Goth: A History

The French-Romanian philospher E.M. Cioran said that the possiblity of suicide was a consolation that allowed him to continue living. This paradoxical way of thinking is one that I believe most goths would immediately understand, and it gets at the heart of Lol Tolhurst’s personal and intellectual investigation of what was known as the goth movement of the 80s.I began reading Tolhurst’s “Goth: A History” at the same time as John Robb’s “The Art of Darkness: The History of Goth.” Robb’s work is encyclopedic in every sense of the word. Though it is an excellent reference guide, I found the reading to be more informative than engaging. That is not the case with Tolhurst’s work, which is at once personal, philosophical, and archival.Reviewers can squabble about the bands Tolhurst names or fails to name as “goth,” but I think this misses the point. Those seeking a comprehensive overview of goth will probably find Robb’s book the resource they are looking for. (Though Robb’s book seems to privilege a British perspective. For instance, Christian Death do not even appear in the index, which will leave most goths on this side of the pond scratching their heads.)Tolhurst’s book, on the other hand, is testament of his metaphysical and psychological soul searching, more than just dates and background about various bands.Reminiscing about first attending a Clash show as an adolescent, Tolhurst remarks that “what I saw that night […] was more akin to one of Saint Augustine’s ecstatic visions than a simple rock show.” Years later, The Cure would provide that same epiphanic experience for others. I was 17 in 1985 when I saw The Cure at The Tower theater in Philadelphia. The experience was life-changing in part because the music and lyrics expressed so precisely what we were feeling. Tolhurst astutely notes that “in goth, lyrics form out of emotional vulnerability as opposed to bravado and certainty. The process is one of internal analysis and confession, revealing to the world frailty and humanity.” But there was more: seeing The Cure or Christian Death one found what Leah Bush is quoted as calling “community.” But I think a more precise word is communion.And it is communion that goth readers will find in this book, in the form of Tolhurst’s recollections, reflections, interviews, and speculations. The tone is conversational, intimate, and consoling. Goth readers will find a kindred spirit in Tolhurst. As he says early on in the book, “The Cure did not have a particular style; rather, we were the essence of a melancholy spirit.” That seems right. Goth was never just a musical movement, a fashion statement; goth was (and is) a mode of being, a lens through which many see the world.Tolhurst’s book is full of insights such as these and others, and I highly recommend it.

Lol Tolhurst is an excellent writer. This book is full of interesting background information on the origins of Goth music and art. Would be an excellent gift for friends or family who love The Cure.

For those not aware he was a founding member of The Cure, a band I discovered in the 1980s and is still my all-time favorite (because they’re awesome). My decision to request was further solidified when I saw that a large focus was going to be on what Tolhurst coined the “Architects of Darkness” — Bauhaus, Siouxsie and the Banshees, Joy Division, and, of course, The Cure. I still listen to these four bands every single day. Goth and post-punk are my favorite music genres, and not a day goes by that I don’t listen to music.The scope of this book is a bit broader than I was expecting, but also narrower, in the sense that the scope is very much dictated by Tolhurst’s own upbringing. He starts with literature, covering the influence of French philosophers such as Jean-Paul Sartre & Albert Camus, as well American poet Sylvia Plath. Then we get into the early music influences of The Doors, Nico, and the Godfather of it all, David Bowie.The only reason this did not get 5 stars from me is the writing style. It was just a bit too high brow and esoteric for my taste. I mean, Tolhurst actually read the authors I listed earlier as a teenager, and I really can’t relate to someone who’s reading French philosophy at 16. Otherwise this was a great read.

I thought this book was just going to be about the gothic side of music written by someone who was right in the middle of it, but the author talks about the history of the Gothic influence in art, literature, life, and music.

I just received my copy of Goth A History. I was very excited to open it!These days I don’t buy as many physical books as I used to, so I reserve for books that are more special or to be given as gifts.I am a bit disappointed that the book sleeve arrived with a small tear on it. Anyone who loves the books they collect will understand the disappointment.

Great read, very informative.

Just like his first book LOL scores again. Interesting and informative . I highly recommend both of his books for goth and just experimenting.

This is a love letter to the Goth movement, in song and in culture. Lol Tolhurst saw everything from his place in The Cure. He takes you through the little moments where musicians and fans found dark voices and shadowy identities. It's a short book, but it's a charming walk through a quaint little cemetery.

After getting irritable with Bernard Sumner’s memoir, thinking of all the promising authors in the world this advance and recognition won’t go to because they aren’t already famous, I decided I was only going to buy books from now on because of how good the book itself apparently is rather than because of who wrote it. I reminded myself of this part way through this book but it got much better for me.This is as stated more of a personal memoir of living through those years and being part of it. It’s quite broad in scope and even parts I didn’t really agree with got me thinking. I like the part about Elder Goths as I’m seeing a lot of in action in my now late 40s.I will probably read another well regarded, more complete book released around the same time on this subject so will likely get the best of both worlds.You can’t argue with Lol’s drumming on three of the Cure’s ‘dark trilogy’. I often think of it. Stark, precise, powerful, perfectly complementary to the material.I remember articles on Robert Smith when it all went down with the lawsuit as a young fan. Very damaging to Lol’s reputation and the great work he did. I was surprised to find out years later they made up and had done those shows together. An added benefit to this book is I very early on worked out from reading this Lol is a decent, interesting guy and as I’ve gone through some of the same issues it was great to let that go.