Dark cabaret may be a simpleton description of the theme and temper of a cabaret performance, but more recently has come to define a particular musical music genre which draws on the aesthetics of the decadent, risqué german Weimar-era cabarets, burlesque and vaudeville shows with the stylings of post-1970s goth and hood music .
Dark cabaret as a dash [edit ]
One of the earliest bands to play chiefly or entirely in a style which might immediately be described as dark cabaret were the Tiger Lillies, formed in London in 1989. In the 1980s satirical cabaret had been revived and popularised by London-based bands such as Fascinating Aïda and Kit and The Widow but the Tiger Lillies incorporated themes of profanation, prostitution and bestiality in their songs, whistle by Martyn Jacques in a menace style with a falsetto articulation. [ 2 ] A collaboration between Rozz Williams and Gitane Demone – both erstwhile members of christian Death, entitled Dream Home Heartache after a song by Roxy Music, was recorded in the Netherlands and released in the United States in 1995 and was described by reviewers as “ cabaret noir “ [ 3 ] or “ glam cabaret ”. [ 4 ] Following her 1996 debut solo album Quintessentially Unreal, San Francisco-based singer/pianist Jill Tracy released her second cadmium, Diabolical Streak, in 1999. Canada ‘s Shift cartridge holder called the album one of the “ top 10 Neo-Cabaret albums of all fourth dimension. “ [ citation needed ]
Reading: Dark cabaret – Wikipedia
egress of the genre [edit ]
The Dresden Dolls ‘ Amanda Palmer The term dark cabaret appears to have become popularized with the publish of a 2005 compilation album entitled Projekt Presents: A Dark Cabaret by Projekt Records, a pronounce chiefly associated with the dark wave genre. [ 5 ] The album included “ Flowers ” from Dream Home Heartache sing by Rozz Williams together with, among others, “ Evil Night Together ” by Jill Tracy, “ sometimes, Sunshine ” by Revue Noir, and “ coin-operated Boy “ by The Dresden Dolls. Formed by Amanda Palmer and Brian Viglione in 2000, The Dresden Dolls described their music as “ Brechtian punk rock cabaret ”, a term coined by Amanda Palmer in early 2003 in partially to preclude being labelled by the media as goths. [ 6 ] Nevertheless, with their musical dash and appearance in flannel face makeup and repress time period invest, The Dresden Dolls and their fans quickly became the most readily identified with the newly discernible blue cabaret genre, [ 7 ] garnering the most mainstream attention. subsequently, bands began categorising themselves and their operation as benighted cabaret, such as Katzenjammer Kabarett in France, or Ray Childish in Graz, Austria. [ 8 ]
New sects of the music genre emerged, abandoning the theatrical english of dark cabaret this time in party favor of sleep together, rock, and metallic element influences. Bands such as Stolen Babies, Birdeatsbaby, and Harlequin Jones are closely associated with the dark cabaret subgenre.
The appearance of an identifiable dark cabaret scene coincided with the wax of Neo-Burlesque starting in the 1990s. The two have become linked following the appearance of performers such as the Chicago spoof orchestra Apartment ( 1997–2005 ) and the egress of medieval bellydance. collaboration with spoof performers was given by Brian Viglione as the inspiration for The Dresden Dolls ‘ look. [ 9 ]