Gothic rock is a style of post-punk that emerged from post-punk in the late 1970s. The first post-punk bands which shifted towards dark music with gothic overtones include Siouxsie and the Banshees, Joy Division and the Cure; the genre itself was defined as a separate movement from post-punk due to its darker music accompanied by introspective and romantic lyrics. Gothic rock gave rise to a broader subculture that included clubs and publications in the 1980s. According to music journalist Simon Reynolds, standard musical fixtures of gothic rock include "scything guitar patterns, high-pitched basslines that usurped the melodic role beats that were either hypnotically dirgelike or tom-tom heavy and'tribal'". Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen". Several acts used drum machines downplaying the rhythm's backbeat. Gothic rock deals with dark themes addressed through lyrics and the music's atmosphere; the poetic sensibilities of the genre led gothic rock lyrics to exhibit literary romanticism, existentialism, religious symbolism or supernatural mysticism.
Musicians who shaped the aesthetics and musical conventions of gothic rock include Marc Bolan, the Velvet Underground, the Doors, David Bowie, Brian Eno, Iggy Pop and the Sex Pistols. Journalist Kurt Loder would write that the song "All Tomorrow's Parties" by the Velvet Underground is a "mesmerizing gothic-rock masterpiece". However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor". Nico's 1969 album The Marble Index is sometimes described as "the first Goth album". With its stark sound, somber lyrics, Nico's deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement. Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group the Velvet Underground, many goth singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at lower pitches. J. G. Ballard was a strong lyrical influence for many of the early gothic rock groups.
In 1976, Interview with the Vampire by Anne Rice was published. The main character, although dark, wanted love; the book, according to music journalist Dave Thompson created an audience for gothic rock by word of mouth. The same year saw the punk rock band the Damned debut; the group's vocalist, Dave Vanian, was a former gravedigger. Brian James, a guitarist for the group, noted, "Other groups had safety pins and the spitting and bondage trousers, but you went to a Damned show, half the local cemetery would be propped up against the stage". Critic John Stickney used the term "gothic rock" to describe the music of the Doors in October 1967, in a review published in The Williams Record. Stickney wrote that the band met the journalists "in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors"; the author noted that contrary to the "pleasant, amusing hippies", there was "violence" in their music and a dark atmosphere on stage during their concerts.
In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees and Joy Division. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kent wrote that concerning their performance, "parallels and comparisons can now be drawn with gothic rock architects like the Doors and early Velvet Underground". In March 1979, Kent used the gothic adjective in his review of Magazine's second album, Secondhand Daylight. Kent noted that there was "a new austere sense of authority" to their music, with a "dank neo-Gothic sound". In September, Joy Division's manager Tony Wilson described their music as "gothic" on the television show Something Else, their producer Martin Hannett described their style as "dancing music with gothic overtones" In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom"; when their final album Closer came out a couple of months after the death of their singer, Sounds noted in its review that there were "dark strokes of gothic rock".
Not long after, this appellation "became a critical term of abuse" for a band like Bauhaus, who had arrived on the music scene in 1979. At the time, NME considered that "Siouxsie and the Banshees and the Ants and by Joy Division" opened up "a massive market" for newcomers like Bauhaus and Killing Joke: however, critic Andy Gill separated these two groups of bands, pointing out that there was a difference "between art and artifice"; the second Siouxsie and the Banshees album, released in 1979, was a precursor in several aspects. For journalist Alexis Petridis of The Guardian, "A lot of musical signifiers – scything, effects-laden guitar, pounding tribal drums – are audible, on Join Hands". However, Bauhaus's debut single, "Bela Lugosi's Dead", released in late 1979, was retrospectively considered to be the beginning of the gothic rock genre. According to Peter Murphy, the song was written to be tongue-in-cheek, but since the group performed it with "naive seriousness", how the audience understood it.
In the early 1980s, post-punk bands such as Siouxsie and the Banshees and the Cure included more gothic characteristics in their music. According to Reynolds, with their fourth album, 1981's Juju, the Banshees introduced several gothic qualities and sonically, whereas according to The Guardian, Juju was art rock on certain album tracks and pop on the singles, their bassist, Steven Severin, attributed the aesthetic u
Darren "Daz" White
Darren White is an English musician raised in Liverpool and best known as the original vocalist for the band Anathema. His low death grunts on the band's early recordings pinpointed the group's early identification with the death/doom genre. White fronted other bands, including The Blood Divine with former members of Cradle of Filth and Dead Men Dream, his latest project, has been described as "drone/atmospheric doom". In February 2009 Serotonal signed a record deal with Union Black Records, debut album Monumental - Songs of Misery and Hope was released on 24 November 2009. Darren is erroneously said to have played drums for Cradle of Filth in 1991-92. This, was Darren Gardner
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Pentecost III is an EP by the British doom metal band Anathema. It was recorded in 1994 but, due to a merging between labels Peaceville Records and Music For Nations, was not released until 1995. By this time, Darren White had been ousted from the band, whose remaining members were working on their next album, The Silent Enigma. Pentecost III was re-issued as on one CD with The Crestfallen in 2001. All lyrics written by all music written by Anathema; the album's liner notes state that "Pentecost III is dedicated to Tony Doyle, to Lin Mari Lowles, to all the people who shared the grief of the terrible tragedy that befell us all this year 1994". Tony and Lin were two old friends of Anathema. Tony died from heart complications in his early twenties and on the way to the funeral, Lin died in a traffic accident; the track "Memento Mori" contains the hidden track "Horses/666". On the Pentecost III/Crestfallen EP re-issue this hidden track is moved to the end of "They Die", the last track on the disc.
Album artwork: painting by Frederic Leighton "Perseus and Andromeda", 1891. Daniel Cavanagh — guitar Vincent Cavanagh — guitar John Douglas — drums Duncan Patterson — bass guitar Darren White — vocals
Dave Pybus is an extreme metal musician, best known as the former bass player of Cradle of Filth. Pybus's first band was called Anul Death which changed its name to Darkened. From 1990–1994 Dave worked at Peaceville Records as a graphic designer, his name is credited on several records from that period including: Darkthrone - A Blaze in the Northern Sky, Autopsy - Mental Funeral, My Dying Bride - As the Flower Withers and Turn Loose the Swans. Worked with Vital Remains, Therion, Anathema, G. G. F. H. Kong, Paradise Lost, Pentagram, Ship of Fools, At the Gates. Around 1993 Peaceville signed a U. S. distribution deal with Caroline, where Lyle Preslar worked together for over a year. In 1991, Dave formed a band in which he provided vocals and played guitar, they were influenced by the Misfits and released a six track Mini CD Sometime in 1995. Dave stayed in Dreambreed, which line-up at that time featured Duncan Patterson of Anathema, until 1998, where he joined Anathema on bass guitar, he stayed with Anathema until 2001, appearing on two albums - Judgement, A Fine Day to Exit, after which he sessioned and joined Cradle of Filth following the departure of bassist Robin "Graves" Eaglestone.
Dave appears on: Damnation and a Day, Thornography, Godspeed on the Devil's Thunder, Darkly, Venus Aversa. In 2005, Dave started Sixsixsix Records. In that July he was honoured with an appearance on the Roadrunner United CD alongside Peter Steele, Josh Silver, Steve Holt and Joey Jordison. After his break he re-joined Cradle of Filth and played bass on the debut Angtoria album, released in April 2006 via Listenable Records. 21 April 2008 saw the release of Dreambreed's "Misery Sessions" on CD, via Dave's Sixsixsix Record label. The sessions were recorded in 1997 and have only been re-mastered, he is endorsed by ESP Guitars, Ampeg Amplifiers and Rotosound strings. Dave launched his own monthly podcast Life is a Hideous Thing in December 2014 running for 16 episodes, including 4 commissioned by Peaceville Records and featuring guests such as Pat Mills, Dave McKean, Doug Bradley, among others. One episode was unpublished; this was held back due to Hammy not being happy with the results and using the inspiration from the recording sessions to write his book'Peaceville Life', released in December 2016.
Sometime Misery Sessions Judgement A Fine Day to Exit Damnation and a Day Nymphetamine Thornography Godspeed on the Devil's Thunder Darkly, Venus Aversa God Has a Plan for us All A Sign of Sublime In 1991 he played guitar in a Misfits covers band called The Hatebreeders. He made a guest appearance on the song Summernite Stalker for German Horror punk band The Spook, released 31 August 2007. In October 2008, he performed live for two shows with German band Samsas Traum, toured with them in November 2009. Played Bass on the track "Hell is the Face of Love" for Autoclav1.1 in 2008. Contributed his talents as a bass player for the Roadrunner United CD on the track "Enemy of the State" Played bass on Sarah Jezebel Deva's debut album A Sign of Sublime in 2010. Dave left Cradle of Filth in Spring 2012, he played bass with U. S. band Prong for their "Beg to Differ" European tour and the following U. S. tour in the summer of 2012. Profile in Cradle of Filth official page
This is a discography of Anathema, a Liverpool-based rock band. They released three albums through Peaceville Records before switching to Music For Nations in 1998. Since 2010 the band have been releasing material through K Scope
Eternity (Anathema album)
Eternity is the third album by the British rock band Anathema. It was released on 11 November 1996 through Peaceville Records. Eternity marked the first shift in Anathema's style and sound from their doom metal roots to gothic metal, it features a version of Roy Harper's track "Hope". It is the last album with drummer John Douglas before his return to the band in 1998