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Siouxsie and the Banshees


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The Cure


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Bauhaus


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Four Doors To The Future: Gothic Rock Is Their Thing #2

mischievous miniskirts sipped dai- seems to be the road toward free quiris and waited for Morrison to dom, show. No one was sure he would. Morrison writes nearly all of the But Andy Warhol walked in, and Doors' lyrics, and his work does everybody breathed a sigh of relief nave eanng. There are rock cri- to find that this indeed was the tics in our time, and when they place to be speak of Morrison's 】yrics, visions There is a story of the meeting of Baudelaire, Rimbaud, Joyce and of two electric world-historical Artaud pop out of their critiques. heroes: that is, Jim Morrison and But hard rock was never meant Nico, underground film star and for academicism. There is truth singer with Warhol's Velvet in the Doors' beat which drives Underground. It was love at first home the meaning o ther as- sight which later grew into lust, cination wth symbolism, streams according to a frlend of Morrison. of consciousness, cruclty and the Anyway, Warhol seems to be in- bizarre in whatever form. That's terested in Morrison's potential as where the Doors are a movie star The themes, symbols and im- agery of the Doors are stronger Morrison Makes Entrance in their second album, which manages to transcend the fever- Suddenly all eyes turned to the pltch intensity and macabre beau door, where Morrisn was making ty of their first. The Doors have another entrance, sweeping into grown, a good sign. the room and gathering up the significantly titled “Strange adulation to put in the pocket of Days," the his lea ther jacket new album's music is just as erotic, just as hard-driv- He put his arm around a re- ing, just as compelling but twice porter, spilling his drink, and as terrifying as thelr first effort. compelled him toward the bar. A h Morrison has beenRock Stasis Is Bad Rock Stasis Is Bad asked before came out somehow "Jim, were you stoned up there on stage?" And back. “Man, I'm always stoned. The album contains neither the the reply came sophistication and cautious optim ., ism of the Beatles, nor the self- conscious hedonism of the Rolling But apparently Morrison is not Stones. The Doors are doing their into drugs but has stuck with the own thing, and innovation is bet- old American stand-by, alcohol. ter than stasis as far as rock is He got his drink, spoke to the concerned. With the Doors, it's reporter in words which sailed getting better all the time over his head and bounced off the Even the name walls of the wine cellar like dead tennis balls. Morrison caromed off and hugged a chick. He was in his element. Al the eyes were his. is slgnificant Morrison once explained why it exists: “We're the Doors because you go into a strange town, you check into a hotel. Then after you "You could say it's an accident have played your gig, you go back that I was ideally sulted for the to your room, down an endless work I am doing," says Morrison. corridor lined with doors unttl you "It's the feellng of a bow string get to your own. betng pulled back for 22 years and "But when you open the door suddenly being let go. you find there are lots of people "I am Interested in anything inside, and you wonder: Am I in about revolt, disorder, chaos, es- the wrong room? Or is it some pecially activity that seems to kind of party?" COPYRIGHT © WILLIAMS RECORD MILDEQUATOR.COM
mischievous miniskirts sipped dai- seems to be the road toward free quiris and waited for Morrison to dom, show. No one was sure he would. Morrison writes nearly all of the But Andy Warhol walked in, and Doors' lyrics, and his work does everybody breathed a sigh of relief nave eanng. There are rock cri- to find that this indeed was the tics in our time, and when they place to be speak of Morrison's 】yrics, visions There is a story of the meeting of Baudelaire, Rimbaud, Joyce and of two electric world-historical Artaud pop out of their critiques. heroes: that is, Jim Morrison and But hard rock was never meant Nico, underground film star and for academicism. There is truth singer with Warhol's Velvet in the Doors' beat which drives Underground. It was love at first home the meaning o ther as- sight which later grew into lust, cination wth symbolism, streams according to a frlend of Morrison. of consciousness, cruclty and the Anyway, Warhol seems to be in- bizarre in whatever form. That's terested in Morrison's potential as where the Doors are a movie star The themes, symbols and im- agery of the Doors are stronger Morrison Makes Entrance in their second album, which manages to transcend the fever- Suddenly all eyes turned to the pltch intensity and macabre beau door, where Morrisn was making ty of their first. The Doors have another entrance, sweeping into grown, a good sign. the room and gathering up the significantly titled “Strange adulation to put in the pocket of Days," the his lea ther jacket new album's music is just as erotic, just as hard-driv- He put his arm around a re- ing, just as compelling but twice porter, spilling his drink, and as terrifying as thelr first effort. compelled him toward the bar. A h Morrison has beenRock Stasis Is Bad Rock Stasis Is Bad asked before came out somehow "Jim, were you stoned up there on stage?" And back. “Man, I'm always stoned. The album contains neither the the reply came sophistication and cautious optim ., ism of the Beatles, nor the self- conscious hedonism of the Rolling But apparently Morrison is not Stones. The Doors are doing their into drugs but has stuck with the own thing, and innovation is bet- old American stand-by, alcohol. ter than stasis as far as rock is He got his drink, spoke to the concerned. With the Doors, it's reporter in words which sailed getting better all the time over his head and bounced off the Even the name walls of the wine cellar like dead tennis balls. Morrison caromed off and hugged a chick. He was in his element. Al the eyes were his. is slgnificant Morrison once explained why it exists: “We're the Doors because you go into a strange town, you check into a hotel. Then after you "You could say it's an accident have played your gig, you go back that I was ideally sulted for the to your room, down an endless work I am doing," says Morrison. corridor lined with doors unttl you "It's the feellng of a bow string get to your own. betng pulled back for 22 years and "But when you open the door suddenly being let go. you find there are lots of people "I am Interested in anything inside, and you wonder: Am I in about revolt, disorder, chaos, es- the wrong room? Or is it some pecially activity that seems to kind of party?" COPYRIGHT © WILLIAMS RECORD MILDEQUATOR.COM

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gothic rock article the doors

Four Doors To The Future: Gothic Rock Is Their Thing

Four Doors To The Future: Gothic Rock Is Their Thing ne ls Jim Morrison? lon, with black curls cascadlng The audlence did not know whe- said to another. But he over the upturned collar of a lea- ther to applaud or not. The gui i stage, and a drummer ther jacket worn the way all lea- tarist unplugged the electric cord and a gultar ther jackets shoud be: tight, which makes his instrument play ward tough, and somehow. menacing. the organist stepped off left, the Some people have sald that Mor- drummer threw his sticks to the player looked impatiently to Hson is bcautiful, and others have ground in contempt and di charisma by watching him. They sat in darkness punctuated by the steady red lights of am- learned the mcaning of the word and Morrison had disappeared through the velvet curtain without plifiers as tall as a man and the glow of a hundred cigarettes danc And then there "Light My a wave or a smile ing in the evening breeze. The cur- Fre." and Morrison's brass and The Doors do not cater to the tain on the door hung like velvet leather voice strokes the lyrics nameless faces beyond the foot- one inch thick with ll the subtlety in which he lghts. The group is not kind, and| handles the nlerophone· Thethey do not entertain in any ra s0g deserves to be done the ditional sense. They allow other Contempt Greets Appearance with suggestive inton- people to witness the manner of ation and instrumentation striv- their existence and the pain and Ing together to produce the in- pleasure inherent in their imagin- Two hands pierced the slit credible erotic pressure of the ations. of the curtain and drew it baek driving organ-scream climax. sharply as a spouight racked the After all, sex s what hard rock rightly so. The Doors are not The audience was scared, and stage and exposed a man who is all about. But there is terror in pleasant, amusing hippies profer squnted in the brightness. There the sexuality of The End" Mor- ring a grin and a flower; they was applause that he did not care rison's black masterpiece of nar- wield a knife with a cold and ter to hear, and the spotlight caught rative poetry about a physical and rifying edge. The Doors are closelsy the contempt in the faces of the spirtual odyssey which flnishes in akin to the natlonal taste for vio- lence, and the power of their music forces each listener to real other musicians as Jlm Morrison patricide and i----- tentatively fingered the micro Morrison Finishes Strong ize what violence is in himself what violence is in htmself He screamed and reeled, thrott ing the microphone and gazing at Morrison is at his best in this "I think the Doors are a repre- sentative American group," says ea of blank faces. He shouted song, doing his own thing whlle "America is a melting pot and so Ray Manzarek, group organist g out, distorted and violat- the organist bends low and presses a strun cd stream of word-images which hard on the keys and the guitar- twisted the faces into expressions ist walks enconcernedly ln and out of shock and yet fascination fluences spring from a myrlad of sources which we have amalgamated, blending divergent re we. Our ln of the spotlight. The drummer styles nto our own thing. Were Manzarek and Morrison both rush of the organ while the guitar phone and staggered blindly - have degrees from UCLA, and the re were the drums, sweats crashtng against the pulsating Morrison dislodged the micro like the country ts" pirouetted around and through cross the stag the rhythmlc contest with a new sort of terrifying insistence. The poured out of his mouth, male Doors were opening as Morrison's volent, satanic. electricand i words found their way through ftre. He stumbled and fell in front the cicuitous maze of a thousand wires in the impassive, deafening bed to e as the yrics and screams which are “The End" organist In conversation speaks so articulately and precisely that he gives thc impression of being an English professor forced out of ac- into a world of long ng amplifler and s--- ademla and himself. The guitarist hair. reverb and the fuzz bass. nudged him with the neck of his The Doors met New York for He sang, or rather groaned, or guitar, and a mouth in the audi better or for worse at a press con group raced through "Break on stoned." Through" to lead off the set. The But he men and their instruments work knees and stretched out his arms talked to himsef out loud as the ence sald knowingly, "He's ference in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the Gothic wasn't. He sat up on his well together in complete interac- in an attitude of worship toward It was a good scene. Very few on, crystallizing the night afr the cold amplifier, the impartial press people, and a lot of the city's a mediator between the virtues and rock hangers-on, hirsute and free into a texture of sound which person can run his hand over COPV RNGmsonWECOR! upon circuits and ohms. absurdity of a music dependent were there, all
Four Doors To The Future: Gothic Rock Is Their Thing ne ls Jim Morrison? lon, with black curls cascadlng The audlence did not know whe- said to another. But he over the upturned collar of a lea- ther to applaud or not. The gui i stage, and a drummer ther jacket worn the way all lea- tarist unplugged the electric cord and a gultar ther jackets shoud be: tight, which makes his instrument play ward tough, and somehow. menacing. the organist stepped off left, the Some people have sald that Mor- drummer threw his sticks to the player looked impatiently to Hson is bcautiful, and others have ground in contempt and di charisma by watching him. They sat in darkness punctuated by the steady red lights of am- learned the mcaning of the word and Morrison had disappeared through the velvet curtain without plifiers as tall as a man and the glow of a hundred cigarettes danc And then there "Light My a wave or a smile ing in the evening breeze. The cur- Fre." and Morrison's brass and The Doors do not cater to the tain on the door hung like velvet leather voice strokes the lyrics nameless faces beyond the foot- one inch thick with ll the subtlety in which he lghts. The group is not kind, and| handles the nlerophone· Thethey do not entertain in any ra s0g deserves to be done the ditional sense. They allow other Contempt Greets Appearance with suggestive inton- people to witness the manner of ation and instrumentation striv- their existence and the pain and Ing together to produce the in- pleasure inherent in their imagin- Two hands pierced the slit credible erotic pressure of the ations. of the curtain and drew it baek driving organ-scream climax. sharply as a spouight racked the After all, sex s what hard rock rightly so. The Doors are not The audience was scared, and stage and exposed a man who is all about. But there is terror in pleasant, amusing hippies profer squnted in the brightness. There the sexuality of The End" Mor- ring a grin and a flower; they was applause that he did not care rison's black masterpiece of nar- wield a knife with a cold and ter to hear, and the spotlight caught rative poetry about a physical and rifying edge. The Doors are closelsy the contempt in the faces of the spirtual odyssey which flnishes in akin to the natlonal taste for vio- lence, and the power of their music forces each listener to real other musicians as Jlm Morrison patricide and i----- tentatively fingered the micro Morrison Finishes Strong ize what violence is in himself what violence is in htmself He screamed and reeled, thrott ing the microphone and gazing at Morrison is at his best in this "I think the Doors are a repre- sentative American group," says ea of blank faces. He shouted song, doing his own thing whlle "America is a melting pot and so Ray Manzarek, group organist g out, distorted and violat- the organist bends low and presses a strun cd stream of word-images which hard on the keys and the guitar- twisted the faces into expressions ist walks enconcernedly ln and out of shock and yet fascination fluences spring from a myrlad of sources which we have amalgamated, blending divergent re we. Our ln of the spotlight. The drummer styles nto our own thing. Were Manzarek and Morrison both rush of the organ while the guitar phone and staggered blindly - have degrees from UCLA, and the re were the drums, sweats crashtng against the pulsating Morrison dislodged the micro like the country ts" pirouetted around and through cross the stag the rhythmlc contest with a new sort of terrifying insistence. The poured out of his mouth, male Doors were opening as Morrison's volent, satanic. electricand i words found their way through ftre. He stumbled and fell in front the cicuitous maze of a thousand wires in the impassive, deafening bed to e as the yrics and screams which are “The End" organist In conversation speaks so articulately and precisely that he gives thc impression of being an English professor forced out of ac- into a world of long ng amplifler and s--- ademla and himself. The guitarist hair. reverb and the fuzz bass. nudged him with the neck of his The Doors met New York for He sang, or rather groaned, or guitar, and a mouth in the audi better or for worse at a press con group raced through "Break on stoned." Through" to lead off the set. The But he men and their instruments work knees and stretched out his arms talked to himsef out loud as the ence sald knowingly, "He's ference in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the Gothic wasn't. He sat up on his well together in complete interac- in an attitude of worship toward It was a good scene. Very few on, crystallizing the night afr the cold amplifier, the impartial press people, and a lot of the city's a mediator between the virtues and rock hangers-on, hirsute and free into a texture of sound which person can run his hand over COPV RNGmsonWECOR! upon circuits and ohms. absurdity of a music dependent were there, all

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Creepy Susie New Years by Herny


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90's SNL Skit - Goth Talk

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