Après une présentation générale du mouvement goth britannique et de sa musique (pourquoi cette subculture adopta ce style dans les années 1980 et comment elle s’en servit pour exprimer ses craintes et donner voix à son exaspération), cet article montre ce qu’une analyse minutieuse des reprises goths nous apprend sur une subculture et un genre musical souvent mal compris. Les groupes goths passèrent maîtres dans l’appropriation de chansons afin d’y refléter leur sensibilité et d’exprimer leurs préoccupations. C’est d’autant plus vrai pour les reprises faites par des groupes issus des subcultures anglaises. Goth covers of songs by The Beatles, T-Rex, The Rolling Stones, and Brian Eno will be explored, as well as Through the Looking Glass, a collection of covers by Siouxsie and the Banshees.ĭans la musique populaire britannique, la manière dont un artiste reprend une chanson à l’origine enregistrée par un autre groupe contient souvent une composante idéologique. An analysis of several musical examples illustrates how goth groups used the music of others to breathe new life into punk and glam rock, celebrate British national identity, and assault rock’s misogyny and musical conventions. The article then examines how songs covered by goth artists provide insight into this often misunderstood subculture and musical genre. This study begins by presenting an overview of the British goth movement and its music explaining why the subculture embraced Gothicism during the 1980s and how they used it to articulate their fears and voice their discontent. Musical groups popular with the goth movement were particularly adept at remaking songs to reflect their sensibilities and express their concerns. ![]() Nowhere is this more apparent than in songs that were covered by bands associated with English subcultures. In British popular music there is often an ideological component to the way that an artist covers a song that was originally recorded by someone else.
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