, Joy Division and Gang of Four seemed to be major touchstones. Interpol were joined by bands like The Liars, Yeah Yeah Yeahs, Editors, I Love You But I’ve Chosen Darkness, and many, many, many more. But 2009 the momentum had gone out of this particular revival, but it laid the foundations for deeper exploration of post-punk, including the  first wave of Goth bands.  2009 - Present: Undead Music Starting around 2009 acts like Zola Jesus, Chelsea Wolfe, O Children, Esben & The Witch, Austra, Soft Kill, SCUM, and many, many, many more, took the post-punk toolkit into darker territory. The “Goth” word got thrown around a lot by music journalists, and not always in a mocking manner. Most importantly, it seems like first-wave Goth and several of the other currents listed above have become acceptable reference points for new bands starting out. They don’t call themselves Goths, but they don’t need to. The dark sounds that emerged from post-punk have finally been embraced on their own merits and I’m excited about what the future holds.  There’s more that I could add here, but this is a good starting point for how I understand the progression of dark/Goth music. There should probably be an entry for EBM/Futurepop but I haven’t written it yet. 
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theskysgoneout:

A Short, Reductive, Timeline of Dark Music

1979 - 1984: Post-Punk’s Dark Romantics

Goth crawls out of the primordial ooze of punk, spawning Siouxsie, Bauhaus, Killing Joke, The Cure, The Birthday Party, the Batcave scene, “positive punk,” and UK Decay (among others). Dark, experimental, angular, and transgressive. Meanwhile, Deathrock was simmering in California, spawning Christian Death, 45 Grave, and other acts that would soon cross-pollinate with the UK Goth acts. 

1979 - 1991: The Classic Era of 4AD’s Sound

4AD’s distinctive roster would end up being hugely influential for years to come on dark music: Cocteau Twins, The Mortal Coil, Clan of Xymox, Dead Can Dance, Throwing Muses, Lush, in addition to releasing important singles from first-wave Goth acts like Bauhaus and The Birthday Party. Essentially road-mapped Darkwave, and several other musical currents. Ended in 1991 with the release of the last This Mortal Coil record. Still vital today as a label with bands like Grimes, Ariel Pink, and The Big Pink.

1982 - 1992: At Play in the Post-Industrial Park

As the first iteration of Industrial music seemed to come to a creative impasse, many of the artists involved, and those inspired by them, went on to create strange, bizarre, and beautiful sounds. Most notably from Psychic TV, Coil, and Current 93. From this nexus of creative individuals would emerge Neofolk and Electro-Industrial styles. Heavily influential on the Empire of Dirt that would follow. 

1983 - 1993: The Rise and Fall of Gothic Rock

Goth’s second wave begins with the rise of the Gothic Rock bands, most notable being The Sisters of Mercy. They, along with The Mission, Fields of the Nephilim, The Cult, The March Violets, and, All About Eve would spawn several imitators and define the “Goth” sound for many to this day. Unofficially ended with the wrapping up of The Sister’s “Vision Thing” tour in 1993, by which time the other bands were in decline, imploding, or taking long hiatuses. They left dozens of imitators, some good, some not, in their wake.

1983 - 1993: (Dark) Music for the Masses

Goth gets big. Many bands get signed to major labels, Goth bands make the (college) charts, and for a time, just before grunge happened, dark music seemed poised to be dominant alternative style. Siouxsie plays the first Lollapalooza (along with Nine Inch Nails), The Sisters have their biggest albums, Peter Murphy strikes gold solo, while the rest of Bauhaus see big hits as Love & Rockets. The Cure become international superstars, Depeche Mode fills stadiums, and 120 Minutes is full of teased black hair and post-punk echoes. Sadly, this was more swan-song than harbinger. 

1993 - 2003: The Darkwave Decade 

Goth goes back underground (at least in America and the UK), and Darkwave emerges as the most vital creative force in the scene. Switchblade Symphony, Lycia, Trance to the Sun, The Cruxshadows, Black Tape for A Blue Girl, Faith and the Muse, and many more, all emerge during this era. This period also sees the rise of Convergence, Whitby Gothic Weekend, and Wave Gotik Treffen (in 1992), and sees Goth truly become a lifestyle with its own businesses and media. The era, musically at least, ended around 2003 as many of the top bands break up, or go on extended hiatuses. 

1994 - 2004: The Empire of Dirt

While Goth went underground, Industrial-rock took its place in the mainstream. Nine Inch Nails was THE entry point for dark music for millions, and many of the bands who had hits during this era were connected in some way with Trent Reznor (Marilyn Manson, Filter, Stabbing Westward, etc). In addition, bands like Gravity Kills, White Zombie, and Ministry also had hits. Alas, all empires must fall, so too did the popularity of this sound by the mid-2000s. 

1998 - 2006: The Deathrock Revival

Feeling that the Goth clubs had lost the plot, playing more dance-oriented EBM and Futurepop than the post-punk sounds they had grown to love, a number of “Deathrock” events and “old school” club nights arose, just as bands like Cinema Strange, Scarlet’s Remains, and The Brides were rising up to reclaim Goth’s punk (and post-punk) roots. This movement founds its purest expression in the Drop Dead Festival, which started in 2003, intermingled with the dark art-damaged West Coast bands (which I’ll get to in a moment), and provided a much-needed shot-in-the-arm. Drop Dead Festival left America after 2006, and became a much broader event in regard to what music it plays. 

2002 - 2007: Art Damaged Darkness

Starting the early 2000s bands like Subtonix, The Vanishing, Erase Errata, Sixteens, Black Ice, Swann Danger, and several others, largely based in San Francisco and the West Coast generally, started making dark, experimental, music that took influence from early post-punk, Goth, and Industrial pioneers. Two compilations that came out in 2007, “Nostalgia del Buio,” and “Golden Grouper vol.1,” captured the diversity of this musical current but also served as a capstone as many of the acts changed, broke up, or moved into different sonic territory.  

2002 - 2009: Post-Punk: The Revenge

In 2002 an immaculately dressed band named Interpol released “Turn On The Bright Lights” and signaled a renewed shift towards post-punk, specifically, Joy Division and Gang of Four seemed to be major touchstones. Interpol were joined by bands like The Liars, Yeah Yeah Yeahs, Editors, I Love You But I’ve Chosen Darkness, and many, many, many more. But 2009 the momentum had gone out of this particular revival, but it laid the foundations for deeper exploration of post-punk, including the  first wave of Goth bands. 

2009 - Present: Undead Music

Starting around 2009 acts like Zola Jesus, Chelsea Wolfe, O Children, Esben & The Witch, Austra, Soft Kill, SCUM, and many, many, many more, took the post-punk toolkit into darker territory. The “Goth” word got thrown around a lot by music journalists, and not always in a mocking manner. Most importantly, it seems like first-wave Goth and several of the other currents listed above have become acceptable reference points for new bands starting out. They don’t call themselves Goths, but they don’t need to. The dark sounds that emerged from post-punk have finally been embraced on their own merits and I’m excited about what the future holds. 

There’s more that I could add here, but this is a good starting point for how I understand the progression of dark/Goth music. There should probably be an entry for EBM/Futurepop but I haven’t written it yet. 

(via thecallus-deactivated20130520)

Source: theskysgoneout

boatzone3: I mean seriously, if only for the cover of “Just Got Paid” by the Washam Experience. suicidewatch: INTO THE BLACK  The Ponys- Lets Kill Ourselves Loop- Rocket USA The Cramps- I Ain’t Nothin’ But A Gorehound The Jesus and Mary Chain- Suck Lydia Lunch- Atomic Bongos Sonic Youth- Inhuman The Birthday Party- Kiss Me Black The Scientists- Solid Gold Hell Beasts Of Bourbon- Love & Death Jeffrey Lee Pierce- Sex Killer Tav Falco & Panther Burns- Real Cool Trash An Axe- Ink Sex Church- I Don’t Want To Die Slug Guts- Town Tied Joy Division- Interzone (RCA demo) Crisis- Holocaust Iceage- A Rifle Slavescene- Fuck Off Away From Me Void- Get Out Of My Way Cupid Car Club- M.P. Skulkers Pussy Galore- Damaged II Rapeman- Just Got Paid Jesus Lizard- Sunday You Need Love Black Lips- Jack The Ripper Le Shok- White Tie, You Die HTRK- Panties Pop. 1280- Step Into The Grid Dead Skeletons- Kingdom Of God The Icarus Line- Losing Touch With My Mind The Warlocks- Amen  get it: http://www.divshare.com/download/23794655-d33
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boatzone3:

I mean seriously, if only for the cover of “Just Got Paid” by the Washam Experience.

suicidewatch:

INTO THE BLACK 

  1. The Ponys- Lets Kill Ourselves
  2. Loop- Rocket USA
  3. The Cramps- I Ain’t Nothin’ But A Gorehound
  4. The Jesus and Mary Chain- Suck
  5. Lydia Lunch- Atomic Bongos
  6. Sonic Youth- Inhuman
  7. The Birthday Party- Kiss Me Black
  8. The Scientists- Solid Gold Hell
  9. Beasts Of Bourbon- Love & Death
  10. Jeffrey Lee Pierce- Sex Killer
  11. Tav Falco & Panther Burns- Real Cool Trash
  12. An Axe- Ink
  13. Sex Church- I Don’t Want To Die
  14. Slug Guts- Town Tied
  15. Joy Division- Interzone (RCA demo)
  16. Crisis- Holocaust
  17. Iceage- A Rifle
  18. Slavescene- Fuck Off Away From Me
  19. Void- Get Out Of My Way
  20. Cupid Car Club- M.P. Skulkers
  21. Pussy Galore- Damaged II
  22. Rapeman- Just Got Paid
  23. Jesus Lizard- Sunday You Need Love
  24. Black Lips- Jack The Ripper
  25. Le Shok- White Tie, You Die
  26. HTRK- Panties
  27. Pop. 1280- Step Into The Grid
  28. Dead Skeletons- Kingdom Of God
  29. The Icarus Line- Losing Touch With My Mind
  30. The Warlocks- Amen

 get it: http://www.divshare.com/download/23794655-d33

Source: suicidewatch