Death Punk: The Definitive History

Deathrock (or Death Punk) is a term used to identify a fusion of punk rock and gothic rock which incorporates elements of horror and spooky atmospheres within a Goth-Punk style and first emerged most prominently in the West Coast of the United States and London during the late 1970s and early 1980s.[1]

Contents
1 Characteristics
2 History
2.1 Etymology
2.2 Origins
2.3 Emergence
2.4 Merger
2.5 Irreconcilable differences
2.6 Revival
3 Artists
4 Related genres
5 Subcultural fashion
6 Related subcultures
7 Others
8 References


Characteristics
Deathrock songs use simple chords, echoing guitars, a prominent bass, and drumming which emphasizes repetitive, post-punk and tribal beats within a 4/4 time signature and often produced using a drum machine. To create atmosphere, scratchy guitars, spooky or sinister synths, and experimentation with other instruments are sometimes used. Lyrics can vary, but are typically introspective, surreal, and deal with the dark themes of isolation, disillusionment, loss, depression, life, death, etc.; as can the style, varying from harsh, to melodic and melancholic, to upbeat and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films, which in turn leads some bands to adopt elements of rockabilly and surf rock.[1]
However, the frequently simple song structures, heavy atmosphere and rhythmic music place a great demand on the lead vocalist to convey complex emotions, so deathrock singers typically have strong, distinctive voices and a strong stage presence.[2]
Despite the similar sounding names, deathrock (which is a subgenre of Post-Punk and Goth) has no connection to the similarly named death metal (aside from occasionally similar lyrical themes), which is an extreme subgenre of heavy metal.

History

Etymology
The term "death rock" was first used in the 1950s to describe a thematically related genre of rock and roll which began in 1958 with Jody Reynolds' "Endless Sleep"[3] and ended in 1964 with J. Frank Wilson's "Last Kiss".[4] These songs about dead teenagers were noted for their morbid yet romantic view of death, spoken word bridges, and sound effects. The Shangri-Las' "Leader of the Pack" is arguably the best known example of the 50s/60s use of the term.[5] [6]
The term deathrock re-emerged 15 years later in 1979 to describe the sound of various West Coast punk bands which would later become associated with the deathrock scene and most likely came from one of three sources; Rozz Williams, the founding member of Christian Death, to describe the sound of his band,[7] or the music press reusing the 1950s term to describe an emerging subgenre of punk. Another theory is that the term came from Nick Zedd's 1979 film "They Eat Scum", which featured a fictitious cannibalistic "death rock" punk band called "Suzy Putrid and the Mental Deficients".[8]

Origins
The earliest influences for some deathrock acts, such as 45 Grave for example, can be traced to the horror themed novelty rock and roll acts of the late 1950s and early 1960s such as Bobby “Boris” Pickett with "Monster Mash", Screamin' Jay Hawkins with "I Put a Spell on You" and Screaming Lord Sutch & the Savages with "Murder in the Graveyard". These songs used sound effects[9] to create a creepy atmosphere, dealt with taboo subjects (such as cannibalism) in a humorous, often campy manner, and are still occasionally played at deathrock clubs.[10]
This horror influence on rock music continued into the 1970s with theatrical hard rockers Alice Cooper[11] and Kiss. Rozz Williams has specifically credited the 1970s output of both Alice Cooper and Kiss as childhood influences,[12] 45 Grave also covered Alice Cooper's "School's Out" on their debut full length album.
Other rock and glam rock bands who influenced many early goth/deathrock artists include The Doors, David Bowie, The Velvet Underground, Iggy Pop and the Stooges, the Cramps, T. Rex, New York Dolls, The Damned, MC5, and Richard Hell and the Voidoids[13] (For a more complete listing of influential artists, see Punk Forerunners and Gothic Rock predecessors.)
Horror movies also directly influenced deathrock artists. According to Dinah Cancer, Italian horror movies were a large influence on 45 Grave's visual style.[14] Zombie movies influenced many deathrock artists, especially George Romero's Night of the Living Dead (1968) and its sequels. John Russo's Return of the Living Dead (1985) which featured Linnea Quigley and a mostly punk soundtrack[15] influenced later deathrock bands. Horror-themed TV shows, such as The Addams Family, The Munsters, The Twilight Zone, Dark Shadows, etc., also provided some visual influence, as did spookily-clad horror movie hosts on TV such as Vampira[16] in Los Angeles, John Zacherle in Philadelphia and New York, Elvira in Los Angeles (then later nationally), and Ghoulardi[17] in Cleveland.
However, horror was not the only influence on deathrock. Film noir, surrealism, cabaret, and various religious iconography (particularly Catholicism and Voodoo supplied much lyrical and visual inspiration to deathrock artists.[1]

Emergence
Deathrock first emerged in America in the late 1970s and early 1980s as a darker offshoot of the pre-existing punk rock and pre-hardcore LA music scene.[18]. The most active and best documented deathrock music scene was in Los Angeles, which centered around the bands The Flesh Eaters (1977), Kommunity FK (1979), 45 Grave (1979), Christian Death (1979), Gun Club (1981), Voodoo Church (1982), Burning Image (1983), and Super Heroines (1984).[1][19]
However, other western cities in the United States also had bands which would later be described as deathrock such as Theatre of Ice (1978) in Fallon, Nevada and Mighty Sphincter (1980) in Phoenix, Arizona. These early West Coast deathrock bands took the pre-existing base of punk rock and added dark yet playful themes borrowed from horror movies, film noir, surrealism, religious imagery, etc.[20] A couple of bands blended hardcore punk with a gothic sound, most notably TSOL;[21] and Burning Image.[22]
These early post-punk deathrock bands were not immediately identified as part of a new subgenre of punk; they were simply considered a darker flavor of punk and were not yet considered part of a separate musical movement.[23] During this time, these bands would play at the same venues as punk, hardcore and new wave bands.[24] A similar situation arose in New York circa 1978-79, albeit on a much smaller scale, in which influential punk rock bands like The Cramps and The Misfits, as well as The Mad (fronted by future horror-film effects artist Screaming Mad George) had incorporated extensive horror themes into their lyrics, visuals, and stage show, though they did not use the term "deathrock" to describe themselves.

Merger
Around the same time as deathrock was emerging as a distinctively darker subgenre of punk rock in the United States, other subgenres of punk and post-punk were developing independently in the UK.[25]
By 1982, a wave of darker, more tribal post-punk bands had coalesced, influenced by punk rock, and the first-generation post-punk bands (and specifically the noisier 1980-81 post-punks UK Decay, Killing Joke, and Theatre of Hate). The primary bands in this new movement were Sex Gang Children and Southern Death Cult. Along with Brigandage, Blood and Roses, Ritual, and others, they were dubbed "positive punk" by the UK press to differentiate them from other bands who were attempting to fly under the punk banner, such as the UK 82 and Oi! acts. These positive punk bands featured tribal drumming, high-pitched vocals, scratchy guitar, and bass as melodic lead instrument, and a visual look blending glam with Native American-influenced warpaint and spiky haircuts, the first generation of the UK's post-punk Goth bands.[26] Other related bands like Ausgang, Inca Babies, and Bone Orchard shared much of the tribal ethos and spiky look, but took more inspiration from The Birthday Party.[27]
During 1983, a related movement was brewing at a London Gothic rock club called the Batcave.[28] Initially envisioned as a venue specializing in glam rock and new wave musical acts, the two main bands which debuted and performed frequently at the Batcave, Specimen and Alien Sex Fiend, developed their own different sounds strongly influenced by horror in British pop culture, which set them apart from the rest of the glam and post-punk scenes in Britain. Also in 1983, The Gun Club toured in Europe[29] as did Christian Death[30] which meant the European gothic rock scene and the American deathrock scene were now able to directly influence one another.
By 1984, the term "positive punk" was outdated, and the tribal positive punk bands, the various bands from the Batcave scene, as well as the bands from Leeds (such as The Sisters of Mercy,[31] March Violets, Red Lorry Yellow Lorry, and others) some of which used drum-machines, had all come to be referred to as "gothic"[32] or gothic rock.[33] The same year, California deathrock band Kommunity FK toured with UK Gothic rock band Sex Gang Children (and the following year with Alien Sex Fiend[34]) which continued the trend in which American and British movements intermixed. Influenced more by the British scene and less by California, death rock bands began to form in other parts of the United States, such as Gargoyle Sox (1985) in Detroit, Michigan, Shadow of Fear (1985) in Cleveland, Ohio, and Holy Cow (1984) in Boston, Massachusetts (and later Providence, Rhode Island). The fertile New York scene featured Scarecrow (1984), Of a Mesh (1984), Chop Shop (1984), Fahrenheit 451 (1984), The Naked and the Dead (1985), Brain Eaters (1986), The Children's Zoo (1986), The Plague (1987), and The Ochrana (1987).

Irreconcilable differences
While deathrock, positive punk and the Batcave bands were similar enough in sound to eventually all be filed as "gothic[citation needed], later generations of gothic rock moved progressively away from the original sound, and towards a more heavy-guitar rock influenced sound.[citation needed]
The mid 1980s marked the second wave of gothic rock, when the sound began to shift away from its punk and post-punk roots and towards the more serious, rock-oriented approach.[35] Bauhaus broke up, Rozz Williams left Christian Death, and The Sisters of Mercy became the dominant and most influential gothic act. The term "gothic rock" became preferred over "deathrock" (previously, they had been used interchangeably), a change which Rozz Williams attributed to the influence of the The Sisters of Mercy.[36] As a result, the term "deathrock" was seldom used except in retrospective reference to the Los Angeles bands 45 Grave and Christian Death.
The mid 1990s marked a so called "third wave of gothic rock", as the music drifted its furthest from the original punk and post-punk sound by incorporating many elements of the harsher, factory-inspired sound of industrial music and the more repetitive and electronic sounds of EBM.[37] Some clubs even completely dropped deathrock and first generation gothic rock from their setlists to appeal to a crossover crowd.[38] These changes alienated many in the goth scene[39] who preferred the livelier, punkier deathrock sound[40] and led them to seek out their earlier deathrock roots.[41]

Revival

Nearly 20 years after deathrock and goth first appeared on the music scenes in Southern California and London, the deathrock revival began in Southern California. During 1998 in Long Beach, California, owners of the Que Sera, a local bar asked Jeremy "Jermz" Meza and friends, to throw a one-night "old school" Gothic Halloween party. After the success of the one-off party, the event quickly evolved into a regular deathrock club called Release the Bats[42] and a focal point in California for the reemerging deathrock movement. (The club is named after a song by the Australian band the Birthday Party.)
The current deathrock movement is similar to the original deathrock scene in Los Angeles and the Batcave movement in London,[43] but more unified in the US, UK, and Europe through various record labels. In addition to clubs, the current scene is centered around concerts, special events, parties, and horror movie screenings, as well as bands like Ex-VoTo,Cinema Strange, Bloody Dead And Sexy, Chants of Maldoror, and Tragic Black. The internet is playing a major role in the deathrock revival. There are websites devoted to the discussion deathrock music, bands and fashions as well as horror movies, such as deathrock.com and post-punk.com, plus mailing lists for deathrockers on various online virtual communities, such as MySpace.
There has been a shift to a more post-punk sound as a result of the influence of the European bands of the 80s. Second, there is the apolitical influence of psychobilly which discourages political debates that have the potential to fragment the scene (however a couple of famous death rock acts, TSOL and Rudimentary Peni, were originally anarcho-punk bands, and there is still some slight crossover between the two scenes). The Drop Dead Festival, which is similar to psychobilly's Hootenanny, gives bands with smaller fan bases an opportunity to play before larger crowds.[44]

Artists
Only Theatre Of Pain, Christian Death's 1982 debut album, is widely held as the first American goth and deathrock album[45] and cannot be easily classified as either a darker flavor of punk, horror punk, or post-punk. As a result, Rozz Williams, the lead singer of Christian Death, Shadow Project, Premature Ejaculation, etc. is considered one of the most influential artists in the goth and deathrock scene. Patrick Mata of Kommunity FK is another influential male deathrocker as well as Larry Rainwater of ((Ex-VoTo))
Dinah Cancer has been referred to as the Queen of Deathrock,[46] the Goddess of Deathrock[47] and the High Priestess of Deathrock[48] for her role as the frontwoman for 45 Grave during a time when female lead singers were still considered somewhat of a rarity. Other influential female deathrockers would include Tina Winter and Eva O.
Many artists in the United States released EPs and LPs prior to 1982 which would now be considered deathrock such as the previously mentioned Theatre of Ice and Mighty Sphincter. British bands also made major contributions to the deathrock sound by adding a strong post-punk influence, including Joy Division, Bauhaus, and Siouxsie & the Banshees.[49] Other bands from around the world added their own unique contribution to deathrock, including Xmal Deutschland in Germany, Virgin Prunes from Ireland, and The Birthday Party in Australia.[50][51]
However, The Sisters of Mercy, who are frequently played at deathrock clubs, are generally not considered as a deathrock band, as the most prominent example of their sound Floodland has more in common with second-wave gothic rock bands (as they were the second wave's prime influence).[52].

Related genres
Gothic rock
Horror punk
Dark Cabaret
Garage Punk
Post-punk
New Romantic
New Wave
Art punk
Psychobilly
Punk rock
Batcave
Glam rock
Experimental rock
Psychedelic rock
Horrorcore (Hip-Hop)

Subcultural fashion
Punk fashion
Gothic fashion

Related subcultures
Punk subculture
Goth subculture

Others
Gothic Fiction
Horror films

References
^ a b c d England Fades Away: Stylus Magazine’s Guide to Goth - Article - Stylus Magazine
^ StarVox.net
^ MMGuide.com
^ Oldies.com
^ ClassicBands
^ Dead Teen Songs Extensive website on the early death rock genre. Website found 2008-08-15.
^ Starvox.net
^ Hawkins, Joan Defining Cult Movies. Pp 227-228. Manchester University Press (2003). ISBN 071906631X, 9780719066313. [1]
^ COD.edu
^ Deathrock.com
^ Canada.com
^ TheBlueHour.fr
^ . Most of these artists explored darker themes, sometimes incorporated horror-themed visuals into their shows, or had their music used in horror movie soundtracks.[2]
^ Deathrock.it
^ Amazon.com
^ PartiGirl.com
^ EmpLive.org
^ AliceBag.com
^ The Gun Club story in detail
^ wweek.com
^ AllMusic.com
^ WildHunt.org
^ Scathe.Demon.co.uk
^ The Batcave
^ Scathe.Demon.co.uk
^ Punk
^ Bone Orchard
^ Scathe.Demon.co.uk
^ TrakMarx.com
^ Projekt.com
^ ScatheDemon.co.uk
^ Scathe.Demon.co.uk
^ MutantNation.com
^ Starvox
^ ScatheDemon.co.uk
^ DarkWaver.com
^ Deathrock.com and LA Deathrock Scene
^ Starvox.com
^ KissKissBangBang.com
^ MidnightCalling.com
^ Author-Me.com
^ ReleaseTheBats.info
^ KissKissBangBang.com
^ MetroActive.com
^ AllMusic.com
^ DarkMoonEntertainment
^ AntidoteRecords
^ Starvox.net
^ Prehistory
^ Deathrock/Kommunity FK
^ The top 10 records in the Batcave between Feb 83 and Feb 84
^ ScatheDemon.co.uk