The label began to appear in the late 1970s in German music media, coinciding with the popularity of new wave and post-punk. Building on those principles, dark wave is used to describe dark, introspective lyrics. In the 1980s, a subculture developed primarily in Europe alongside dark wave music, the movement spread internationally, spawning such developments as French coldwave. Subsequently, different dark wave genres merged and influenced each other, e. g. synthwave with gothic rock, or used elements of post-industrial music. Attrition, In The Nursery, Party Day and Pink Industry, Clan of Xymox, Parálisis Permanente and Los Monaguillosh, Die Form, German dark wave groups of the 1980s were associated with the Neue Deutsche Welle, and included Asmodi Bizarr, II. Invasion, Unlimited Systems, Mask For, Moloko †, Maerchenbraut, in the United States, Eleven Pond were the most prominent darkwave act, releasing just one album, Bas Relief, in 1986. The Italians The Frozen Autumn, Kirlian Camera and Nadezhda, the South African band The Awakening, all of these bands followed a path based on the new wave and post-punk movements of the 1980s.
Other bands such as Silke Bischoff, In My Rosary, in the U. S. Projekt features bands such as Lycia, Black Tape for a Blue Girl and Love Spirals Downwards, most of these characterized by female vocals. This style took cues from 1980s bands like Cocteau Twins, the label has had a long association with Attrition, who appeared on the labels earliest compilations. Another American label in this vein was Tess Records, which featured This Ascension and Faith, Clan of Xymox, who had returned to their 1980s sound, following almost a decade as the more dance-pop Xymox, signed to Tess in 1997. Acts such as Love Spirals Downwards, Collide and Switchblade Symphony incorporated trip hop, abney Park, synthesized worldbeat elements and gravitated to a more exotic/anachronistic sound, underpinning their evolving steampunk trajectory. Bella Morte, incorporated deathrock/heavy metal elements, while Faith & The Muse combined dark wave with shoegazing, The Crüxshadows, who had begun in the 1990s as a synthrock-oriented dark new wave group, added elements of techno/trance and dance pop to their electronic rock-oriented music.
Others, such as Seeming, represent an evolution and continuation of earlier trends in darkwave music. Additionally, the decade saw a revival of an early, post-punk infused dark wave sound embodied by artists such as Light Asylum, She Past Away, Lebanon Hanover, Ash Code. New York, The Overlook Press,1997, neoclassical List of Darkwave releases Synthwave England Fades Away, Stylus Magazines Guide to Goth
Brennende Liebe is the second single from German industrial metal group Oomph. from Wahrheit oder Pflicht. At first, the single had released as a B-side single like Niemand had been. The song features Sonja Kraushofer from LÂme Immortelle doing about half the lines, the music video is based upon Bride of Frankenstein. Dero is a mad scientist and Crap and Flux are his medical assistants and they have already created a monster like Frankensteins, and now they are working on a female, presumably to become Deros bride instead of the male monster´s. The monster chokes Dero to death and takes his brain and those of the band members in three beakers full of embalming fluid and the two monsters leave the lab. Brennende Liebe Brennende Liebe Brennende Liebe Brennende Liebe Eiszeit Kill me again Brennende Liebe Brennende Liebe Brennende Liebe Lyrics of this song at MetroLyrics
Alternative rock is a genre of rock music that emerged from the independent music underground of the 1980s and became widely popular in the 1990s and 2000s. In this instance, the word refers to the genres distinction from mainstream rock music. The terms original meaning was broader, referring to a generation of musicians unified by their debt to either the musical style or simply the independent. Ethos of punk rock, which in the late 1970s laid the groundwork for alternative music, Alternative rock is a broad umbrella term consisting of music that differs greatly in terms of its sound, its social context, and its regional roots. Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü, with the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. By the end of the decade, alternative rocks mainstream prominence declined due to a number of events that caused grunge and Britpop to fade, emo attracted attention in the larger alternative rock world, and the term was applied to a variety of artists, including multi-platinum acts.
Post-punk revival artists such as Modest Mouse and The Killers had commercial success in the early, before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about, in 1979 Dallas radio station KZEW had a late night new wave show entitled Rock and Roll Alternative. College rock was used in the United States to describe the music during the 1980s due to its links to the radio circuit. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture, according to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called Alternative Charts. The first national chart based on distribution called the Indie Chart was published in January 1980, at the time, the term indie was used literally to describe independently distributed records.
By 1985, indie had come to mean a particular genre, or group of subgenres, at first the term referred to intentionally non–mainstream rock acts that were not influenced by heavy metal ballads, rarefied new wave and high-energy dance anthems. The use of alternative gained further exposure due to the success of Lollapalooza, for which festival founder, in the late 1990s, the definition again became more specific. Defining music as alternative is often difficult because of two conflicting applications of the word, the name alternative rock essentially serves as an umbrella term for underground music that has emerged in the wake of punk rock since the mid-1980s. Alternative bands during the 1980s generally played in clubs, recorded for indie labels. Sounds range from the gloomy soundscapes of gothic rock to the guitars of indie pop to the dirty guitars of grunge to the 1960s/1970s revivalism of Britpop. This approach to lyrics developed as a reflection of the social and economic strains in the United States and United Kingdom of the 1980s, by 1984, a majority of groups signed to independent record labels mined from a variety of rock and particularly 1960s rock influences.
This represented a break from the futuristic, hyper-rational post-punk years
Als die Liebe starb
Als die Liebe starb is the fifth studio album from Austrian electronic music band LÂme Immortelle. All lyrics written by Thomas Rainer, just Defy Als die Liebe starb at AllMusic