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Meet this young, slightly romantic, androgynous guy. His name is Hollis Frazier-Herndon. If you're over 30, you may not know him, but younger viewers might recognize him by his stage name, 2hollis.
Explore the origins, evolution, and current state of gothic music, from its roots in literature and shock rock to diverse subgenres and modern influences.
Key Takeaways
- Gothic music and culture have deep historical and literary roots predating the music itself.
- Shock rock and glam rock significantly influenced goth's theatrical and androgynous aesthetics.
- Post-punk was crucial in the emergence of gothic rock as a distinct genre.
- Gothic music encompasses a wide variety of subgenres with diverse sounds and themes.
- The goth scene continues to evolve, intersecting with modern genres like hip-hop and electronic music.
What the video covers
- Introduction to the modern goth-adjacent artist 2hollis and the unexpected connections between goth and hip-hop.
- Overview of the video series structure: origins, subgenres, and current state of gothic music.
- Historical roots of gothic aesthetics traced back to 18th-century literature and early horror media.
- Impact of shock rock pioneers like Screamin' Jay Hawkins and Alice Cooper on gothic music's theatricality.
- Influence of glam rock and artists like David Bowie on goth's visual style and musical experimentation.
- Discussion of early post-punk bands and their role in shaping gothic rock.
- Exploration of goth culture's broader inspirations, including poetry, Romantic literature, and independent films.
- Description of gothic music's key sonic characteristics and visual aesthetics.
- Preview of upcoming parts covering goth subgenres such as deathrock, gothic metal, darkwave, witch house, and gothic country.
- Reflection on the rich legacy and ongoing evolution of gothic music today.
Chapters
- 00:00Introduction and 2hollis connection to goth
- 01:34Series overview and goals
- 02:57Return to video creation and genre deep dives
- 04:04Origins of gothic literature and aesthetics
- 05:26Shock rock pioneers and theatricality
- 07:03Alice Cooper and shock rock's legacy
- 08:50Glam rock's influence on goth style and music
- 10:38Post-punk and early goth rock foundations
- 12:23Gothic music subgenres and modern evolution
- 13:55Conclusion and call to subscribe
Full Transcript — Download SRT & Markdown
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He's 21. He's the son of John Herndon, drummer for cult post-rock band Tortoise, and Kathryn Frazier, co-founder of electronic label OWSLA and also Skrillex's manager.
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And their son, 2hollis, makes music that blends a whole range of modern genres: electro, hyperpop, cloud rap, rage, EDM, witch house, and loads more.
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At this point, you've probably gone to check whether you got mixed up and clicked on the wrong video.
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What does any of this have to do with goth? Well, the thing is, the connection is distant, but it's there.
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From his image as a sort of new Ville Valo of hip-hop, to the influence of various later goth-adjacent genres, which we'll get to, and, of course, the things he sings about.
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Hip-hop, but together, in 2024, they unexpectedly recorded a fairly simple but pretty dark album, mixing their hip-hop with goth-tinged, post-punk alternative rock.
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And these are just a few examples. More broadly, I've noticed a new wave of interest in goth as a mood.
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How did all this happen? How did we get here? That's what I'm going to explore in this series of videos about gothic music.
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I was going to make one long video, but as I kept rewriting, refining, and polishing the script, I realized it would run over two hours. So I decided to spare both myself and you and split the story into three parts.
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In this first part, I'll talk about what led to the emergence of the goth scene, its roots, how it began, and the people who laid the foundations of gothic rock and the culture's whole aesthetic.
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The second, and biggest, part will cover the huge number of subgenres that have emerged over the scene's 45-plus years.
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I'll cover their history, key artists, and try to give you clear pointers on how to tell them apart.
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You'll learn about deathrock, the different kinds of gothic metal, darkwave, ethereal wave, coldwave, gothic country, and other subgenres, including witch house, where goth and hip-hop first crossed paths.
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And the third and final part will focus on the current state of gothic music.
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But don't worry, there won't be much about rap. I'll briefly revisit all the main genres and explain how they've evolved and what gothic music looks like today, along with the rich legacy it has actually left behind.
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It's been a while since I posted a video. And this is why. New genre deep dives, just like you've been asking for all this time.
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Sure, it's not hardcore, but trust me, the goth scene can surprise you too. Over more than 40 years, it's grown rich enough to satisfy even the most discerning listener.
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One thing I should make clear: I'm something of a visitor here. I'm not a goth. I never have been.
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In fact, for a very long time, I actively avoided this scene. But at some point, I got into it and discovered a ton of wonderful music.
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How that happened I'll briefly explain in part three. I wanted to understand goth, its richness and its influence.
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So I dove in and, in my usual, slightly nerdy way, explored it in detail, as I'd done before with punk and noise rock.
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I found loads more great stuff, and I hope you will too. Let's get on with it. Put the kettle on, subscribe, and hit the notification bell so you don't miss the next parts.
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You're watching dotmus. This'll be fun. Let's go! ORIGINS The gothic aesthetic emerged long before the first gothic rock albums.
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Writers were already evoking a fear of death as something supernatural and mysterious in the late 18th century, laying the foundations of gothic literature.
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Professor Chris Baldick defines the genre like this: To achieve a gothic effect, a narrative must combine an eerie sense of inheritance through time with the claustrophobia created by confinement in space, so that these two dimensions reinforce one another, creating
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a sense of sickening immersion in decay. But for a long time, popular music dealt with death only as a dramatic subject.
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You didn't joke about death, romanticize it, or make it your friend. The exceptions were mostly cabaret, musicals, and obscure blues: so-called lowbrow genres, often barely represented in the media.
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But there were horror movies. The first appeared in the late 1800s, but the genre really took off in the '30s with Dracula, Frankenstein, The Mummy, and others.
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The main broadcast medium was radio, available to everyone, and that sort of thing didn't get airtime.
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Things began to change in the '50s. One of the first to shock audiences with a frightening persona was R&B artist Screamin' Jay Hawkins.
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His 1955 song "I Put a Spell on You" already sounded pretty dark for its time.
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The melody was tense enough, and then there were those spells. But a year later, after quite a few drinks, he rerecorded it in a much more frightening version that repelled God-fearing listeners, full of screams, animal growls, and moans.
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This recording soon became known as the "cannibal version." It was banned from radio, but eventually became a cult classic and sold a million copies.
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Shortly after its release, a radio host offered Hawkins $300 to perform the song while rising from a coffin.
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At first, Jay Hawkins refused saying no Black man would willingly get into a coffin, because he wouldn't expect to get back out again.
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But later, he agreed, developing his trademark show with voodoo costumes and a resurrection act, laying the groundwork for what would become shock rock.
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So Alice Cooper, KISS, Marilyn Manson, and all those other outrageous acts owe a debt to Jay Hawkins, who, in a drunken haze, recorded the scariest pop song of his time.
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His tradition was later carried on by Arthur Brown, a precursor to corpse paint: that frightening stage makeup.
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Then came Alice Cooper, KISS, and everyone else who made that makeup part of their show.
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But Alice Cooper deserves a special mention. His trademark running eyeliner, live snakes onstage, and theatrical death by guillotine became his calling card.
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Few people remember that early in his career, he didn't stand out much from other rock musicians.
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But once he found his thing, he went down in history as every parent's worst nightmare in the '70s.
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But not every kid could be protected, and some absorbed the aesthetic of the '70s' chief Satanist, later reinterpreting it in a new way, focusing on the darkest and most unsettling side of Cooper's music.
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And there was plenty of that, though not always in the band's standout tracks. But not every kid could be protected, and some absorbed the aesthetic of the chief Satanist, later reinterpreting it in a new way.
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Shock rock is the first ingredient of future gothic rock. You don't need much. It's a bold, aggressive seasoning you can taste even in tiny amounts.
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Next, add a related but more refined genre: glam rock. The funny thing is, in black and white, many glam stars look almost identical to goths. It was glam rock that introduced future goths to eyeliner, theatrical outfits, and androgynous
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pallor. And of course, we have to mention glam rock's leading figure: David Bowie. Throughout almost his entire career, Bowie was a visionary, often ahead of his time.
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Many early punks cited him as a major influence, as did post-punks and, consequently, many of the first goths.
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His Berlin period was especially influential, as Bowie moved away from glam rock toward stranger, more experimental music.
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But glam had plenty of other big names: Roxy Music, T. Rex, New York Dolls, Sweet, and to some extent, Queen.
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And though glam was rarely dark, it gave goth plenty of musical ideas as well as its aesthetic.
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Brian Eno is best known as a founding figure of ambient music. But after leaving Roxy Music, he laid the foundations for more than ambient.
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Both solo and often alongside Bowie, Eno anticipated a range of genres, from shoegaze to post-punk, and even some early hints of proto-gothic rock.
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Aesthetics certainly matter to goth, but the key is the music and it
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They romanticized death, speaking of it with admiration, sometimes a little sarcasm, but usually with respect.
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The music of the Doors isn't gothic, but Jim Morrison, the band's frontman, was undoubtedly one of the first gothic personalities, though of course goths themselves didn't even exist yet.
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with magnificent dark curls. A sensual, romantic, theatrically dramatic poet, fascinated by philosophy and unafraid to look death in the eye.
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And unlike the hippie rockers of his time, he preferred darker clothes. Pop music's first fallen knight, who tragically died at 27.
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On the very first album, he recorded the proto-gothic ballad "The End," strikingly different from everything else.
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An unsettling, repetitive composition with detached vocals and ominous lyrics. In 1967, it was first described as "gothic rock." And of course, equally influential were the Velvet Underground, with their spine-chilling, unsettling music.
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Nico went solo after the Velvets' debut and became the first goth diva. Dressed entirely in black, with only her bright red hair adding a splash of color, she began singing some very dark music.
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An unsettling record. In his solo work, Lou Reed also combined glam rock with mysterious, poetic melancholy.
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And of course, Iggy Pop. His third, arguably most introspective album, produced by David Bowie, also left a significant mark on the future goth scene.
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There were plenty of inspiring figures, and not just in music. Goths also drew ideas from poetry, Romantic literature, and independent films focused on the inner world.
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Alienation and depression aren't enough to capture the full gothic flavor. We need another spice.
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This aesthetic always fascinated people, but only entered mainstream culture with the hippie wave of liberalization.
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And toward the very end of the hippie movement, rock musicians began experimenting with themes of the occult and mysticism, like Black Widow, Satan and Deciples, and Horse.
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Naturally, all this was condemned by the conformist society of the time. Others explored safer religious themes, focusing on fatalism and the end of the world, like Greece's Aphrodite's Child.
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These bands included Italy's Jacula, Britain's Black Widow, and Greece's Aphrodite's Child. But arguably the first were the American band Coven.
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Musically, it was the familiar, lightweight psychedelic rock of the time. But witches' sabbaths, skulls on the covers, and Jinx Dawson's unsettling vocals were even more off-putting to the average American Puritan.
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Occult rock, as it would be called many, many years later, wasn't a direct precursor to goth.
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But I'm convinced it paved the way, making darkness acceptable onstage, for more than just goths to embrace later on.
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And one British four-piece seems to have fallen under that influence pretty quickly. By 1969, Polka Tulk Blues Band were also into darkness, witches' sabbaths, and all that.
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But beyond the themes, they also brought something unprecedented to the music: a truly heavy sound.
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In '69, they became Earth, and a little later, Black Sabbath. Just like one of Coven's songs.
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Sabbath brought genuine darkness, slow tempos, distortion, and blues pentatonics, setting the tone not just for traditional doom metal, but influencing punks and future goth legends Killing Joke, who repeatedly declared their love for Black Sabbath.
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And the final spice in our gothic cocktail: the courage to use electronic instruments that were foreign to traditional rock.
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Here, alongside the obvious influence of Kraftwerk and the already mentioned Brian Eno, we must name some of the great experimentalists of their time: Suicide. Before many others, they approached these new instruments from a different, often very unusual angle.
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The ingredients for the first wave of gothic rock are all here. Let's take a look at them.
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The frightening aesthetic of shock rock. The androgyny and theatricality of glam. Dark, depressive themes inspired by the Doors, the Velvet Underground, and literary Romanticism.
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The mysticism and supernatural themes of occult rock and Black Sabbath. The Velvet Underground and Brian Eno, as well as synth pioneers Suicide.
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But these are mostly seasonings and flavor enhancers. We're missing a base. Some kind of binding ingredient to bring everything together.
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Something simple and expressive, able to absorb all those flavors without overpowering them. Or dropping the culinary metaphors, a genre that even someone who hasn't been playing an instrument for long could manage.
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That genre was punk rock. Or, more precisely, mostly its more artistic fraternal twin: post-punk.
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In my video series on the history of punk rock, I discussed the roots of punk rock in the broadest sense.
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Many of its influences have come up here today too. I also discussed how rich early post-punk was.
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But tracing the influence on goth of bands like Gang of Four, Pere Ubu, the Pop Group, or, say, Public Image Ltd is difficult.
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So we'll leave them aside. But one of post-punk's key, in many ways revolutionary, ideas runs through the whole genre.
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Under the influence of dub and krautrock, the rhythm section, especially the bassline, became the backbone around which everything else was built.
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The bass isn't just low-end glue, but an instrument given a leading role. And in the gothic version of post-punk, this tendency is even easier to spot.
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Many call the Cure the first gothic post-punk band. And they're not far from the truth, but not entirely right either.
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Of course, Robert Smith's gothic hair and eyeliner are firmly etched in our minds, but the Cure weren't always like that.
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Their debut was more light, new-wave-flavored power pop, in the style of Buzzcocks, whom the Cure themselves admitted they wanted to sound like.
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But on their second album, Seventeen Seconds, the band moved toward a much darker sound.
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Smith was influenced by a band that can rightly be called the first gothic post-punk band, and which Smith himself even played in for a couple of years.
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Siouxsie and the Banshees were the first to have their music called "post-punk." And indeed, their first couple of albums are classics of the genre.
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But unlike, say, Pere Ubu or Wire, their music had more unease and mystery. None of the dub so common in post-punk, but the Velvet Underground's heavy, nervous tension and the icy krautrock of Amon Düül.
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Their debut also featured some fairly straightforward punk rock songs. But the clear, ringing, slightly detached voice of Siouxsie made even those tracks stand out.
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An icy, spacious voice, as if from somewhere else entirely. Just listen, for example, to how the Beatles' "Helter Skelter" took on new life in her hands.
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And Siouxsie's look: the eyeliner, the electrified hair, the dark clothes, the decadent sexuality. Another British four-piece.
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They barely looked like goths, but perhaps came closest to the dark, depressive sound of future gothic rock.
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Formed in 1976, and dressed in defiance of punk fashion, like refined workers or soldiers in civilian clothes, Joy Division were the first to make the whole song submit to an oppressive, krautrock-cold bassline.
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There's plenty of air in their music, but it's often stale and suffocating. and the band's biggest single, which became his epitaph.
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But beyond these giants, other post-punk bands were anticipating gothic rock toward the very end.
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Not all of them would continue down that gothic path. A Certain Ratio toyed with gothic moods on their debut, then moved into funkier post-punk.
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Modern English released a very gothic debut in '81, then went on to play less gloomy new wave.
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decadence. The point is, by the late '70s, post-punk was blossoming in all kinds of colors, including the monochrome tones of fifty shades of gray.
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What matters is that when the Cure released Seventeen Seconds in 1980, the scene was already heading that way.
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But to the Cure's credit, they absorbed those moods beautifully and released one of the first truly gothic albums, alongside Siouxsie and the Banshees' third, Joy Division's second, and the debut of future goth icons Bauhaus, among others.
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1980 was the year when the line between post-punk and gothic rock became increasingly clear.
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But before we move on, I think we need a little more context from the late '70s.
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Around the turn of the decade, some bands weren't making gothic music as such, but are often mentioned alongside it, not least because of their image, which was long one of the key elements of goth culture.
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RELATED SCENES First, let's remember British punks the Damned, whose music was classic garage punk: fast drums and simple hooks.
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But as early as 1976–77, their singer Dave Vanian was wearing eyeliner and whitening his face to give himself a deathly pallor.
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He looked like a cross between Count Dracula and Gomez Addams. And their songs often explored mystical, supernatural themes.
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With one of punk's most recognizable looks, their skull is familiar even if you've never heard their music.
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Musically, they were a long way from goth. This was tough, satirical punk, at times bordering on hardcore punk.
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They were basically regular punks. Their earliest photos make that very clear. But by their second EP, in 1979, Glenn Danzig was writing lyrics inspired by cheap horror movies, and the band's stage image began to change, taking on the increasingly recognizable
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look for which they'd ultimately be remembered. That's how they became known as the founders of horror punk, a genre combining fast, fairly melodic punk with horror-movie themes, urban legends, and other creepy stuff, plus imagery and stage shows borrowed
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from shock rockers. But everyone knows them as the founders of horror punk, a genre combining fast, fairly melodic punk with horror movies, urban legends, and other creepy stuff, plus imagery and stage shows borrowed from shock rockers.
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Other Americans were also happy to play around with horror themes. The Cramps, formed in 1976, were punks who wanted to give rock 'n' roll their own fresh twist.
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They weren't directly connected to goth, but nevertheless had a major influence on the American scene, both in their themes and their visual style.
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The Cramps are also the fathers of psychobilly, which I covered in my history of punk rock.
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A genre combining Chuck Berry and Elvis-style rock 'n' roll with dirty garage-punk sounds and an ironic horror aesthetic that so shocked Puritans in the '70s and '80s.
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GOTH ROCK: THE BIRTH Back to Britain in the late '70s. All the ingredients are here, and our gothic cocktail is ready.
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The band was formed in 1978 by four guys in Northampton. Influenced by Bowie, T. Rex, the Velvet Underground, Kraftwerk, and Siouxsie and the Banshees, the quartet began making their own version of post-punk: even darker, and the first truly decadent post-punk.
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Their first single was the nine-minute epic "Bela Lugosi's Dead," released in 1979. Led by a languid, monotonous bassline, it unfolds with delayed, shimmering slightly dubby guitar that wraps around the bass like ivy around a trunk.
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Over it, strange, otherworldly, psychedelic percussion and echoing, low, icy baritone vocals. But as— But as I said, by 1979, there was already plenty of darkness.
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Yet few bands sustained that spirit. Bauhaus did, and intensified it. In 1980, they released their first full-length album.
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Dark, atmospheric, and suffocating, it practically reeked of the cold, stale air of a freshly opened crypt.
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A creation built on monotony, with nervous, sometimes cacophonous sounds clattering, plucking, and moaning around it.
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Naturally, all this music came with a highly stylish, dark aesthetic. The covers, the videos, and the musicians' own looks.
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Gothic rock as we know it was born. 1980 also brought plenty of other dark releases.
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As I said, the Cure released their first gothic album, Siouxsie and the Banshees went fully goth on their third full-length, and Joy Division released Closer after Ian Curtis's death.
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The Damned finally realized their music should match the eyeliner, and steered it a little closer to the emerging gothic rock sound on their fourth album.
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New names began to appear too. The Birthday Party also changed their style, toward darker, no-wave-inflected gothic rock.
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And other bands picked up on that darkness in the air, including the Sound, Dance Chapter, and anarcho-punks like UK Decay.
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Even goth's other leading band, for many its greatest, the Sisters of Mercy, managed to release their debut single that year.
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You could already see where it was going. And I have to mention that just a year later came the Banshees' most gothic album, which also happens to be my favorite.
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The next couple of years saw the goth scene develop beyond Britain too. A particularly vibrant scene emerged in Germany, led by Xmal Deutschland and Der Fluch.
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Xmal Deutschland would soon become one of the scene's flagships, alongside Bauhaus and the Sisters of Mercy.
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An even colder sound, backed by strange synthesizers and the more clipped sound of the German language.
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Britain held its ground. In 1982, London's legendary Batcave club opened, a kind of CBGB for goth bohemia.
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In just three short years, its stage hosted Siouxsie, the Cure, Nick Cave, and new names like Specimen, Alien Sex Fiend, the Danse Society, and other future stars.
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Southern Death Cult. You may not know the name, but their singer, Ian Astbury, would soon form a new band called Death Cult.
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A little later, he'd shorten the name to the Cult, whose biggest hit, with two hundred million streams on Spotify, you may have heard.
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By the mid-'80s, goth was in full bloom. In its various forms, it was everywhere, and goths, alongside punks, filled the streets of capital cities.
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Naturally, even more landmark albums followed. The long-awaited Sisters of Mercy debut. The gothic Night Time by Killing Joke.
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New releases from Siouxsie and the Banshees, the Damned, Xmal Deutschland. New names like Fields of the Nephilim, Skeletal Family, Red Lorry Yellow Lorry, and dozens more.
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Finally, we can define gothic rock. What is it? What does it sound like? By 1985, there were already plenty of subgenres, which I'll cover in the next part.
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But for now, let's establish the fundamentals, a point of reference. Classic gothic rock is: music led by a straightforward, often very prominent bassline.
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The bass is often clean, but dense and cold as a machine. The drums are usually minimal, but sharply defined.
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The snare has a pronounced attack, but a shortened sustain, giving it a lifeless, mechanical feel.
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The guitars often work against the rhythm section, creating tension between lifeless rhythms and offbeat, ornate, beautiful melodies, or, conversely, dissonant expression.
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The guitars aren't heavily distorted, but they're drenched in spacious effects: delay, reverb, chorus, and so on.
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Synths can help too, sometimes reinforcing the rhythm section, sometimes emphasizing the song's melodic side.
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And most importantly, the vocals. Cold and apathetic, usually a male baritone or even bass. Add some reverb for an even greater sense of detachment.
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And though there are plenty of examples with higher male or even female voices, the baritone largely became the genre's calling card, not least thanks to the popularity of the Sisters of Mercy.
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And of course, we can't forget the genre's visual identity, which mattered enormously in its early days.
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Black clothes, black hair, or, less often, an unnaturally bright white. Hair teased up, or simply long and straight.
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Eyeliner, chains, leather, and other punk accessories, presented with more refinement. And last, but not least, the themes.
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Death mysticism fatalism, and personal tragedy. All of these appeared in gothic rock lyrics. Whether the track was danceable or slow and contemplative, these elements came together to create a mood of decadence: a sense of decline, accepted with a touch of irony or even sarcasm.
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And you know, it's interesting: many of gothic rock's founders never accepted the term at all.
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The Cure and Bauhaus, for example. But here, I'll just leave you with a comment I found on Reddit.
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Although the mid-'80s marked goth's heyday, by then many of its pioneers were moving away from the genre.
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After their gothic trilogy, the Cure gradually moved toward lighter, happier music. Bauhaus had already broken up in 1983.
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In one form or another, it reached even bands that originally had nothing to do with it.
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Some like Echo and the Bunnymen, played with it briefly. Others, like Depeche Mode, made it their own and stayed friends for years.
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And others, like Swans and Sonic Youth, absorbed the mood and filtered it through their own unique vision.
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But goth's influence was so enormous that it reached even bands that originally had nothing to do with it.
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Echo and the Bunnymen, Depeche Mode, Swans, Sonic Youth, and many others. By the mid-'80s and beyond, gothic rock began to outgrow its own boundaries, spawning numerous subgenres, which we'll discuss in the next part.
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And don't worry, we'll return to gothic rock itself in part three, when we'll definitely talk about HIM and other later stars of the genre.
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In the next part... Let's stop here. In the next part, as I said, I'll explore the different genres within the goth scene.
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We'll cover the American scene known as deathrock, and the various waves like darkwave, coldwave, and ethereal wave.
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There'll be a big section on the different kinds of gothic metal, plus a little horror punk and gothabilly.
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We'll even find room for branches like gothic country and dark cabaret. And of course, I won't forget goth's electronic side: from cybergoth favorites to witch house, the first genre in which goth fused so closely with hip-hop.
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There'll be plenty to learn, and plenty to keep you interested. If you enjoyed this video, I'd appreciate a like.
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Special thanks to anyone who shares it with a friend or supports me on Boosty or Patreon.
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I'd love to read your comments too. I've probably forgotten to mention your favorite band.
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But remember, there are still two long videos to come, so I may get to them yet.
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To make sure you don't miss them, subscribe to the channel. I also recommend following my Telegram channel. Every couple of days, I review albums there, both new and old.
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On Fridays, I put together a list of what I find most interesting. Sometimes I share my thoughts, or simply something I've discovered.
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For example, on this video's topic: a few months ago, I wrote about how Siouxsie and the Banshees wrote the first post-hardcore song in history.
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There's plenty of interesting stuff there. Have a read. Subscribe. Thanks for watching. Thanks for liking and subscribing.
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See you very soon. Or maybe the next part is already linked up here in the cards.
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Or you could watch another one of my videos. Anyway bye-bye!
Topics:gothic musicgothic rockpost-punkshock rockglam rockDavid BowieAlice Cooper2holliswitch housegoth subgenres
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