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Deathrock

Deathrock is a subgenre of rock music that emerged in the late 1970s and early 1980s from the punk scene in Los Angeles, California, characterized by its raw punk energy fused with gothic aesthetics, horror-inspired themes, and post-punk sonic elements such as echoing guitars and atmospheric tension.^[1] Often viewed as the American counterpart to British gothic rock, deathrock incorporates macabre lyrics addressing death, decay, and the supernatural, alongside theatrical visuals drawn from B-horror films and glam influences.^[2] The genre's origins trace back to the vibrant Southern California punk ecosystem following the death of Germs frontman Darby Crash in 1980, where bands sought to escape the aggression of emerging hardcore punk by exploring spookier, artier expressions influenced by UK post-punk acts like Siouxsie and the Banshees.^[3] Key venues such as the Hong Kong Café and the Anti-Club in Los Angeles fostered this development, providing spaces for experimentation amid a scene fueled by drugs, Hollywood memorabilia, and a DIY ethos.^[3] By the mid-1980s, deathrock had gained traction through compilations like Hell Comes to Your House and influential releases, though it remained underground and waned with the rise of thrash metal and mainstream goth.^[4] Pioneering bands like Christian Death, 45 Grave, and Kommunity FK exemplified deathrock's sound, with Christian Death's 1982 debut Only Theatre of Pain delivering frantic, nihilistic tracks such as "Romeo's Distress," and 45 Grave's morbid yet humorous tunes like "Partytime" blending punk speed with gothic morbidity.^[1] Other notable acts, including Super Heroines and Nervous Gender, contributed to the genre's diversity, often incorporating feminist themes, noise elements, and horror punk flair.^[3] Aesthetically, deathrockers embraced torn fishnets, oversized 1980s hairstyles, bold cosmetics, and "visually off" attire to evoke repulsion and the grotesque, aligning with their affinity for gory films and dark humor.^[5] While deathrock's initial wave faded by the late 1980s, it influenced subsequent goth, horror punk, and industrial scenes, experiencing revivals in the 2000s through reissues and new bands drawing on its raw intensity.^[3] Its legacy endures as a bridge between punk's rebellion and goth's melancholy, underscoring the West Coast's unique contributions to alternative music history.^[1]

Terminology and Context

Etymology

The term "deathrock" originated in the 1950s as a descriptor for rock and roll songs centered on themes of death, tragedy, and the supernatural, beginning with Jody Reynolds' "Endless Sleep" in 1958 and including hits like the Shangri-Las' "Leader of the Pack" in 1964. This early incarnation emphasized dramatic narratives of loss and doom, often with melodramatic vocals and instrumentation evoking suspense or mourning, setting a thematic precedent for later revivals without the punk edge.^[6] By the late 1970s, amid the Los Angeles punk explosion, the term was repurposed to label a distinct American post-punk style that fused horror aesthetics, theatricality, and raw punk aggression, differentiating it from the more ethereal, synth-driven British goth rock. This revival positioned deathrock as a West Coast phenomenon, rooted in punk's DIY ethos but infused with B-movie horror influences like zombies, vampires, and the macabre, creating a more visceral and confrontational sound. The 1981 compilation album Hell Comes to Your House (Bemisbrain Records) crystallized this usage, assembling tracks from proto-deathrock acts such as Christian Death ("Dogs"), 45 Grave ("Evil"), TSOL ("Word War III"), and The Flesh Eaters ("Digging My Grave"), which showcased the genre's punk-infused horror hybrid and helped disseminate the label beyond local circles.^[7]^[8] Initial applications of "deathrock" in the punk era surfaced in underground media around 1980–1981, including performances on the cable access show New Wave Theatre, which aired sets by emerging bands like 45 Grave and Castration Squad, capturing the scene's eerie visuals and sound. Press coverage in LA Weekly that year further emphasized the horror-punk fusion, describing shows by groups like Christian Death as blending punk speed with gothic morbidity.^[8] Over time, the terminology evolved with variant spellings like "death rock," reflecting its informal adoption in fanzines and flyers, though debates persist on its geographic limits—primarily tied to the US West Coast, especially Los Angeles and Orange County, rather than broader national or international application. Some contemporaries, including Rozz Williams of Christian Death, invoked the term to underscore the scene's focus on raw theatricality and decay, separate from vampire-esque goth stereotypes. Dinah Cancer of 45 Grave echoed this intent, stating, "We played punk rock but we loved Halloween and we looked like vampires. So the phrase 'deathrock' was born." Chris D. of The Flesh Eaters similarly highlighted the genre's dark, poetic undercurrents in interviews, noting its roots in punk's alienation amplified by horror motifs to evoke existential dread.^[9]^[10]^[8]

Precursors (1950s–1970s)

The roots of deathrock can be traced to the horror-infused rockabilly of the 1950s, exemplified by Screamin' Jay Hawkins' theatrical performances and his signature song "I Put a Spell on You," released in 1956, which featured a wild, emotional vocal delivery and eerie production that established a macabre stage persona involving coffins and voodoo imagery.^[11] Hawkins' over-the-top style, blending bluesy rock with shock elements, laid early groundwork for dark, performative rock aesthetics that later permeated subgenres like shock rock and goth.^[11] In the 1960s and 1970s, glam and shock rock further developed these horror themes through visual spectacle and androgynous rebellion, with Alice Cooper's 1971 album Killer showcasing shlock-horror imagery in tracks like "Dead Babies" and "Killer," which combined mainstream rock riffs with theatrical narratives of violence and the macabre.^[12] Cooper's pioneering use of horror visuals in live shows and album art influenced punk and goth subcultures by merging raw energy with B-movie-inspired theatrics.^[12] Similarly, the New York Dolls' androgynous aesthetics in the early 1970s—featuring high heels, makeup, and torn clothing—bridged glam rock's flamboyance with punk's raw attitude, inspiring later subcultural fashion and performance styles.^[13] By the late 1970s, punk roots amplified these influences with horror motifs, as seen in the UK band The Damned's debut album Damned Damned Damned (1977), which parodied horror movies through songs like "Neat Neat Neat" and a gothic-punk sound that shifted the genre toward dark parody.^[14] In the US, the Misfits formed in 1977 in Lodi, New Jersey, pioneering horror punk with early singles drawing on B-movie themes of monsters and sci-fi, blending punk's speed and aggression with lyrical nods to 1950s horror tropes.^[15] This musical evolution occurred amid a broader cultural context of rising horror films, such as George A. Romero's Night of the Living Dead (1968), which introduced graphic zombie imagery and social allegory, inspiring punk bands to incorporate undead and gore motifs into their lyrics and visuals.^[16] Underground clubs in New York and London, like CBGB and Max's Kansas City in NYC or the Roxy in London, fostered proto-deathrock experimentation by hosting proto-punk acts that blended horror aesthetics with raw performances, creating spaces for subcultural innovation in the mid-to-late 1970s.^[17]

Musical Elements

Sound and Style

Deathrock fuses the fast tempos and raw aggression of punk rock with gothic minor-key melodies, reverb-heavy guitars, and echoing vocals to produce a haunting, cavernous atmosphere.^[18] This blend yields a sound that is both energetic and eerie, characterized by punky venom and a slick metallic edge infused with goth-horror elements.^[18] Lyrical themes center on horror, death, existential dread, and campy macabre imagery, frequently delivered in a sneering or theatrical vocal style.^[19] For example, Christian Death's "Romeo's Distress" explores motifs of violence, desire, and death as a bride-like figure, evoking vampire-esque obsession amid surreal horror.^[20] Songs typically feature short, abrasive structures lasting 2–4 minutes, with abrupt stops that heighten tension, drawing loose inspiration from the synth-driven suspense in horror film scores.^[21] In distinction from goth rock's slower, more depressive tempos and romantic melancholy, deathrock emphasizes an upbeat punk drive and confrontational aggression.^[22] A representative track like 45 Grave's "Evil" (1982) illustrates this through its catchy, surf-punk-inflected edge and multi-textured creepiness.^[18]

Instrumentation and Production

Deathrock's core instrumentation revolves around a punk-derived setup featuring distorted electric guitars, prominent driving bass lines, and frantic, repetitive drums that prioritize rhythmic drive over technical complexity.^[6] The guitars often employ reverb and distortion to evoke a haunting, wavering atmosphere, contributing to the genre's raw, atmospheric edge.^[6] Synthesizers occasionally appear to layer eerie, ambient textures, as heard in early Christian Death recordings, where they blend with doomy guitar riffs to mimic horror soundtrack elements.^[23] This addition distinguishes deathrock from stricter punk ensembles, allowing for dissonant, otherworldly flourishes without overshadowing the rhythm section's simplicity. Production in deathrock emphasizes a gritty, unpolished aesthetic, frequently achieved through DIY methods in garages or modest studios during the 1980s, utilizing analog tape recording and affordable effects like reverb and echo pedals to amplify the raw intensity.^[24] Notable examples include 45 Grave's 1983 album Sleep in Safety, recorded at Capitol Studios under producer Craig Leon, which balanced lo-fi punk energy with clearer studio fidelity while preserving the genre's unrefined quality.^[25] Over time, revivals from the 1990s onward incorporated digital recording tools for reissues and new material, yet maintained the signature raw edge through minimal processing and effects-heavy mixing.^[21]

Historical Evolution

Emergence (Late 1970s–1980s)

Deathrock emerged in the late 1970s amid the evolving Los Angeles punk scene, as the raw energy of early punk began to incorporate darker, more theatrical elements influenced by British post-punk acts like The Damned. Proto-deathrock bands formed and performed in key Hollywood venues, including The Masque, which opened on August 18, 1977, at 1655 North Cherokee Avenue in the basement of the Hastings Hotel and became a hub for underground shows despite frequent closures due to safety violations, and the Whisky a Go Go on the Sunset Strip, which had reopened to punk acts in 1977 and hosted performances by groups blending punk aggression with gothic aesthetics. This shift occurred as the initial punk wave declined, giving way to subgenres that emphasized horror-themed lyrics and atmospheric production.^[26] The early 1980s marked the genre's peak through seminal releases that defined its sound. Christian Death's debut album Only Theatre of Pain (1982), released on Frontier Records, captured deathrock's macabre intensity with tracks like "Romeo's Distress," establishing the band as pioneers of American gothic rock. Similarly, 45 Grave's Sleep in Safety (1983), produced by Craig Leon and Paul Cutler on Enigma Records, fused punk riffs with horror-inspired vocals from Dinah Cancer, solidifying the genre's blend of dread and rebellion. The 1981 compilation Hell Comes to Your House on Bemisbrain Records served as a foundational document, featuring tracks from Christian Death, 45 Grave, and other LA acts like Social Distortion, showcasing the scene's diversity and helping to disseminate deathrock beyond local clubs.^[7]^[1]^[4] Los Angeles remained the epicenter of the deathrock scene, but influences spread to other cities, with spillover into San Francisco's underground venues and a nascent New York contingent featuring bands like The Naked and the Dead. Events and informal gatherings in these hubs fostered cross-pollination, though the LA core drove innovation through its proximity to Hollywood's decayed glamour.^[7]^[1] The scene faced challenges from media scrutiny over its horror motifs and internal frictions as punk purists clashed with the emerging gothic stylings, contributing to early band disbandments like aspects of Christian Death's lineup shifts. Broader punk violence, such as the 1979 Elks Lodge riot near MacArthur Park, highlighted external pressures, while thematic controversies around death and the occult drew parental concerns in the early 1980s, presaging later censorship debates.^[27]^[1]

Decline and Revivals (1990s–2025)

By the mid-1980s, the deathrock scene experienced a notable decline, marked by significant lineup changes in prominent bands and a broader shift within the punk ecosystem toward hardcore and industrial genres. For instance, Christian Death underwent major upheaval after vocalist Rozz Williams departed in 1985, just prior to a European tour, with guitarist Valor Kand assuming lead vocal duties and reshaping the band's direction. This instability, combined with the evolving LA punk landscape favoring more aggressive hardcore sounds, contributed to the fragmentation of dedicated deathrock club scenes, which had dwindled by 1987 as venues pivoted to emerging styles.^[28]^[29]^[30] The 1990s saw an initial revival of interest in deathrock, largely through its absorption into the expanding goth subculture, facilitated by CD reissues and renewed touring. A key example was the 1993 compact disc re-release of Christian Death's seminal album Only Theatre of Pain by Frontier Records, which introduced the genre's raw aesthetics to a new generation amid the CD boom. European tours by veteran acts, such as Christian Death's extensive 1990 itinerary across Germany, the Netherlands, and other countries, further bridged American deathrock with international goth circuits, inspiring blends of its punk-infused horror elements in bands like the German industrial outfit Das Ich, whose early work incorporated gothic theatricality akin to deathrock forebears.^[31]^[32] Entering the 2000s and 2010s, deathrock underwent a pronounced resurgence, documented in cultural histories and propelled by new ensembles performing at major festivals. Mikey Bean's 2019 book Phantoms: The Rise of Deathrock from the LA Punk Scene, based on over 200 interviews, provided a comprehensive oral history that revitalized scholarly and fan interest in the genre's roots. Emerging bands like New York City's Anasazi, with their Virgin Prunes-inspired cult-punk sound on releases such as Nasty Witch Rock (2015), and Vancouver's Spectres, blending anarcho-punk ethics with icy post-punk on albums like Utopia (2016), gained traction at events including Germany's Wave-Gotik-Treffen, where deathrock acts routinely feature alongside goth and darkwave performers.^[3]^[33]^[34]^[35] In the 2020s, deathrock has sustained momentum through post-pandemic online communities fostering global discussions and archival sharing, alongside fresh releases and tours aligned with a wider post-punk renaissance. Recent years have seen increased touring, such as deathrock-inclusive lineups at the 2024 and 2025 editions of Wave-Gotik-Treffen, where acts like Fangs on Fur delivered raw goth-punk sets, reflecting the genre's enduring appeal amid renewed interest in DIY underground sounds.^[35]

Cultural Dimensions

Fashion and Aesthetics

Deathrock fashion draws heavily from punk's DIY ethos while incorporating gothic and horror elements, featuring a core wardrobe of black leather jackets, torn fishnets, platform boots, and handmade spikes or studs. This style evolved in the late 1970s and early 1980s Southern California scene, blending 1970s punk rebellion with added layers of lace, velvet, and pale corpse paint to evoke a decayed, undead glamour.^[36]^[37] Central to the subculture's identity are horror theatrics, manifested in stark stage makeup that mimics zombies, vampires, or skeletal figures—such as white-faced skull designs—and the incorporation of props like fake blood during performances or in B-movie-inspired music videos. These visual motifs, inspired by classic horror icons like Vampira and The Munsters, amplify the macabre themes often present in deathrock music.^[37]^[38] The aesthetics are deeply tied to subcultural venues, particularly the dimly lit clubs of 1980s Los Angeles like the Anti-Club, decorated with horror-themed elements to create an immersive, eerie environment. In later revivals from the 1990s onward, including the 2020s, these styles have persisted through DIY thrift store scavenging, mixing vintage punk pieces with contemporary gothic accents for a raw, accessible expression.^[37]^[36] Gender fluidity is a hallmark of deathrock aesthetics, with androgynous attire and makeup—such as smudged eyeliner, teased hair, and mixed-gender clothing like lace tops paired with combat boots—drawing from glam rock precursors and challenging rigid 1980s norms. This emphasis on ambiguity allows for expressive, non-binary presentations that blur traditional lines.^[38]^[36]

Key Figures and Bands

Christian Death, formed in Los Angeles in 1979 and led by vocalist Rozz Williams, emerged as a cornerstone of the deathrock scene through its fusion of punk aggression with gothic and horror-themed lyrics.^[39] The band's debut album, Only Theatre of Pain (1982), released by Frontier Records, featured tracks like "Romeo's Distress" and "Deathwish," establishing a template for deathrock's dark theatricality and raw emotional intensity.^[39] Early demos from 1981, including live recordings like the Halloween 1981 session, captured the group's nascent sound blending post-punk dissonance with macabre imagery.^[40] Williams' suicide by hanging on April 1, 1998, at age 34, marked a tragic endpoint to his influential career in the genre.^[41] 45 Grave, another pivotal Los Angeles outfit formed in 1979, helped define deathrock's horror-infused punk aesthetic under the leadership of vocalist Dinah Cancer (born Mary Ann Sims).^[18] Their debut album Sleep in Safety (1983), released by Enigma Records, showcased Cancer's distinctive icy shrieks over tracks like "Evil" and "Partytime," merging surf-punk riffs with gothic horror elements inspired by B-movies and Alice Cooper.^[18] Cancer's commanding stage presence and unapologetic style paved the way for female-fronted deathrock acts, influencing a wave of women in the male-dominated LA punk scene during the early 1980s.^[42] TSOL (True Sounds of Liberty), active in the LA scene from 1978, contributed to deathrock's evolution through their mid-period shift toward ghoulish themes, particularly on the EP Dance with Me (1981), which aligned with the genre's darker punk explorations.^[18] The Super Heroines, founded in 1981 by guitarist-vocalist Eva O (also of Christian Death), brought a feminist intensity to deathrock with their raw, emotive sound.^[43] Their 1984 recordings, later compiled on Love and Pain (1993, Cleopatra Records), included tracks like "Cry for Help" and "Tears of a Star," emphasizing themes of emotional turmoil and empowerment through female-fronted perspectives in the genre.^[43] Kommunity FK, established in 1978, further shaped deathrock with their experimental post-punk approach, highlighted by the debut album The Vision and the Voice (1983, Independent Project Records), featuring songs such as "Hyperbolia" that integrated ethereal synths and tribal rhythms.^[44] Nervous Gender, formed in 1978 in Los Angeles, added a unique noise and performance art element to the deathrock scene with their chaotic, gender-bending shows and tracks like "My Head's Up My Ass" from their 1981 EP Music from Hell. The band's experimental sound and theatricality, often featuring cross-dressing and industrial influences, contributed to the genre's diverse and subversive identity. The LA deathrock scene thrived on interconnections, with musicians frequently sharing members across bands to foster a tight-knit community.^[37] Drummer Don Bolles, for instance, transitioned from the Germs to 45 Grave, while keyboardist Paul Roessler contributed to both 45 Grave and earlier acts like the Screamers, amplifying the genre's punk roots.^[37] Fanzines such as Punk Globe, active since 1977, played a crucial role in promotion by covering emerging bands like Christian Death and 45 Grave, helping disseminate the scene's innovations through interviews and reviews in the early 1980s.^[45]

Legacy and Influence

Impact on Other Genres

Deathrock's aggressive, punk-driven energy contrasted with and complemented the slower, more atmospheric tendencies of early UK goth rock, infusing the genre with heightened theatricality and horror elements drawn from American punk scenes. This cross-pollination occurred as UK bands encountered deathrock through shared tours and international releases, broadening goth rock's sonic palette beyond post-punk introspection. For instance, Alien Sex Fiend incorporated deathrock-inspired horror motifs and raw intensity into their early work, evident in the chaotic, B-movie-inflected tracks on their compilation The Singles 1983–1985, which echoed the macabre visuals and speed of LA acts like Christian Death.^[1]^[46] The genre exerted a profound influence on horror punk, evolving its theatrical horror themes from deathrock's blend of punk aggression and gothic morbidity into a more streamlined, narrative-driven style. Pioneering deathrock bands such as 45 Grave emphasized gory aesthetics and performative shock value, directly shaping the Misfits' shift toward elaborate horror narratives in their post-1980s output, where songs like those on Famous Monsters (1999) amplified deathrock's emphasis on monster imagery over straightforward punk rebellion. This lineage extended into the 2000s with acts like Murderdolls, who fused horror punk's spectacle with glam metal, drawing on deathrock's foundational theatricality to create anthems of undead excess on albums like Beyond the Valley of the Murderdolls (2002).^[47] Deathrock's production techniques, including heavy reverb and echoing guitars, contributed to the atmospheric foundations of darkwave. This is evident in the reverb-drenched layers that defined early works by groups like Clan of Xymox on their self-titled debut (1985), which featured synth-infused melancholy.^[48] These elements also permeated video game soundtracks seeking horror-punk vibes, with Misfits tracks like "Attitude" featuring in Rock Band (2007) and evoking deathrock's speedy, monstrous energy to enhance immersive, adrenaline-fueled gameplay.^[49]

Global Spread and Modern Scene

Deathrock's international expansion began in the early 1980s with notable overlaps in the UK and Europe, where bands like Ausgang emerged from Birmingham's post-punk scene in 1983, blending deathrock elements with the burgeoning Batcave club culture.^[50] This period saw European acts adopting the genre's horror-infused aesthetics and raw punk energy, fostering cross-pollination with local gothic rock movements. By the 1990s, deathrock spread further through global goth festivals and subcultural networks; in Japan, the scene built on its early 1980s foundations with bands like Sex Android continuing the tradition, often featured at events such as Tokyo Dark Castle, which has hosted deathrock performances since the decade's start.^[51] Similarly, Mexico's goth subculture, which originated in private gatherings around 1982, gained public momentum in the 1990s via underground events and imports of Western dark music, laying groundwork for localized deathrock expressions.^[52] From the 2010s onward, deathrock experienced renewed globalization, particularly in Europe through major festivals like Leipzig's Wave-Gotik-Treffen (WGT), an annual event since 1992 that has increasingly spotlighted deathrock revivals with dedicated lineups of goth rock and Batcave-era acts.^[35] In Latin America, Mexico City's vibrant scenes have integrated deathrock influences, as seen in bands like Los Dezterrados, a duo formed in the late 2010s that draws on the genre's themes of exile and dark humor through synth-driven tracks.^[53] These adaptations reflect deathrock's adaptability, merging with regional electronic and post-punk elements while maintaining core punk roots. As of 2025, deathrock maintains a dedicated modern landscape with active bands such as Christ vs. Warhol, a Los Angeles-based post-punk/deathrock outfit that released vinyl editions of their albums Dissent and We, the Victims of History in recent years, emphasizing political disillusionment in their sound.^[54] Similarly, Fangs on Fur, a female-fronted goth-punk/deathrock group, continues touring internationally, including a Halloween 2025 performance in New York as part of the Carnival of Souls event, and maintains a steady output via platforms like Bandcamp.^[55] Online distribution has amplified accessibility, with Bandcamp enabling direct releases from niche acts and streaming services broadening reach to global listeners beyond traditional goth hubs.^[56] Despite its niche status overshadowed by mainstream pop, deathrock's vitality persists through community-driven efforts, including podcasts like Cemetery Confessions, which in 2025 featured discussions on deathrock's role in goth culture and personal themes of mortality with band members from Obsidian.^[57] These platforms, alongside festival circuits and digital archives, sustain the genre's underground momentum, ensuring its evolution amid broader musical shifts.

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Apr 9, 1998 · An idol of early American goth-rock fans, Christian Death founder Rozz Williams hanged himself on April Fool's Day in his West Hollywood apartment. He was 34.
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Dinah Cancer - Alice Bag
Aug 30, 2015 · 45 Grave records the album, Sleep in Safety. 1984- 45 Grave went on US tour and broke up. A year later, did some shows with 45 G for a ...
[46]
Super Heroines - Anthology 1982 - 1985 (CD)
### Summary of Super Heroines - Anthology 1982 - 1985 (CD)
[47]
https://www.altpress.com/best-horror-punk-bands-misfits-alkaline-trio/
[48]
Phantoms: The Rise Of Deathrock From The LA Punk Scene
The LA deathrock or Goth scene has persevered in the face of changing musical styles. It is here to stay. Author Mikey Bean has spent years interviewing ...
[49]
Gothic Rock - Darkwaveradio.net
Dec 15, 2018 · This harder, more punk-influenced style became known as deathrock. ... Other bands associated with gothic rock include Alien Sex Fiend, All ...
[50]
A history of horror punk, from the Damned and Misfits to Alkaline Trio
Jan 3, 2022 · A history of horror punk, from the Damned and Misfits to Alkaline Trio ... Murderdolls. 02:28. 21. Devil Inside. Wednesday 13. 05:14. Play on ...
[51]
Torched Exclusive- An Interview With Clan Of Xymox's Ronny ...
Sep 3, 2024 · Over its four-decade career, Clan Of Xymox has become one of the most influential groups in the darkwave, goth, and Post-Punk scenes.
[52]
11 best video game soundtracks featuring rock music
Jun 10, 2019 · 11 best video game soundtracks featuring rock music · 1. Tony Hawk Pro Skater · 2. Halo 2 · 3. Call Of Duty: Black Ops II · 4. Grand Theft Auto 5 ...
[53]
Ausgang - Deathrock.com
From Birmingham UK, Ausgang formed in 1983 after the band Kabuki released it's only single. Emerging alongside the UK batcave scene (a nightclub predating the ...
[54]
From AUTO-MOD to 13th Moon: It's Japanese Deathrock! by Oliver ...
Apr 3, 2012 · This is an overview of Japanese deathrock from the early 1980s to the present, necessarily incomplete. It is a starting point, not the final word.
[55]
GLOBAL SUBCULTURE JOURNEY- THE ORIGINAL GOTH SCENE ...
Aug 3, 2024 · The Mexican goth scene began with individuals exposed to gothic culture, first documented in 1982. It started with private gatherings, then ...Missing: spread 1990s
[56]
Deathrock is Undead: Los Dezterrados pt.I
Jul 18, 2019 · The band was born as a responsive, lysergic, B horror cinema, black-humored proposal with Sinister-Punk and Deathrock. I did a rare interview, ...
[57]
Dissent | Christ vs. Warhol - Bandcamp
Formed in Los Angeles in 2008, Christ vs. Warhol was born out of personal unrest and political disillusionment. Emerging from the DIY underground, the band ...
[58]
https://www.youtube.com/watch?v=OTzMjz7tIK0
[59]
Goth Rock/Death Rock Reborn: Streaming DREZDEN 'Chamber ov ...
Jun 6, 2018 · The first song is called “Traitors” and it features a slight uptempo pace compared to the rest of these songs. Track two is called “Anastasia” ...<|separator|>
[60]
Death and Deathrock - Cemetery Confessions - The Belfry Network
Jun 2, 2025 · We chat with Missy and Ryan of Obsidian about the lack of deathrock in the goth scene, their personal experiences with death, and what it means ...