Quantcast
 Princess Stomper

The life and death of a genre

Decrease Font Size Increase Font Size Text Size Print This Page

Cybergoth

In parallel developed industrial techno. That had taken the path forged first by Kraftwerk, then Front 242 and Front Line Assembly, and ramped up the beats. The trouble is that, by that point, most of the first-wave industrial fans were off getting married and having babies and responsible jobs so weren’t out clubbing any more, and the next generation had taken one look at Billy Corgan in that Uncle Fester frock and fucked off. With numbers dwindling, only the most hardcore clubgoers were left, and they weren’t “hardcore” in the sense of being unwaveringly passionate about the music.

The music didn’t really matter at all.

Although the bands themselves took drugs, the industrial fans never really did – bit of pot, mostly cider – any who might have ventured that way scared off by a spate of drug-related rock star deaths. The goths, on the other hand, took anything. Speed gave way to E and cocaine, and with that came a shift. Clubbing became about dressing up and taking drugs, with the music falling by the wayside. It wasn’t to be listened to any more, only danced to.

I figured it was time to get the hell out of ‘industrial’ at around this point.

Go back and listen to those early tracks again. Does it in any way suggest itself as the progeny of Einstürzende Neubauten? Then again, Neubauten might put a downer on your cocaine-and-ecstasy high.

It got worse … and worse … and worse …  [This video is truly offensively bad – Ed]

It. Has. fucking. Autotune.

I mean, seriously.

For fuck’s sake.

Kill it through ridicule.

Pages: 1 2 3 4

23 Responses to The life and death of a genre

Leave a Reply

Your email address will not be published.

This site uses Akismet to reduce spam. Learn how your comment data is processed.