WHY THE NEPHILIM UPSET ME.
The Nephilim upset me.
Is it the use of flour? The music which references ancient biblical peoples, fallen angels and chaos magic? The fact that 1988′s amazing ‘Moonchild’ was released in the same year as Tiffany’s ‘I think we’re alone now’? Is it their laissez-faire attitude to touring? Their choice of encore, t-shirt or touring partner? Is it the fact that I have spent many a failed lunchtime ‘al desco’ trying to understand the difference between The Fields of The Nephilim, The Nefilim and The Nephilim? Nope.
In the bible the Nephilim were giants, supposedly produced by the coupling of a god and a human woman. Doesn’t get more goth than that.
The post below got me thinking and I found the video at the bottom – fascinating, and worth four minutes of your time.
It was around 1986 when a new great goth band emerged … A handsome post-apocalyptic cowboy growled through amazing music, smoke and flour ; supported back then by a fantastic band… The band’s name was equally mysterious and you had to try to remember it…
Dark Circle Room is a fantastic resource. It is a treasure trove of goth, post-punk and new wave – bootlegs, demos, TV appearances, sessions – whatever. It has so much Sisters material that it has to break its listings down by year.
Even though the site doesn’t link to any “official” recordings, it is the subject of repeated legal takedowns.
Get a fucking grip people – DCR is a critical resource documenting a significant period in music, in immense detail – they should be given a medal and free bandwidth.
Here is the Fields of the Nephilim – every Goth’s fourth favourite band – in full flow…
Their 1988 DVD Forever Remains is up in its entirety on Youtube.
Heavy duty nostalgia – pass the flour…
What a fantastic idea.
“BBC4, can we please get Goth Britannia made?” is a Facebook campaign – a year old this week – imploring the beautiful BBC to make “Goth Britannia”:
We’ve had Soul Britannia, Prog Britannia and Synth Britannia and others, but surely there is a snakebite & black sized gap in the schedules for the daddy of ’em all… GOTH BRITANNIA.
Part three of a five part series.
Goth history does not have a lot of supergroups, unfortunately. Robert Smith briefly played guitar for Siouxsie and the Banshees, and Peter Murphy occasionally works with Trent Reznor; other than that, it’s just not a genre known for epic team-ups. However, a few bands like Bauhaus, whose members went on to equally productive solo careers, have become retrospective supergroups, and none stand taller than the Sisters of Mercy.
In 1986, the Sisters were an extremely hot commodity because they were brilliant, and front man Andrew Eldritch was a consummate music businessman with great acumen for getting what he needed. In 1985, the band released First and Last and Always, which as we’ve pointed out before is the greatest goth album of all time.
So this dropped through my letterbox today. The curiously titled “The Cure [IN GREAT BIG LETTERS] and the story of the alternative 80s.” [in apologetically small, non-descript, genre avoiding letters].
It’s a potted history of Goth (the Cure don’t even really get any extra coverage), with new interviews and good, in-depth articles. This is definitely not as gritty as Mick Mercer’s excellent Gothic Rock (still available through LuLu, and highly recommended), but it seems like a pretty good intro. It does have a lot of really nice photos, many I haven’t seen before.