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Projekt Records

Projekt Records

Projekt records was created by Sam Rosenthal in 1983 and has evolved over the years into one of the foremost Gothic, Ethereal, Darkwave, and Dark Cabaret record labels in America. Projekt bands are likely to rely more on keyboards and acoustic guitars than on the guitar and bass lineups of bands on other labels, and influences range from art and literature to ancient and world music. Prominent Projekt artists include black tape for a blue girl, Android Lust, Unto Ashes, Mira and Voltaire. The label is run by Sam and Lisa Rosenthal who, in addition to being at the frontline of current trends in the goth scene, also make a point of running Projekt as an independent record label.

Artists

The following artists are currently signed with Projekt:
- Alio Die
- Android Lust
- Arcana
- Audra
- Autumn's Grey Solace
- black tape for a blue girl
- Dark Sanctuary
- Fear Falls Burning
- Human Drama
- Lovesliescrushing
- Mira
- Steve Roach
- Sam Rosenthal
- Soulwhirlingsomewhere
- Unto Ashes
- Vidna Obmana
- Voltaire

External links

- [http://www.projekt.com Projekt Records] Category:Record labels

Gothic rock

:This article is about the musical style of gothic rock. For the goth scene in general, see goth. Gothic rock evolved out of post punk during the late 1970s. Originally considered just a label for a small handful of punk rock/post punk bands, goth only began to be defined as a separate movement in 1981. While most punk bands focused on aggressive, outward rock, the early gothic bands were more introverted and personal, with elements that can be traced to much older literary movements such as gothic horror, Romanticism, existential philosophy, and the philosophical construct of nihilism. The earliest gothic bands were Bauhaus (whose song "Bela Lugosi's Dead" is said to have created the gothic scene), The Cult, and Fields of the Nephilim.

First generation (c. 1979–c. 1985)

Associating the goth subculture with the first generation of gothic bands can be a bit controversial. This is because "gothic" started out as a label and these groups labeled as such were part of the greater punk/post punk/new wave scene. The result is that not all of the punks and new wavers who liked these groups were necessarily a part of the goth scene. Associating these early bands with goth may spark angry protests from fans who are not goths and don't want their favorite band associated with goth. Several bands, including The Sisters of Mercy, do not consider themselves part of the goth movement even though most of their fans may be goths. This even happens with some of the bands that came around after goth started turning into a distinct subculture and the band in question were very much involved in it (for example Alien Sex Fiend), despite being actively a part of the scene will get denied gothic rock status. However, regardless of the controversy surrounding this use of labels, these early groups are where gothic rock had its origins. Each of the early bands had much in common with the punk movement, though any similarity with punk was owed to the fact that that was the scene from which they were emerging, and were attempting (whether consciously or unconsciously) to leave behind. What is most notable about the core early 1980s post punk bands is that, typical to their punk roots, they had a general distaste for labels, presumably seeing such things as anathema to creative expression [http://www.gothics.org/subculture/articles/undead.php]. Throbbing Gristle's Industrial Records (1976) exemplified this attitude amongst the post-punk groups. In recent years, the tendency has swung almost entirely the other way, with many bands being quick to label themselves as goth and borrow the imagery. With some exceptions, such as Christian Death from Los Angeles, the Virgin Prunes from Ireland, and Xmal Deutschland from Germany, most of these first gothic rock groups were British.

Early goth bands in the United Kingdom

The first post punk/new wave groups later to be labeled gothic were Joy Division and Siouxsie & the Banshees in 1979. They seem to have been a part of a wave of bands developing a haunting sound and dark, art-oriented expression between 1978 and 1979. Two other examples of this trend were Johnny Rotten's Public Image Ltd and Killing Joke. Though these groups may not have been part of the goth scene that sprung up a few years later, they were very influential. Among influential albums by Siouxsie & the Banshees would be everything put out between their debut album The Scream (1978) and Nocturne (1983). Joy Division were short lived because vocalist Ian Curtis committed suicide, but the two albums they put out, Unknown Pleasures (1979) and Closer (1980), were both gothic in sound and highly influential. The remaining members of Joy Division became New Order and New Order's first album Movement (1981) continued Joy Division's influential gothic style. New Order afterwards turned into a New Wave/dance group but not before the British press began slamming gothic rock groups, such as Danse Society, as New Order rip offs. As the gothic label began to stick to Joy Division and Siouxsie & the Banshees in 1979; then came Bauhaus, originally called Bauhaus 1919. They started out wearing plain jeans and t-shirts, but after appearing on the same bill as Gloria Mundi (who looked and sounded gothic yet remained unknown since nobody ever saw them), Bauhaus ended up having a make over, dressing in all black and wearing make up. Strongly influenced by English Glam rock, such as David Bowie and T. Rex, Bauhaus's debut single Bela Lugosi's Dead released in late 1979, is considered to be the gothic anthem that sparked several people to follow in their gothic footsteps. More bands came along in 1980-1981; among them were Danse Society, Theatre of Hate, Play Dead, and The Sisters of Mercy. In February 1981, Abbo from UK Decay jokingly labeled this emerging movement gothic and so it went from being a label for a few bands to a label for a movement. UK Decay started out as a punk band in the late 1970s and, though they sounded very gothic since their beginning, they became more important in the emerging scene of the early 1980s. The Cure also started developing their own goth sound. Their contribution to the goth genre is centered around Faith, Seventeen Seconds, Pornography and Disintegration (1989). This sound originated from the song "Three Imaginary Boys" on the first album (Three Imaginary Boys, 1979), which is generally considered closer to being a New Wave album. Echo and the Bunnymen were another early post punk outfit that would bear substantial influence on the gothic look and sound, particularly with the album Crocodiles (1980) and songs like 'Happy Death Men'. The origins of gothic fashion can be traced to Siouxsie & the Banshees, Bauhaus, and The Cure, though some mention should be given to The Damned, a 1977 punk band whos lead singer Dave Vanian dressed up as a vampire for kicks. Siouxsie & the Banshees and The Cure have retained their goth imagery throughout their careers, but their music has strayed from the gothic style. After the Nocturne album, Siouxsie's output shifted to softer focus on gothic themes. Bauhaus remained a consistently gothic band up until their break up in 1983. Some members of Bauhaus had a side project called Tones on Tail and continued with it during the mid 1980's, releasing gothic music influenced strongly by Pet Sounds-era The Beach Boys and psychedelia. Early Gary Numan material from Tubeway Army to The Pleasure Principle can be considered goth. The use of analog synthesizers and subject matter were a definite influence on later goth bands. His imagery & fashion have influenced contemporary goth Cyberpunk fashion. 1982 saw gothic rock turn into a full on sub-culture, not just because of the emergence of bands like Gene Loves Jezebel, Sex Gang Children, Southern Death Cult, March Violets, Specimen, and Alien Sex Fiend, but because it saw the opening of the Batcave in London, a venue with the purpose of reinventing David Bowie's style of glam rock with a darker, horror-type twist. Some members of gothic rock bands began hanging out there and it ended up becoming the prototype goth club. By 1984, music played by the DJs there ranged from Siouxsie, the Cramps, Sweet, Specimen, Eddie Cochran, and Death Cult. 1982-83 also saw the gothic rock scene gaining a lot of media attention from the British press and venues similar to the Batcave started popping up all over England.

Early goth bands in America and Canada

From the late seventies onward, the Death Rock movement in Los Angeles, California was on the rise, with such bands as Christian Death (formed 1979), Gun Club (1981), 45 Grave, and Kommunity FK (c. 1983). At the time that Christian Death were recording their debut album Only Theatre of Pain in 1982, frontman Rozz Williams knew of the goth scene in England but had not yet heard any of those bands. Christian Death soon became popular in France and started touring Europe and England in 1984. Their second two albums Catastrophe Ballet and Ashes showed more direct influence from goth as Rozz Williams became interested in surrealism and the dada movement. The Gun Club also started playing in Europe and England a lot, often opening up for the Sisters of Mercy. The power-industrial outfit Swans emerged in 1981 from the same N.Y. No Wave scene that included Suicide (extremely influential prototype of later Industrial and dark electronic bands), Lydia Lunch/Teenage Jesus and the Jerks, and Sonic Youth. The Swan's high-octane, raw, black sludgery characterized their first Filth EP and LP, released in 1982/83. Their sound quickly evolved into an industrial dirge synth-waltz (1989's The Burning World, 1991's White Light From the Mouth of Inifinity, and 1992's Love of Life), and today M. Gira's Swans remain one of the most influential and acclaimed gothic bands ever to have struck the scene. cEvin Key's and Nivek Ogre's Skinny Puppy (formed c. 1982), were also doing their "thing", quite apart from the Death Rock scene. Whilst all of these groups began as quite distinct from goth, they soon began to be equated with it, and are now recognised as strong early influences.

Early goth bands in Europe and Australia

Goth was as much a continental European phenomenon as it was British or American. At the same time bands like Bauhaus and Christian Death were forming in those countries, dark bands such as Einstürzende Neubauten (1980), Xmal Deutschland (1980), Die Krupps (1981), and Pink Turns Blue were forming in Germany. Belgium gave rise to electronic body music (EBM) with influence from bands such as Kraftwerk and the early EBM band Front 242 (1981). Amsterdam soon joined in with Clan of Xymox, who formed in 1983. Subsequently, Germany is now home to the largest modern gothic festival, the yearly Wave Gotik Treffen in Leipzig, which began in 1992. Australia and New Zealand also deserve mention. The emerging movement there was characterized by Nick Cave's second band, The Birthday Party (c. 1979 and later moving to London) and other post-punk collectives like Fetus Productions (also called The Features/The Fetals, c.1979), who as of 2004 were still holding art museum exhibits for their controversial depictions of deformed human beings. From the [http://www.filmarchive.org.nz/viewing/fc_sdtracks_04.html New Zealand Film Archive] site: "Operating as an audio-visual company from 1980-1989, Fetus Productions were part of a small global 'industrial' culture network, which included Throbbing Gristle in Britain, and Survival Research Laboratories on the West Coast of America. They released seven albums, designed clothing, wrote manifestos, made films, and challenged the parameters of music and art, blending pop, industrial and philosophical methodologies. Their work attacked advertising's promulgation of perfect images and perfect bodies using images of medical misadventure and mutation."

Second generation (c. 1985–c. 1995)

In the UK this period saw goth bands at their most popular, and the subculture at its largest extent. Throughout the '80s, there was much cross-pollination between the European goth subcultures, the Death Rock movement, and the New Romantic (New Wave) movement. The rise in popularity of rock music in the mid-eighties, was mirrored by the rise of gothic rock, most notably in the form of the seminal goth rock bands, The Sisters of Mercy, Fields of the Nephilim (1984), a new version of Christian Death (1985), The Mission (1986), and Mephisto Walz (c.1987) founded by former Christian Death composer / guitarist Barry Galvin (alias Bari Bari), Galvin defined the dark droning style of Christian Death on the album Atrocities, the songs of which he composed and later transferred to the Mephisto Waltz repertoire. Around 1985, the post punk era came to an end and many of the first generation gothic groups either disbanded or changed their style. That era closes with The Sisters of Mercy's debut album First and Last and Always (1985) which cracked the British top ten and is a good picture of the transition between first and second generation goth. Despite the fact that they had formed in 1980, the Sisters would prove to be very influential on the second generation. Vocalist Andrew Eldritch had a voice very different from any of the other first generation gothic rock groups and by the late 1980's was labeled the "Godfather of goth". The Sisters of Mercy were also the first among the gothic rock groups to use a drum machine, along with the March Violets, who, like the Sisters, were also from Leeds, England. The drum machine seems to have been a unique feature of goth bands coming out of Leeds (the Three Johns and Red Lorry Yellow Lorry are good examples) and became much more common during the second generation. The drum machine continues to be common in goth music to this day. It was during the second wave of goth that the term and the style became noticed outside of a few tight-knit circles. The term began to appear in mainstream British publications like The Face and the NME, fanzines and goth-only clubs began to spring up in the tradition of London's Batcave which was still going strong). The 1983 vampire film "The Hunger" starred David Bowie and featured an appearance by Bauhaus, cementing the relationship between glam, horror, goth and mainstream in a way that influenced much of the second generation. Several goth magazines arose during this time, the first possibly being Propaganda (though it later became a softcore gay porn magazine). Goth zines split their direction in much the same way that the scene itself did; earlier magazines such as Permission were allied to the punk roots of goth, and tended to veer towards industrial music as the years went on, while later magazines such as Carpe Noctem focused more on the lace-and-poetry romantic sound, setting the stage for the "spooky kids" of the third wave. By 1987, gothic groups started to emerge in Toronto and Montreal, Canada. Those achieving acclaim include: Disappointed a Few People (Montreal 1986) and Masochistic Religion (Toronto, 1988?-2003) whose signer, Mitch Kroll, relocated to Montreal and is still active as a musician but the band is now dormant. Masochistic Religion also included the singer from Armed and Hammered, the Guitarist from technicolour rain coats and a member from Ichor. Toronto band Exovedate signed with German record label Pandaimonium Records and their third CD "Seduced by Illusions" received airplay in Australia, Russia, the United States, Brazil, Guam, Germany, and Canada. Among these bands, and included in the scene was a fledgling Industrial scene which included D.H.I. (Death and Horror Inc.) (Fringe Records), Digital Poodle, and Dog Pile who achieved rather formidable acclaim in the Netherlands. Contemporary dance club goth evolved simultaneously with industrial music, and both use the same techniques and types of synthesis equipment. The main difference is that industrial is "harder" sounding, and goth is "softer" sounding. Modern goth often has the evolutionary feel of New Wave music or synth pop, while industrial is an evolution of noise music and Musique concrète.

Third generation (c. 1995–c. 2003)

The mid-1990s would see gothic rock somewhat merge with industrial music, with industrial bands such as Nine Inch Nails and Razed in Black. Mention must be given to the New York band Type O Negative and the Pennsylvania band Fields of Aplomb, whose metallic style draws heavily on the supposed gothic influences of black magic, fetishism, and depression. Glam rock diverged into death glam, assimilating some of the visual elements of goth while retaining the frantic lollypop essence of Glam Rock with a dark theme, with bands like Marilyn Manson (formed as Marilyn Manson and the Spooky Kids). With the arrival of Manson, the 'goth' movement has become more mainstream in popularity in the United States and has brought the "goth-not goth" debate to a head. Many people—including a large number of 'traditional' goths—balk at the claim that Manson or Mansonites are goths. Indeed to say as much is to commit heresy in many gothic circles. To them, Spooky Kids (as fans of the band have also been dubbed) are just not goth. Others say that with many Mansonites consistently identifying themselves as goths, they speak for the movement, however much some may wish to deny them a place. Seeking a middle-ground, others have begun to accept a distinction between goth and goth-friendly, and placing Manson and his ilk in the latter category. Another genre of music sometimes associated with the goth subculture is gothic metal, which combines medieval gothic music with heavy doom metal. Goth metal is often described as sounding like Beauty and the Beast because of the characteristic duets between operatic female vocals and male death metal vocals, however, traditional gothic male voices can be heard in goth metal bands like Paradise Lost. Some of the key bands in this area are Paradise Lost, My Dying Bride, Theatre of Tragedy, Tristania, Skeptical Minds and Lacuna Coil. As with Manson, above, it is hotly debated whether this genre is really part of the goth subculture; most goths will have nothing to do with it as goth and metal are very different. In the UK, of equal importance was the gradual rise of cybergoth first developing at Slimelight, arguably the most famous and longest running goth club in the world, currently based in a disused industrial complex in Islington, London. Cybergoth developed in the late 1990s, the term influenced by cyberpunk writers such as William Gibson, as a new breed of gothic fashion/lifestyle. With influences from rave culture, industrial music and anime, the neon hair extensions, glowsticks, bright make up and clothes, and love of upbeat music sets this somewhat apart from the "mainstream" goth movement. Cybergoth bands include Goteki, Action Directe, Sheep on Drugs and Apoptygma Berzerk, and are staples of the industrial-club dance floor.

Fourth generation (c. 2003 to Present)

Mainstream media is once again enjoying a fascination with the themes and looks of gothic music culture similar to when Marilyn Manson first broke surface. This is evidenced by several television sitcoms and movies that incorporate gloomy themes or situate token 'goth' actors. Popular punk bands like My Chemical Romance or dark, seductive glam-rock bands like HIM (whose 2003 'Love Metal' album caught US attention) are gaining uneasy popular associations with Gothic Rock because they borrow heavily from gothic imagery, but are usually far-removed from a related sound and devoid of the heavy art expression marking all previous generations of the Gothic rock movement. Some feel that the heightened popular interest in dark themes relates to the post-traumatic effects of the 2001 911-attacks, the lengthy U.S.-Iraq occupation, and a concentration of early-millenia global natural disasters (the 2004 Asian Tsunami, 2005 flooding of New Orleans, and the 2005 Kashmir Earthquake). These occurances can create popular feelings of apocalypse, depression and helplessness, and curiosity about death. Many fans of early gothic rock are embracing a Death Rock revival that has taken height as of 2003 as a return to the original music and fashions of the first generation of goth. Deathrock.com has devoted itself to reviving the genre, and even Nina Hagen headlined the recent Drop Dead Festival in New York City (2005), already in its third year. A collective of new West Coast bands have also seen a unique incorporation of Death Rock, Gothic rock, Cabaret, Screamo, Electroclash and Indie Rock sounds. West Coast bands exhibiting this yet-unnamed style include Cinema Strange, Black Ice, The Phantom Limbs, Swann Danger, The Vanishing, The Prids and Two Ton Boa, and live shows generally incorporate artistic imagery, dress, acting--and in many ways picking up where The Virgin Prunes left off. A related movement, Dark Cabaret has also emerged abruptly onto the scene. Dark Cabaret as a genre was recently capitulated by Sam Rosenthal of Projekt Records on a compilation release, A Dark Cabaret (2005). Katzenjammer Kabarett from Germany, Jill Tracy, and especially The Dresden Dolls are resounding examples of the success of this newest expression of the Gothic Rock movement. Cherry Red Records has compiled a complete Goth Collector Series catalog of its early Gothic Rock bands for ongoing release. Legendary bands such as Gene Loves Jezebel, Screams For Tina, Skeletal Family, and Echo and the Bunnymen also continue to release new material into the new millenium, challenging a wildly evolving scene to stay aware of its roots.

Musical predecessors (1960s–1970s or Earlier)

- David Bowie and glam rock. Elements of the seventies glam subculture helped influence goth both musically and visually. As goth broke further away from punk, the androgynous look, which Bauhaus favoured, developed, and was taken even further by bands like Alien Sex Fiend and their followers. David Bowie's androgynous appearance, love of melodrama and his use of dark themes meant he had a major influence on many early goth bands. His songs frequently appeared on the Batcave playlists. Bowie had also described his Diamond Dogs (1974) album as gothic when it first came out.
- The Velvet Underground (1960s), whose dark and depressing sound and themes were frequently referenced by early goth bands, especially by Siouxsie & the Banshees. Joy Division performed a cover version of "Sister Ray", and Christian Death covered "Venus in Furs". Nico, who performed with the Velvets, is sometimes considered the first Gothic Rock artist.
- The Doors influenced the Los Angeles emergence of Death Rock, particularly with the album Strange Days (1967). Joy Division and Echo and the Bunnymen were also suggested to have borrowed The Doors' sound. The Bunnymen's cover of "People Are Strange" is included in the film (as well as on the film's soundtrack) The Lost Boys. A 2000 album on Cleopatra Records, Darken My Fire: A Gothic Tribute to The Doors, featured covers by bands such as Mephisto Walz, Ex Voto, Alien Sex Fiend, and The Mission UK. The New Creatures, heavily influenced by The Doors, also took their name from a book of poetry by Jim Morrison.
- Alice Cooper is also worth acknowledging. Despite rarely being considered goth music, they were key influences in the darker trend rock music began to take and have continued to take. Alien Sex Fiend in particular were Cooper fans. Generally speaking, musicians like Cooper only set the stage for makeup wearing as acceptable among youth subcultural groups.
- T-Rex, another glam rock band and peers of David Bowie. Marc Bolan's style and lyrics were extremely influential. Records of early playlists from the Batcave include T-Rex tunes, and Bauhaus recorded a cover of "Telegram Sam" which appeared on their debut record, In the Flat Fields.
- The progressive rock band, Genesis, also showed strong elements of glam rock in the early 1970's. The music often consisted of twisted lyrics with dark and medieval sounding instrumental arrangements. Peter Gabriel's pale makeup, partially shaved head, extravagant and often androgynous costumes as well as his unusual stage persona would also become a predecessor of the gothic look later expanded upon by artists like Marilyn Manson and Trent Reznor.
- Honorable mention can also go to Black Sabbath, whose early work featured a sinister tone that some goth bands would appropriate as a means of darkening their sound. It is widely believed that Black Sabbath were the creators of Doom Metal, which eventually spawned gothic metal. Such gothic metal bands as Type O Negative often refer to Black Sabbath as both gothic and significant inspiration.

Musical arrangements

Early English goth rock follows a standard hard rock lineup, but often adds synthesizers, or at least guitar effects that sound like synths. The front person strategy varies, because the music is more introspective than high energy hard rock:
- Singer/front-person
- Guitar player
- Bass player
- Drummer
- Synth player Contemporary goth music is generally sequenced, making heavy use of FM & digital synthesizers. It is characterized by a crisp snare drum sample and a heavy bass drum sample. The auto-arpeggiate feature of modern synthesizers is used in often complex sounding multiple simultaneous arpeggiations. Vocals tend to be either spooky or lovelorn. Lyrics are generally very poetic in nature, and follow melodies in the instrumentation of the song. Guitar settings are the most notable influence to the overall musical style. Single coil pickups are important to achieve the correct sound, Fender Jazzmasters, Jaguars, & Mustangs fit the bill nicely. The guitar sound before processing ranges from clean, to warm overdrive with gain settings at approx 50%. Dynamics to this can include just turning all amp knobs to the right for chaotic amp-driven sounds found in some Bauhaus & Siouxsie material. For the most part, the combination of the following effects will give you this sound:
- Chorus
- Flange
- Analog Delay, occasional usage of tape delay, as well.
- Reverb from 0-75% Bass is very warm and round sounding, and often uses chorus and/or flange effects. Drums tend to be played by a human with an electronic kit, BPM ranges are from 80-150. Synths usually have the above listed guitar attributes, and are generally based on a 'Strings' type of synth patch with a 25% attack rate. Analog synthesizers are almost universally used.
- Song composition utilizes the 1-4-5 scalular progressions that typify rock & roll music, but are often augmented or diminished.
- Minor key themes are prevalent, but major keys are not shunned.
- Composition is usually guitar oriented, and follows surf music-like vertical scales, rather than blues-like horizontal scales.
- Focal points are often on the two semitonal increments of the particular scale.
- Various octave fingerings are often substituted for chords.
- Playing style is generally all downstrokes, to create the 'sound'. This type of gothic rock requires a fairly capable musician, as it will often include modal scales in song construction. Additionally, finger picking & up/down arpeggiation of chords will be found in many verse parts.

Primary Bands

Well-known, historical, and influential core bands to the Gothic genre; Includes Death Rock, darkwave, early industrial and ebm, and other genres directly associated with gothic rock. Newer Gothic metal and Industrial music are excluded here due to the size and evolution of the genres.
- 45 Grave
- Adam and the Ants
- Advent Sleep
- Alien Sex Fiend
- All About Eve
- Anax Imperator
- Apocalypse Theatre
- Ausgang
- Black Atmosphere
- black tape for a blue girl
- Bauhaus
- The Birthday Party
- Black Ice
- Children on Stun
- Christian Death
- Cinema Strange
- Clan of Xymox
- The Cocteau Twins
- Coil
- Collide
- Concrete Blonde
- Corpus Delicti
- Cranes
- The Creatures
- The Crüxshadows
- The Cure
- Current 93
- Dali's Car
- The Damned
- Dead Can Dance
- Death In June
- Deep Red
- Diary of Dreams
- Die Form
- Einstürzende Neubauten
- Ex Voto
- Faith and the Muse
- Fields of the Nephilim
- Flesh for Lulu
- Front 242
- Gene Loves Jezebel
- Gitane Demone
- The Gun Club
- Heiress Presumptive
- Ikon
- In The Nursery
- Joy Division
- Killing Joke
- Kommunity FK
- Lacrimosa
- Laibach
- L'âme immortelle
- The Legendary Pink Dots
- The Lords of the New Church
- Lycia
- Mephisto Walz (band name frequently misspelled "Waltz")
- Miranda Sex Garden
- The Mission (UK)
- Mors Syphilitica
- Museum
- Mysterious Art
- The New Creatures
- Nosferatu
- Nurse With Wound
- Paralysed Age
- Psychic TV
- Rasputina
- Red Lorry Yellow Lorry
- Rhea's Obsession
- Rosetta Stone
- Sex Gang Children
- Shadow Project
- The Shroud
- Siouxsie & the Banshees
- The Sisters of Mercy
- Screams For Tina
- Specimen
- Skeletal Family
- Skinny Puppy
- Sunshine Blind
- Swans
- Switchblade Symphony
- Strange Boutique
- Southern Death Cult
- Theatre Of Hate
- This Ascension
- Throbbing Gristle
- Tiamat
- Tones on Tail
- Trance to the Sun
- UK Decay
- Unto Ashes
- The Virgin Prunes
- Voltaire
- The Wake
- Xmal Deutschland

Secondary Bands

Less known, historically ephemeral, upcoming, or predominantly regional bands related to the gothic rock genre.
- Daeonia (Netherlands)
- Diary of Dreams
- D'espairs Ray
- Exovedate (Canada)
- Larnax
- Leicohtica (Australia)
- Love Like Blood (Germany)
- Mistle Thrush (Band)
- Band (FYR Macedonia)
- Pier Nine Brawl
- Red Scare
- Rentrer en Soi
- Soulscape
- Shadowsphere, The
- This Vale Of Tears
- Villarreal, Jaime
- Zeritas
- XIII Stoleti

Related genres

- Black Opera
- Dark Cabaret
- Darkwave
- Death Pop
- Death rock
- Ethereal
- European Macabre
- Gothabilly
- Punk rock
- Post-punk
- Cold wave
- Industrial music
- Noise
- New Wave
- Visual Kei

External links

- [http://www.cathedral13.com Cathedral13 internet radio]
- [http://www.cherryred.co.uk/goth/index.htm Cherry Red Records]
- [http://dropdeadfestival.com Drop Dead Festival]
- [http://www.deathrock.com Death Rock dot Com]
- [http://www.genelovesjezebel.com Gene Loves Jezebel]
- [http://www.IanCurtis.org Joy Division]
- [http://www.noxarcana.com Nox Arcana]
- [http://nydecay.com NY Decay]
- [http://www.phantomcreepfriday.com Phantom Creep Friday]
- [http://www.radiosatan666.com RadioSatan666.com]
- [http://www.zeritas.de Zeritas] Category:Rock music genres Category:Alternative music Category:Goth

Ethereal

:This article is about the network traffic analyzer. For more general definitions, see the Wiktionary entry. For the fictional alien race from X-COM: UFO Defense, see Ethereal (alien) In computing, Ethereal (i-'thir-E-&l) is a protocol analyzer, or "packet sniffer" software, used for network troubleshooting, analysis, software and protocol development, and education. It has all of the standard features of a protocol analyzer. The functionality Ethereal provides is very similar to tcpdump (c.f.), but it has a GUI front-end, and many more information sorting and filtering options. It allows the user to see all traffic being passed over the network (usually an Ethernet network but support is being added for others) by putting the network card into promiscuous mode. Ethereal is released under an open source license, and it runs on most Unix and Unix-compatible systems, including Linux, Solaris, FreeBSD, NetBSD, OpenBSD, Mac OS X and Windows, as it uses the cross-platform GTK+ widget toolkit (although GTK+ only works with X11 on Mac OS X, so the user will need to run an X server such as X11.app). Ethereal is software that "understands" the structure of different network protocols. Thus it's able to display encapsulation and single fields and interpret their meaning. Ethereal doesn't have its own code to capture packets. It uses libpcap/WinPcap for this task, so it can only capture on networks supported by libcap/WinPcap.

Features

- Data can be captured "off the wire" from a live network connection or read from a capture file.
- Live data can be read from Ethernet, FDDI, PPP, Token Ring, IEEE 802.11, Classical IP over ATM, and loopback interfaces (at least on some platforms; not all of those types are supported on all platforms).
- Captured network data can be browsed via a GUI, or via the TTY-mode "tethereal" program.
- Captured files can be programmatically edited or converted via command-line switches to the "editcap" program.
- Display filters can also be used to selectively highlight and color packet summary information.
- Data display can be refined using a display filter.
- Hundreds of protocols can be dissected.
- And [http://www.ethereal.com/introduction.html#features more...]

External links

- [http://www.ethereal.com/ Official Ethereal Homepage]
- [http://wiki.ethereal.com/ Ethereal Wiki] Category:Network analyzers Category:Projects using Subversion

Darkwave

Darkwave is a term which refers to an 80s movement that coincided with the popularity of New wave music. Building upon the basic principles of new wave, such as synthesizers and an androgyne archetype, darkwave evolved through the addition of dark, gothic lyrics, and an undertone of sorrow. Its first usage appears to have been in the early 1980s, to describe a synthesizer-based variant of gothic rock developed largely in Germany. The three most commonly cited bands are Das Ich, Pink Turns Blue and Project Pitchfork. Shortly afterwards, in the United States the term "darkwave" became associated with music produced on the Projekt records label because it was used as the name of their printed catalog. The Projekt label carried bands such as Lycia, black tape for a blue girl and Love Spirals Downwards, all characterized by slow, moody ethereal female vocals, with a strong Cocteau Twins influence (something like the later music of Dead Can Dance). This sense of the term darkwave would also apply to similar music from other labels carrying similar work (e.g. World Serpent and Middle Pillar). Still a third commonly used meaning is based on the assumption that "darkwave" is a contraction of "dark new wave", and hence refers to the dark/moody new wave bands such as Ultravox, Gary Numan or Orchestral Manoeuvres in the Dark. One version of this usage takes this category as distinct from the early gothic rock bands (e.g. Bauhaus, Joy Division), another is to regard "darkwave" as a more inclusive umbrella term. It could be argued that there is still a fourth meaning of "darkwave" evolving, as current fans of the music attempt to both refine the meaning of the term and expand its reach. Current self-identified fans of "darkwave" are inclined to include the works of artists such as Die Form, Blutengel and others, known for experimental recombination of elements of goth, classical and electronic music. A few other examples of bands included in this meaning of darkwave are The machine in the garden, The synthetic dream foundation and Android Lust. A common criticism of the term is that there's no clear distinction between "darkwave" and the more widely used terms "gothic" or "industrial". It's often suggested that the primary motivation for using the term "darkwave" is an attempt at gaining some distance from these other categories that are regarded as too cliched, over-exposed, or passé

Notable Darkwave Music Artists

See: List of darkwave music artists Category:Musical genres Category:New Wave music

Black tape for a blue girl

black tape for a blue girl is an American darkwave band formed in 1986. Their music incorporates elements of gothic, ethereal, ambient and neo-classical music. Fronted by Projekt Records manager Sam Rosenthal, the band's lineup has changed significantly over time. The current lineup has Rosenthal on programming and keyboards, Lisa Feuer on flute and vocals, Elysabeth Grant on vocals and violin, Brett Helm (of Audra) on vocals, and Michael Laird (of Unto Ashes) on acoustic guitar and vocals. The most notable former member of the band is their long time vocalist, Oscar Herrera. The style of black tape for a blue girl is generally described as "gothic", though their long catalog of music does not often gel with all of the contemporary standards of gothic or darkwave music over time. Their sound could be described accurately as an ambient soundscape of analog synth and old world instruments (both real and synthesized), mixed with vocals of poetic and melancholy themes. Much of the lyric writing is done by Rosenthal himself and often explores powerful emotions of love, vulnerability, isolation, loss, jealousy, and passion. One of their most well considered albums amongst their fans is remnants of a deeper purity.

Discography

- PRO00020 the rope CD (Projekt, 1986)
- PRO00024 before the buildings fell CD (Projekt, 1986)
- PRO00025 mesmerized by the sirens CD (Projekt, 1987)
- PRO00026 ashes in the brittle air CD (Projekt, 1989)
- PRO10030 a chaos of desire (cassette) Cassette (Projekt, 1991)
- PRO00030 a chaos of desire CD (Projekt, 1991)
- PRO00038 this lush garden within CD (Projekt, 1993)
- PRO00063 the first pain to linger [novel w/maxi-cd] Maxi-CD/Book (Projekt, 1996)
- PRO00069 remnants [cd-single] CD-Single (Projekt, 1996)
- PRO10068 remnants of a deeper purity (cassette) Cassette (Projekt, 1996)
- PROm0003 across a thousand blades - a retrospective CD (Projekt, 1996)
- PRO00068 remnants of a deeper purity CD (Projekt, 1996)
- XUS0010v with my sorrows (vinyl) 10" Vinyl (Amplexus, 1997)
- XUS0010c with my sorrows (3" CD) 3"-CD (Amplexus, 1997)
- PRO00084 [maxi-cd] Maxi-CD (Projekt, 1998)
- PRO00086 As one aflame laid bare by desire CD (Projekt, 1999)
- PRO00130 the scavenger bride CD (Projekt, 2002)
- SMC00002 the scavenger bride (mexican pressing) CD (Smadhi Musik, 2002)
- PRO00145 with a million tear-stained... (OUT OF PRINT) 2-CD (Projekt, 2003)
- PROMO16 PROMO16 / 2002 sampler maxi-cd (Projekt, 2003)
- PRO00158 HALO STAR CD (Projekt, 2004)

External links

- [http://www.blacktapeforabluegirl.com Band Website] Category:Darkwave Category:American musical groups

Voltaire (band)

Voltaire (born 1967 in Havana, Cuba) is a singer/songwriter whose music has its roots deeply imbedded in European folk music and has many influences from the goth scene. He has also been directing commercials and animating short films for ten years, and is best known for his Hieronymous Bosch-inspired station ID's for MTV. Inspired by the films of Ray Harryhausen (Jason and the Argonauts, The 7th Voyage of Sinbad), Voltaire began animating at the age of ten on a super8 camera. Eventually, piecing together snippets of information from fanzines, he was able to teach himself how to make foam rubber animation models and animate them. The films of his childhood landed him his first directing job in 1988 with MTV. The stop-motion tour of the hellish Garden of Earthly Delights won several awards. He also teaches stop-motion animation at the School of Visual Arts in New York City. He also wrote the song "Brains!" for the Cartoon Network show "Grim and Evil" which has since split into two separate shows (The Grim Adventures of Billy and Mandy, Evil Con Carne) and the song can also be found on his album "Boo Hoo". An avid fan of Star Trek, Voltaire frequently attends conventions and released a four track E.P. called "Banned on Vulcan". It was a set of comedy recordings poking fun of characters from the show.

Books

- Voltaire (2005). Paint it Black. Weiser Books. ISBN 1578633613
- Voltaire (2004). What is Goth?. Weiser Books. ISBN 1578633222
- Voltaire, Chris Adams, David Fooden (2003). Chi-Chian: The Roleplaying Game. Aetherco/Dreamcatcher, ISBN 1929312032
- Voltaire (2002). Oh My Goth! Version 2.0. Sirius Entertainment. ISBN 1579890474
- Voltaire, Deady the Malevolent Teddy (2004) Sirius entertainment
- Voltaire, Deady the Terrible Teddy (2004) Sirius entertainment
- Voltaire, Deady the Evil Teddy (2005) Sirius entertainment
- Voltaire, Paint It Black-a guide to gothic homemaking (2005) Weiser books

Discography

- The Devil's Bris (1998) (Projekt Records)
- Almost Human (2000) (Projekt Records)
- Banned on Vulcan (2001) (Projekt Records)
- Boo Hoo (2002) (Projekt Records)
- Then & Again (2004) (Projekt Records)

External links

- [http://www.voltaire.net/ Voltaire web site]
- [http://www.starvox.net/intview/voltaire.htm StarVox interview with Voltaire]
- [http://www.houseofgigs.net/LiveFromTheHouse/VoltaireInterview.mp3 Audio Interview with House Of Gigs] Category:1967 births

Android Lust

Android Lust is the Industrial solo project of Shikhee. Combining elements of rock, industrial, gothic and classical styles into a dark blend of music that is cold, harsh and fiercely emotional. She describes her music simply as "electronic and dark" and that is exactly what it is. Her music is embraced by the gothic culture though she denies her music is 'goth', though it reeks of hurt, of lonely lust and feeling dirty, rejection, impatience and anger. Guest Members:
- Christopher Jon: Drums, Keys, Backing Vox
- TrevorG: Keys, Bass, Guitar

Official Bio

Android Lust is the vision of its sole creator, Shikhee. Born in Bangladesh, schooled in England and in the United States, Shikhee's background is as varied as the music she creates: running the emotional gamut from loss to discovery, from regret to carnivorous loathing. Borrowing elements from a variety of styles Android Lust presents a blend of electronic rock music that is dark, icy, and fiercely emotional. After two independent label releases (including 1998's critically acclaimed debut Resolution) Shikhee released The Dividing on her own, bringing her to the attention of Projekt Records who quickly signed and re-released it to eager music fans all over the world. Outburn Magazine calls The Dividing "Unconventional and adventurous - 10 out of 10" while The Boston Phoenix says "The Dividing never misfires; it feels almost - but not quite - slick, its arranging smart, its themes ingenious". Jane Magazine said "The Dividing is filled with intensely passionate lyrics delivered in low whispers and startling, penetrating screaming". They even gave away copies of the album to 30 lucky readers. In addition, a video was shot for the song "Stained" by director Dan Oullette (whose credits include production design on David Bowie's "Dead Man Walking" video). "Stained" has received regular airplay on music video shows and channels across the United States, as well as 120 Minutes on MTV Latin America and Australia's music video show Rage. "Stained" and other songs from The Dividing have also been featured heavily on CBS' "Navy NCIS" (including an on-air mention of the band's name) and MTV's The Real World and Road Rules, as well as receiving club and radio play all over the world. Shikhee has just completed her third full length album, Devour, Rise, and Take Flight, which is due out in January 2006. "Dragonfly", the first single for the album will be released with a music video on October 18th. A tour will follow in mid November.

About Shikhee

Originally from Bangladesh, Shikhee was sent away from the unstable political environment by her parents for schooling in England. In 1999 she moved to New York City, believing America to be a place of ultimate freedom. She also has a cat Motu named after her MOTU hard disk recording system. There are some interesting interviews with her scattered about the internet.
- [http://www.fiend-magazine.com/06/music-ivandlust.html Fiend Magazine]
- [http://www.blacksheepzine.com/AndroidLust/AndroidLust.html Black Sheep Zine]
- [http://www.regenmag.com/Sections-article120-p1.html Re>gen Magazine]
- [http://www.1340mag.com/android_lust_interview.htm 1340 Mag]
- [http://www.bostonphoenix.com/boston/events/state/documents/03281518.asp Boston Phoenix]
- [http://www.darkculture.net/archive/interviews/androidlust.shtml DarkCulture Magazine] Please add more if you know of any.

Equipment

Shikhee uses a dual 867 processor G4 running Mac OS X,
and a 400 MHz G4 running Mac OS 9.
Running [http://www.motu.com/products/software/dp Digital Performer] as a audio/MIDI sequencing software
and the modular soft synthesiser [http://www.native-instruments.de Reaktor] as her main synthesiser,
as well as an [http://www.access-music.de Access Virus] and [http://www.vintagesynth.org/korg/z1.shtml Korg Z1],
For vocal effects Shikhee uses a [http://www.neumann.com/infopool/mics/produkte.php?ProdID=tlm103 Neuman TLM 103] microphone,
a Great River pre amp, and the Distressor, which is an outboard compressor. [http://www.fiend-magazine.com/03/music-ivandlust.html]

Discography

- Foreign Body - Demo - 1996
- Resolution - Album - March 1998 - Tinman
- Evolution - Remix CD - May 1999 - Tinman
- The Want (Out of Print) - Single - October 2001 - Dark Vision Media
- The Dividing (Out of Print)- Album - 2002-10-22 - Dark Vision Media
- The Dividing (Enhanced) - Album - 2003-07-29 - Projekt
- [http://www.musictap.net/Reviews/AndroidLustTheDividing.html MusicTap Review]
- [http://music.fac193.com/reviews/A_M/A/androidlust.html FAC193 Review]
- [http://www.losingtoday.com/reviews.php?review_id=690&band_alpha=a LosingToday Review]
- Stripped and Stitched - Remix Maxi-CD - 2004-08-10 - Projekt and Dark Vision Media
- Dragonfly - Single - 2005-10-18 - Projekt and Dark Vision Media
- Appears on
- Ringworm v.1 - Cherished Agony (Last Drops) - Tinman
- Awake the Machines 2 - Where Angels Lie (Writhing) - Out of Line
- The Unquiet Grave - Heathen (A Thousand Thoughts) - Cleopatra
- Empire One - Refuse, Where Angels Lie, Soviet (colder) - Tinman
- Awake the Machines - Suffer the Flesh - Out of Line
- Tentacles of Submission - No Going Back - Psykoziz
- Diva X Machina - Down - C.O.P. International Shikhee has also created in collaboration with Daniel Ouellette a music video to the song Stained, it is available to download from http://stained.androidlust.com

External links

- [http://www.androidlust.com Android Lust Website]
- [http://forums.darkvisionmedia.org/viewforum.php?f=10 Android Lust Forums]
- [http://www.darkvisionmedia.org Dark Vision Media] Android Lust

Black tape for a blue girl

Discography

External links

- [http://www.blacktapeforabluegirl.com Band Website] Category:Darkwave Category:American musical groups

Voltaire (musician)

Books

Discography

External links

Category:Record labels

Free-party

Une Free party (aussi nommée teuf ou rave-party) est une fête techno gratuite ou dont le tarif à l'entrée est libre et laissé à l'appréciation des participants. La Free party se déroule souvent dans la nature (forêt, montagne...) ou dans des usines ou hangars désaffectés. Le terme le plus usité à l'origine était celui de rave party. Aujourd'hui, les « raves » désignent plus souvent les fêtes commerciales, tandis que les « free parties » se fondent sur la gratuité -ou semi-gratuité- et la clandestinité.

Présentation

La free party est une Temporary Autonomous Zone où un sound system « 'pose' » du « son » (musique) pour en faire profiter les participants. Le lieu est tenu secret jusqu'au commencement de la fête, et cela donne souvent lieu à un jeu du chat et de la souris avec la police. D'après la lois, la fête doit être déclarée au préfêt pour autorisation. Dans les années 2000, le gouvernement a pris de nouvelles mesures pour limiter la clandestinité de ces rassemblement, notamment en proposant, en l'échange d'une déclaration préalable et de fouilles de police, la réquisition de terrains et de véhicules du SAMU et/ou de la croix-rouge. On estime qu'à une époque, il y avait quelques dizaines de teuf chaque week end en France (de taille variable, pouvant rassembler plusieurs milliers de personnes ou de l'ordre d'une centaine dans le cadre d'une soirée plus privée). En France, on estime à une centaine le nombre de Sound system, c'est-à-dire des groupes possédant en commun un matériel de sonorisation destiné à être utilisé en free-party. Free ne veut pas dire gratuit, même si c'est souvent le cas, mais libre.

Histoire

Des ancêtres des free-party eurent lieu dans les Catacombes de Paris dans les années 1980, où les mêmes phénomènes de clandestinité se reproduisaient. Le public en était typiquement une jeunesse étudiante ou désœuvrée, de bon niveau d'étude, familière de l'histoire de Paris. L'assistance en était limitée à quelques centaines de personnes au maximum, à cause de l'exiguïté des galeries, de la difficulté d'accès, mais aussi parce que l'usage d'Internet et du téléphone portable était à l'époque inexistant, limitant ces rassemblements à un petit milieu d'habitués, qui incluait dans une certaine mesure les fonctionnaires de Police assignés à leur surveillance, ainsi que le personnel de l'Inspection Générale des Carrières (IGC). Mais c'est au début des années 90 que les free parties sont réellement apparues en France. Ce mouvement est arrivé d'Angleterre. En effet, c'est en Grande-Bretagne que ces fêtes ont commencé. Au début des années 80, la techno est apparue dans les clubs anglais mais sous le gouvernement Thatcher, ces clubs furent soumis à des lois draconiennes, comme la fermeture à deux heures du matin. C'est à ce moment que naît le phénomène des raves (to rave signifie en anglais « battre la campagne, s'extasier, déblatérer »), à l'initiative des clubbers souhaitant poursuivre leurs soirées après cette fermeture. Les citadins trouvent alors accueil auprès d'une couche marginale de la population : les travelers (« voyageurs »), sorte de nomades issus du mouvement punk des années 70 et qui sont à même d'organiser ce type d'événements à l'extérieur des villes. Les plus impliqués dans le mouvement s'organisent en tribus et répandent le mouvement à travers le pays. Le 'Sound system' mythique qui fut à l'origine de ce mouvement en france (techno et Free-parties) est le Spiral tribe lors d'une tournée dans le sud de la France en 1991 et 1992, particulièrement autour de Montpellier. Leur influence directe inspirera le cycle Boréalis, une série de sept frees, sur sept années, de 1993 à 2000 qui deviendront de plus en plus commerciales, accompagnant ainsi le mouvement général de mercantilisation que subira la Techno Nation. Les ravers se retrouvent à l'heure où les clubs ferment pour de véritables jeux de pistes qui les promènent entre différents points de rassemblement. Mais face à la prise d'ampleur du mouvement, le gouvernement brtannique décide de réagir et adopte pour cela de nouvelles lois. On citera en particulier le Criminal Justice Act de 1994 qui « interdit tout rassemblement illégal de plus de cent personnes sur fond de musique répétitive », les raves sont toutes désignées.

La polémique

Bien que ces soirées soient considérées par leurs protagonistes comme des endroits d'échange, de partage et de gratuité, une certaine partie de l'opinion publique française ne le voit pas de la même manière et le phénomène fait souvent l'objet de critiques, plus ou moins fondées.

Atteinte aux droits fondamentaux

En-dehors des nuisances sonores et de la pollution entraînées après coup, le premier sujet de polémique est l'atteinte au droit de propriété. Il est en effet rare que les propriétaires des terrains sur lesquels ont lieu les free-parties soient contactés. Si cela n'est pas choquant pour une construction industrielle désaffectée et effectivement laissée à l'abandon, les terrains agricoles, prairies ou terrains ensemencés sont par contre utilisés par leurs propriétaires. Malgré tout on remarque que certains organisateurs ainsi que d'autres acteurs du mouvement tentent de communiquer avec les propriétaires afin de limiter les conflits et de faciliter la recherche d'un terrain adéquat. D'autres encore recherchent un endroit loin de toute trace d'urbanisation et de vie humaine susceptible d'être dérangée par le bruit et n'appartenant à personne.

Pollution et dégats matériels

Les free-party font souvent l'objet de plaintes, en particulier de la part des riverains et des propriétaires des terrains sur lesquels ont lieu ces fêtes. Les premières plaintes concernent les nuisances sonores. En effet, bien que les fêtes aient lieu dans des endroits reculés, la puissance des sonos (plusieurs dizaines de KiloWatts) fait qu'elles sont audibles à plusieurs kilomètres à la ronde. Les raves parties ayant lieu en général dans des lieux calmes, elles détruisent parfois pour plusieurs jours cette qualité de vie. Le piétinement, la circulation automobile détruisent la végétation, laissant un terrain écologiquement dévasté. De plus, les ravers n'emportent pas toujours avec eux les reliefs de leurs fêtes. Il arrive que pour une fête de trois jours, ce soit plusieurs tonnes d'ordures qui restent en plein champ, à charge de la commune ou du propriétaire éventuel de financer le ramassage. Mais il faut tout de même tenir compte du fait que cette pollution n'est causée que par des raveurs irrespectueux et qui ne semblent pas bien comprendre les vraies motivations du mouvement, notament le respect de la nature et donc le nettoyage des lieux après utilisation! Tout le monde peut participer au netoyage des lieux! Il est encore arrivé (au col de Vars) que plusieurs véhicules incendiés soient laissés sur les lieux.

Les accidents

Le reproche principal fait aux free-party est le nombre d'accidents mortels ayant eu lieu au cours de ces fêtes. Ces accidents ayant été pour la plupart causés par l'absorption de drogue. Bien que ces accidents ont été largement médiatisés laissant croire à la dangerosité systématique de tels événements, la réalité est tout autre. Le pourcentage d'accident par rapport au nombre de participants, au nombre de soirées organisées est infime et en rien supérieur à celui d'autres événements festifs. Cependant, ils ont marqué les esprits par le fait qu'ils ont touché essentiellement une population jeune.

La drogue

La drogue est souvent présente au cours de ces fêtes. Elles accompagnent une conception de la free-party comme une transe libératrice. Les travellers ont créé un véritable lien entre des spots très distants : Inde/Afrique/Asie/Amérique du Sud où les transes communautaires font un usage social de drogues psychédéliques. Le mouvement free est indissociablement lié à l'usage de substances pour amplifier ou illuminer la conscience personnelle (la transe), et éliminer le sentiment de fatigue (effets bien connus des amphétamines). L'évolution (certains diront « décadence ») de cet esprit tribal, a amené les revendeurs et une petite foule de délinquants et autres ' parasites '. Les principales drogues consommées sont le cannabis, l'ecstasy (appelé taz), le LSD (appelé trip ou peutri) et la cocaïne, kétamine. Depuis quelques années, les opiacés (héroïne, opium (sous le nom de rabla), rachacha...) sont de plus en plus utilisés dans le but de limiter la sensation de dépression liée à la descente des drogues excitantes et hallucinogènes. Les participants à ces fêtes n'ont pas tous le même comportement face aux drogues. Certains ne prennent aucune drogue et vont dans ces fêtes dans le seul but de danser et de faire la fête. D'autres vont dans ces soirées avec comme but non avoué de consommer des stupéfiants. Enfin, il existe une catégorie de personnes passionnées de techno ayant un usage récréatif et modéré de ces substances. À noter que certains participent à ces soirées dans le seul but de vendre de la drogue, ceux-ci ne sont pas appréciés par les teufeurs car ils dégradent l'image de ces rassemblements et les transforment parfois en « supermarché » de la drogue. A noter que le phénomène social concernant les stupéfiants a été pris au serieux par le mouvement Free qui ne se contente pas de fermer les yeux sur le problème et s'efforce, au contraire, par l'intermédiaire d'association (ASUD, Preven'teuf, Techno+...) ou d'ONG (Medecin du Monde, Croix Rouge...) présentes sur les lieux de festivité, de mener à bien des campagnes de prévention et de réduction des risques.

La répression

La loi

C'est au début du mois de mai 2001 que Thierry Mariani dépose, lors des discussions sur le projet de loi sur la sécurité quotidienne (LSQ), un amendement visant à autoriser la police à saisir le matériel dans les free-party, sous contrôle d'un officier de police judicaire. Cet amendement, après avoir été remanié par Daniel Vaillant, est voté par le Sénat le 29 mai 2001. Il est alors inséré dans l'article 23 de la loi 95-73 sur la sécurité quotidienne. Il stipule que les rassemblements à caractère musical organisés par des personnes privées dans des lieux non aménagés et qui ne répondent pas à des critères, fixés par le conseil national, d'organisation et de prévention des risques susceptibles d'être encourus par les participants doivent être déclarés aux préfets des départements dans lesquels l'évènement doit avoir lieu. À cette déclaration doit être jointe une autorisation du propriétaire du terrain. Le préfet est libre de refuser le rassemblement si les critères ne sont pas respectés. Dans le cas où un rassemblement se tiendrait sans déclaration préalable ou malgré une interdiction du préfet, le matériel de son pourra être saisi et les organisateurs punis d'une peine de prison et de 7500 euros d'amende. En réponse à cette amendement, des députés socialistes et de nombreux autres membres du gouvernement réagissent. C'est pourquoi Lionel Jospin se voit contraint d'annoncer, le 5 juin 2001, le retrait du dispositif anti-raves lors de son passage en deuxième lecture à l'assemblée. Le 26, tous les textes encadrant les fêtes techno dans le projet de loi sur la sécurité quotidienne sont retirés. À la fin de l'année 2001, après les attentats du 11 septembre, le débat sur la sécurité est relancé et le 31 octobre 2001 est votée une loi dans laquelle on retrouve les précédents amendements un peu retravaillés, ne s'appliquant désormais qu'aux rassemblements réunissant du public sur un terrain pouvant recevoir plus de 250 personnes, soit 90m². Le décret d'application de l'article 53 de la LSQ, dit décret Vaillant, signé le 3 mai 2002, en pleine tourmente des élections présidentielles (le candidat du Front national ayant obtenu 18% des suffrages au premier tour), est pourtant signé par le Premier ministre Lionel Jospin. La Loi sur la sécurité intérieure proposée par Nicolas Sarkozy en octobre 2002 renforce ces interdictions, mais la circulaire de juillet 2001 appliquant le décret de son prédécesseur tente de faire une traduction pratique d'un dècret assez flou et invite les agents de la force publique à travailler avec les associations de terrain. L'association Technopol, association pour la défense, la reconnaissance et la promotion des cultures, des arts et des musiques électroniques, dépose un recours auprès du Conseil d'État pour demander l'annulation du décret d'application au motif que le texte fait peser un régime d'autorisation et non un régime de déclaration comme il a été présenté par le Gouvernement aux députés de l'Assemblée nationale. Le recours a été rejeté et le texte reste appliqué de manière floue. Ainsi des manifestations payantes de plus de 1500 personnes se voient obligées de répondre à ce texte, alors qu'il ne s'applique qu'à des fêtes gratuites, comme l'a précisé le ministre de l'Intérieur Nicolas Sarkozy dans une réponse écrite au syndicat des producteurs de spectacle vivant (Prodiss).

Les réactions

A l'annonce du vote de cette loi, nombreuses ont été les initiatives de protestation, mais elles n'ont pas rencontré le succès espéré (la plupart des teufeurs étant à l'époque, soit trop certains de la pérénnité de leur mouvement, soit suffisamment motivé pour faire la fête mais pas assez pour en défendre les preceptes).
Il est apparu necessaire, dès les premières saisies, pour la survie de ce mouvement culturel, d'ouvrir les négociations avec le gouvernement. Un peu chaotique dans un premier temps, ces dernières ont finalement pu se structurer, le gouvernement nommant des médiateurs par prefecture et faisant tourner des circulaires afin d'endiguer certains problèmes souvent liés aux refus systématiques des demandes d'organisations (pas toujours justifié aux yeux des organisateurs) ; et les teufeurs s'organisant en collectifs ou associations (Le Collectifs des Sound system, Chep'Art, CTAC, Korg'n Heol...) afin de mener à bien les réunions pour que chaque parties puissent offrir les garanties necessaires au bon déroulement des soirées (des médiateurs issus de ces collectifs servant d'interlocuteurs avec les administrations, aidés ensuite par des bénévoles afin de programmer une organisation logisitque cohérente avec les autorités).
Depuis quelques années, de grands rassemblements ont fait figure de modèle de coopération entre l'Etat et le mouvement teufeur, même si le déblocage de terrains pose toujours quelques difficultés, le dialogue se fait plus simple bien que l'on regrette que ce dernier soit souvent inhérent au climat et ambitions politiques du moment (en témoigne le récent changement de la loi par décret qui porte à 500 (au lieu de 250) le nombre de participants avant déclaration obligatoire qui, malgré la promesse d'une parution éminente se fait encore attendre).
La volonté de coopération et de négociation reste toujours d'actualité malgré tout entre les autorités et le mouvement.

Exemples de grands rassemblements

En France

Les plus grandes Free party en France sont les Teknival qui durent 3 ou 4 jours.
- 1 mai 2001, premier Teknival sur le site de Marigny, probablement le dernier qui a, un tant soi peu, échappé à la médiatisation de masse.
- août 2001, un teknival réunissait plus de 12 000 personnes sur le Causse Méjean (Lozère).
- 1 mai 2002, Teknival de Mer (41), dernier "Teknival du 1er Mai" (Teknival Européen) illégal avant l'application de la loi.
- août 2002, plus de 20 000 teufeurs se retrouvaient dans les Alpes au bord de la frontière italienne, malgré des barrages policiers.
- 15 août 2003, en marge du festival Larzac 2003, quelques 40 000 personnes se réunissent sur le chantier de construction d'une autoroute, après que le lieu est négocié entre les organisateurs et les autorités.
- 1 mai 2003, deuxième Teknival organisé sur la base désaffecté de Marigny, avec l'accord des autorités.
- Le 20 juillet 2003, les forces de l'ordre confisquent tous les sound system se rendant au teknival de Carhaix, avant même que ceux-ci soient descendus des camions, puis attaquent à la grenade offensive, dévastant le bourg du Faouët. Un jeune a la main arrachée, de nombreux autres sont grièvement blessés. (Récit complet sur http://www.futureworldfunk.be/articlecentre.php3?id_article=537)
- 1 mai 2004, le teknival de Chambley réunit près de 90 000 personnes sans incident notable.
- 1 mai 2005, le teknival de Marigny réunit officiellement 55 000 personnes. L'évènement est marqué par deux décès ainsi que par une présence sur les lieux d'une invasion de chenilles urticantes, connus sous le nom Euproctis chrysorrhoea ou encore de Cul-brun.
- 28 août 2005, date traditionnelle du Teknival du Sud qui aura cependant lieu à Crucey (28) suite à des négociations toujours délicates (principalement sur le choix des terrains à utiliser) avec les autorités et élus locaux.

Dans le reste du monde

Elles ne sont pas classées par pays mais par date d'ancienneté. Pour la plupart il s'agit de celles qui ont connu plusieurs éditions et qui ont attiré le plus de participants.
- Genesis'88 - Londres, Royaume-Uni; 1988–1990; http://groups.yahoo.com/group/acidhouse88/
- Love Parade - Allemagne; 1989–2003; http://www.loveparade.de/
- Rezerection - Royaume-Uni; 1990–2005; http://www.rezerection.net/
- Heaven On Earth - Northampton, Royaume-Uni; 1991
- Mayday - Allemagne; 1991–2005; http://www.mayday.de/
- Fantazia - Royaume-Uni; 1991–1993; http://www.fantazia.org.uk/
- Storm Rave - New York, États-Unis d’Amérique; début des années 1990
- NASA - New York, États-Unis d’Amérique; début-milieu des années 1990
- Castlemorton - Royaume-Uni; 1992
- RaDiANCE- Austin, Texas, États-Unis d’Amérique; 1992–1993
- Street Parade - Suisse; 1992–2005; http://www.streetparade.ch/
- Mysteryland - Pays-Bas; 1993–2005; http://www.mysteryland.com/
- Furthur and Even Furthur - États-Unis d’Amérique; 1994–2001; http://www.dropbass.net/
- Dance Valley - Pays-Bas; 1994–2005; http://www.dancevalley.nl/
- Zoolu - La Nouvelle-Orléans, Louisiane et Los Angeles, États-Unis d’Amérique; 1994–2005; http://www.discoproductions.org/
- World Electronic Music Festival (WEMF) - Toronto, Canada; 1994–2005; http://www.wemf.com/
- Nature One - Allemagne; 1995–2005; http://www.nature-one.de/
- G-Move - Allemagne; 1995–2005; http://www.gmove.de/
- Tunnel Rave - Allemagne; 1995–2001; http://www.1200bpm.de/
- Time Warp - Allemagne; 1995–2005; http://www.time-warp.de/
- Rave on Snow - Autriche; 1993–2005; http://www.raveonsnow.de/
- Rave and Cruise - Mer Méditerranée; 1997–2001
- Hullabaloo - Toronto, Canada; 1997–2005; http://www.hulla.info/
- Nocturnal Wonderland - Los Angeles, Californie, États-Unis d’Amérique; 1997?–2005
- Electric Daisy Carnival (EDC) - Californie; 1997–2005; http://www.electricdaisycarnival.com/
- Earthdance - monde entier; 1997–2005; http://www.earthdance.org
- Winter Music Conference (WMC) - Floride, États-Unis d’Amérique; 1997–2005; http://www.wintermusicconference.com/index.php
- Chaos Party - Salt Lake City, Utah, États-Unis d’Amérique; 1998–2005
- Together as One - Los Angeles, Californie, États-Unis d’Amérique; se tient la veille du nouvel an; 1998–2005
- Ultra Music Festival - Miami, Floride, États-Unis d’Amérique; 1998–2005; http://www.ultramusicfestival.us
- J18 / Carnival Against Capitalism - Londres, Royaume-Uni; 1999
- Detroit Electronic Music Festival (DEMF) / Movement / Fuse-In - Détroit, Michigan, États-Unis d’Amérique; 2000–2005; http://www.fuse-indetroit.com/
- Goodfellaz - Toronto, Canada; 2000–2005; http://www.goodfellaz.ca/
- Luv2K - Salt Lake City, Utah, États-Unis d’Amérique; 2000–2005
- The Sequence - Salt Lake City, Utah, États-Unis d’Amérique; 2001–2005; http://www.summersequence.com/
- NFR - Salt Lake City, Utah, États-Unis d’Amérique; 2001–2005
- Amplified - Salt Lake City, Utah, États-Unis d’Amérique; 2003–2005

Divers

Une Street party est une free party organisée dans les rues de grandes villes, avec ou sans l'autorisation des autorités (en France, l'autorisation de manifester se demande en préfecture et est un droit), où musique, politique et fête se mèlent. Une Techno parade est une manifestation festive organisée chaque mois de septembre par l'association Technopol (www.technopol.net) depuis 1998. Alors que cet événement est devenu aujourd'hui une fête populaire du calendrier parisien, la première édition a eu comme consèquence directe la circulaire inter-ministèrielle (Culture, Intérieur & Défense) reconnaissant l'aspect culturel de la techno. Cette circulaire vient atténuer les effets de la circulaire Pasqua de janvier 1995 appelée "raves, des phénomènes à haut risque". Un haut risque est un cyclone, un tremblement de terre, etc. Aujourd'hui, la Techno Parade reste une manifestation non commerciale organisée par une association, ce qui est en fait la seule du genre dans le monde des parades techno, et attire près de 400 000 participants chaque année.

Voir aussi

Articles Connexes

- Temporary Autonomous Zone
- Techno
- Teknival
- Sound system
- Teufeur
- Tekno
- Contre-culture

Liens externes

- http://www.t0.or.at/spiral23/spiral.htm : Le « non-manifeste » des Spiral Tribe.
- http://www.network23.org : Le site de Network 23, groupe de musiciens dont les productions étaient jouées sur le sound system des Spiral Tribe.
- http://www.3boom.net : Site regroupant de nombreuses informations sur les free-parties, des comptes-rendus, photos et autres ...
- http://www.soundcirkle.info : site communautaire orienté resources regroupant divers artistes, sound system, activistes de la Free culture.
- http://tash.gn.apc.org : Site d'Alan Lodge, alias Tash, photographe britannique s'intéressant particulièrement aux travellers, aux free parties et à leur répression par la police britannique.
- http://nw23.fdread.org : « Network 23 - The legendary mp3 archive » Quelques mp3 de Network 23.
- http://www.tekalouest.org : Site Français sur la Free culture.
- http://fxsoftware.jexiste.fr/web/wiki/doku.php?id=wikitek : Wiki sur le mouvement free tekno
- http://ecoplanet.free.fr/wordpress/?p=6 : Une free racontée de façon subjective
- http://www.suburbass.tk : site officiel de Suburbass,un des artistes principaux issus de cette scène,à la fois liveset performer et producteur depuis prés de 10 ans...également activiste engagé du droit à la fëte.
- http://www.suburbass-mp3.tk : a lot of mp3 of Suburbass...
- http://keskistram.free.fr : Site et radio d'underground electronik musikCatégorie:Fête
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