Well, well, well the Neff are back. And I mean “the Fields of the Nephilim” – the first lot (even though I think only Carl McCoy remains from the original line-up) – not “the Nefilim” or “the Nephilim”. It gets confusing.
I quite liked the Neff early on – Laura, Dawnrazor, Preacher Man. I didn’t think I’d ever see a more theatrical band in my life than Bauhaus, but McCoy, dressed in pure spaghetti western, cat’s eye contacts and covered in flour was a sight.
Anyway, they’re back with a double CD and DVD combo called “Ceromonies”, with a sold out super-deluxe box-set version for £100. Their much later stuff was (apparently) more industrial, and a preview track (video inside!) is definitiely heavier.
Goth has been with us for 30 years. The term “gothic” was used by producer Martin Hannett to describe Joy Division’s sound, and a lot of the musical signifiers of classic goth rock – scything, effects-laden guitar, pounding tribal drums – are audible on Siouxsie and the Banshees‘ 1979 album Join Hands. But the notion of a goth as we understand it today – black and purple clad, dyed hair, a liking for the Sisters of Mercy – really formed in the early 80s. The makeup and increasingly elaborate clothing were a glamorous reaction to post-punk’s dour anti-image, the theatrical air of gloom a rejoinder to the jollity of 80s pop. And yet, it never went away, despite or perhaps because it was largely reviled, mocked or ignored by the music press. Bizarrely, goth’s commercial zenith, when Fields of the Nephilim, the Mission and All About Eve made the singles chart and the global success of the Cure’s Disintegration album meant they could briefly claim to be the biggest band in the world, was in the era of acid house and Madchester.
via Goth for life | Music | The Guardian.