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:
- She is one of my style icons.
- Her BRILLIANT cover of Arthur Brown’s “Fire”
- “She was an innovator for world music, endlessly influential, curious-minded and spirited.”
- On Compass Point Studio
- More reflections on Lizzy: “There’s Something About Lizzy”
- The never ending cool of “Hard-Boiled Babe”
- How to Improve Your Spirits in the Morning
- “Maita”: I was trying to teach myself French to pronounce the lyrics to this song.
- The weirdness in “Sports Spootnicks”
- And this is my favorite.
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.
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
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
And you tell them ‘Oh its nothing
There’s a million where those come from’
And then you whisper to your
‘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.
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.
I mean seriously, if only for the cover of “Just Got Paid” by the Washam Experience.
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
Q:Hello! Did you by any chance manage to download a free copy of Chris Ott's book "Shallow Rewards"? If so, would you be willing to share, i.e. upload it to mediafire or some other file-sharing website?
Since I’ll be making a pair of appearances this week, my Kindle eBook will be free for the next 48 hours. Later today you’ll be able to hear me go Toby N. Tucker with Zach Hart of We Listen For You over a six-pack of Löwenbräu.
Next Wednesday (2/27), I’ll be guest-speaking during Amanda Petrusich’s NYU Gallatin course, Pop Culture Criticism. I’m not certain yet whether this will be recorded and/or made available at a later date, but it should be a more informative (and sober) walk through the minefield of editorial self-expression online.