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Violence against goths is a hate crime


By: Simon Price of The Guardian
From emo kids to metallers, young people should be free to express themselves without fear of assault. I should know – I call myself a recovering goth, but I still get abuse on the streets of Brighton
Sophie Lancaster was murdered in 2007. Greater Manchester police has begun recording offences against members of alternative subcultures as hate crimes. Photograph: Lancashire Police/PA
When is a goth not a goth? The politics of nomenclatures and epithets, when it comes to youth culture, are fraught: people who have consciously separated themselves from the mainstream are understandably wary of accepting any label, especially one given to them by the media. "How do you spot a goth?" the old joke used to run. "They'll swear they're not a goth," was the punchline. The logic of the witches' ducking stool applied: you were damned if you did, damned if you didn't (and probably a fan of the Damned, either way).
These days, if anyone asks, I tend to say I'm a "recovering goth". My own gothic period was 1986-1993, and I seldom participate in the subculture itself any more, but certain habits still linger: I'm reluctant to leave the house without full makeup and carefully spiked hair, I have a tendency to dress entirely in black, and retain an undying fondness for the gloomy alternative rock of the 80s.
Siouxsie and the Banshees: goth's post-punk beginnings. Photograph: Stevenson/Rex Features
The goth scene emerged from the arty end of the post-punk fallout, when a gaggle of stray Blitz kids decamped to the Batcave Club and began listening to, and subsequently making, dark, doomy music whose primary obsessions were sex, death, decadence, horror and the mysteries of the occult. Early bands described as "goth" – though hardly ever by themselves – included Joy Division, Siouxsie and the Banshees, Bauhaus, the Birthday Party, the Cure, Killing Joke, the Cult and the Sisters of Mercy.
Goth, with its twin capitals of Soho-Camden and Leeds-Bradford, became one of Britain's biggest youth tribes, and the goth look – big, backcombed black hair, ghostly white skin, scarlet lipstick, heavy eyeliner, lace, buckles and PVC – became an easy cultural identifier. By the early 90s, however, it had run out of steam, overshadowed by new crazes such as acid house, Madchester, grunge and Britpop. In the UK, the scene went underground, but was kept alive – or undead – by enclaves in Europe (where it turned electronic) and America (where it went metallic).
Marilyn Manson: goth revival. Photograph: Ferdy Damman/EPA
A full-scale revival occurred at the turn of the millennium, arguably powered by two forces: the global success of Marilyn Manson, and the existence of the internet. This time around, the dandyish look of the 80s had lost favour, and for male goths, long hair and trenchcoats had replaced mega-quiffs and frilly shirts, making them almost indistinguishable from (traditionally more masculine) metallers.
Meanwhile, a relatively new scene – emo – had arrived. Originally a minor subdivision of American hardcore punk, emo became a worldwide phenomenon, as bands including My Chemical Romance, Panic! at the Disco and Paramore welded pained teenage angst to urgent pop-punk melodies. Older goths tend to view shopping-mall emo kids, with their smudged eyeliner and dyed hair, as merely "baby goths".
Paramore: 'Teenage angst with urgent pop-punk melodies.'
And, while there are dozens of even smaller subgenres, from cybergoth to screamo to steampunk, there's no doubt that the distinctions between the four main tribes identified by Greater Manchester police – goths, punks, emos, metallers – are now extremely blurred to the untrained eye, with significant crossover between them.

Four Criminally Underrated Artists


With new and upcoming releases from big name bands like My Bloody Valentine and Daft Punk, it’s hard not to be fixated on the future. But we also shouldn’t forget about those forgotten artists that nevertheless shaped what we hear today. Here are four. 
While Joy Division gets a lot of credit for shaping post-punk, Unknown Pleasures was an exception to the genre. Its melancholic disquiet was a gigantic jump from the in-your-face grit of bands like The Fall, early Siouxsie and the Banshees. The Sound’s music, however, is much more indicative of a slow trend from grit to texture. In its debut album, Jeopardy (1980), tracks range from uptempo punk to brooding basslines of existential angst and bridge everything in between.
The band’s lack of commercial success, despite rave reviews, is frustrating. After a second excellent album, From the Lions Mouth (1981), failed to break into the mainstream, the band’s record label pressured the group to make pop-ish songs. The band responded with the bizarre All Fall Down and soon changed labels. Even with the change, The Sound still saw little success, and the group broke up in 1988. Failure, along with the depression he alluded constantly to in lyrics, pushed frontman Adrian Borland to suicide, and he jumped in front of a train in 1999.
Notable tracks: “Fatal Flaw,” “Night Versus Day,” “Heartland,” “New Dark Age.”
I’m cheating here, because Kate Bush is big in the UK — just, not in America. During the 2012 London Olympics Closing Ceremony, NBC cut out the entire dance choreographed to Bush’s “Running Up That Hill (A Deal With God).” While Bush is resurging in the United States with the stunning 50 Words for Snow (2011), much of her earlier work is absent from the American music conversation. She was the first, and still the best, weird lady of pop, blending a quirkiness that Zooey Deschanel could only dream of with a subtle flair no one has convincingly copied.
Hounds of Love (1985) is still one of the best pop albums ever made, though it really is two albums. The eponymous first side of the vinyl has gems with a conventional pop structure, but the second side, “The Ninth Wave,” contains mind-blowing experimental art pop that still sounds fresh 30 years later. This album is definitely her most ambitious, but it is also a triumph of an already exceptional musical career that seamlessly blended Celtic jigs, liturgical chants, synth pop and lush ambience into beautiful digestible  ballads.
Notable tracks: “Running Up That Hill (A Deal With God),” “Suspended In Gaffa,” “Jig of Life,” “Delius (Song of Summer).”



By:Cameron Crawl (
With only one more month to go, we are delighted to reveal that seminal legends, ECHO & THE BUNNYMEN will take to the stage in Dublin for the first time in almost 2 years to exclusively perform at the 2013 May Bank Holiday festival.
Formed in 1978, the Liverpudlian post punk band quickly rose to fame with their debut album Crocodiles and subsequently released ten further albums to date despite a six year split in 1988. With a endless string of hits such as ‘The Killing Moon’, ‘Lips Like Sugar’ and ‘The Cutter’, The Button Factory will certainly be the sing-a-long hotspot of the Crawl’s Saturday night. It will also be a tight squeeze as this intimate appearance will be in high demand and festival ticket holders are advise to arrive early to assure entrance.
New Young Pony Club have also been added to the bill for the Friday 3rd May Launch Party Event at Whelans. They join the bill which already includes Montreal’s Dirty Beaches, London’sTropics and Big Deal and Cork’s Meteor Choice Awards nominees Windings. Tickets purchased for Dirty Beaches cancelled show on 8th May at Workman’s Club will be honoured for this show.
In addition to the Bunnymen coup and on the other end of the spectrum, an additional stage curated by Nialler 9 has been added to accommodate some fantastic new Irish talent, including the mysterious Adultrock, intricately layered sonics from Come On Live Long, dark ambient dubstep producers Ghosts, Cork’s Hunk, the raw and quirky presence of Liza Flume, Slow Skies’ melodic folk pop and down tempo electronica from Dublin’s Terriers.
In other non line up related news, Wednesday 3rd April sees the release of the second in a series of three Meteor Camden Crawl Dublin of download compilations in conjunction with our digital music partner 7digital. CC2013 Mixtape #2 features 15 FREE downloadable tracks from the likes of The Black Lips, Lanterns On The Lake, Concrete Knives, Darkstar, PVT, Three Trapped Tigers and many more acts appearing at this year’s festival. The compilation is available to download from 7digital.