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Heavenly voices
| Origines stylistiques | néoclassique, dark wave, post-punk[1], new wave |
|---|---|
| Origines culturelles | Début des années 1980 ; Royaume-Uni, plus tard aux États-Unis, au Canada, en Europe, Amérique du Sud et Australie |
| Instruments typiques | Guitare, basse, batterie, chant, violon |
| Popularité | Mondiale, surtout dans les années 1980 |
Genres dérivés
« Heavenly voices » [ˈhɛvənliˈvɔɪsɪz] (en francophonie[4]) ou « ethereal wave » [ɪˈθɪə.ɹi.əl.weɪv] (d'après des sources anglophones ou germanophones[5],[6]) sont des termes utilisés a posteriori comme noms de genre pour désigner globalement un type de musique atmosphérique faisant la part belle aux voix féminines « éthérées »[7] ou « féériques »[8]. Il est parfois considéré comme un sous-genre musical de la dark wave[9],[10], et parent de la néoclassique voire de l'ambient. Développé au début des années 1980[11],[12],[13] au Royaume-Uni, le style heavenly voices est principalement représenté par des groupes signés au label 4AD[14],[15] comme les Cocteau Twins[16] et Dead Can Dance à leurs débuts.
- (en) Mimi Abramovitz, Karen Kelly, Evelyn McDonnell: "Punk flicked its emotional switch from anger to depression, and became more ethereal in the process. The careers of the most successful atmospheric post-punk bands – The Cure, Siouxsie and the Banshees, Cocteau Twins, Dead Can Dance – tended to be long and uneven.", Stars Don't Stand Still in the Sky. Music and Myth, p. 82, New York University Press 1998, (ISBN 0-8147-4727-2).
- (en) Simon Reynolds: "Pop View. 'Dream-Pop' Bands Define the Times in Britain", The New York Times, December 1, 1991
- (en) Cam Lindsay: "Like any genre, ‚shoegazing‘ has many parents; most date the first traces back to the drugged-out noise and motionless performances of the Velvet Underground. More obviously, the groundwork was laid in early ’80s Britain by The Cure albums ‚Faith‘ and ‚Pornography‘, by the swirling buzz-saw noise and anti-social behaviour of the Jesus & Mary Chain, the ethereal textures of Cocteau Twins and the hypnotic drones of Spacemen 3.", Sound of Confusion. How Shoegaze Defied Critics and Influenced a Generation, exclaim.ca, août 2008.
- Antoine Durafour, Le Milieu Gothique, Éditions Le Manuscrit, (lire en ligne), p. 12
- (en) Glasnost Wave magazine, issue # 42, p. 32-34, genre classification of the bands Trance to the Sun (Ghost Forest), This Ascension (Light and Shade), Soul Whirling Somewhere (Eating the Sea), Cocteau Twins and Lycia, avril 1994.
- (en) Thomas Wacker: Projekt Records label portrait, Black music magazine, issue # 7/97, p. 66, Spring 1997
- (en) Michael Fischer: "The ethereal romanticism of this EP makes for the closest thing in pop to a music for Gothic cathedrals", Cocteau Twins review ("Love's Easy Tears"), The Michigan Daily, p. 7, 23 mars 1987.
- label prikosnovénie
- Bryan Reesman, « The Scene Is Now: Dark Wave », CMJ New Music Monthly, no 68, , p. 48.
- (en) Alicia Porter Smith: A Study of Gothic Subculture: An Inside Look for Outsiders, Description of Relevant Music, juillet 1997.
- (en) CD Review magazine : "The Cocteau Twins' calling card — ethereal soundscapes marked by offbeat, haunting female vocals — was unique back in the early '80s.", Cocteau Twins album review, p. 44, issues # 1-6, 1990.
- (en) Rick Poynor : Vaughan Oliver. Visceral Pleasures, p. 75, Booth-Clibborn 2000, (ISBN 1-8615-4072-8).
- (en) Fred Perry Subculture: "...the 4AD roots lay within a sub-set of post-punk, and it is this period in the 80s where 4AD have developed a cult status. The label, alongside its artists, nurtured and raised a new and defined sound, predominantly ethereal and dark...", Book presentation of Martin Aston's Facing the Other Way: The Story of 4AD, septembre 2013.
- (en) Staci Bonner: "In 1982, they hand-picked their record label, 4AD — a company that had corralled all that was gothically ethereal...", Interview with the Cocteau Twins, Reflex magazine, septembre 1988.
- (en) Colin Larkin : "... the label which, more than anyone else, was capable of handling their brand of ethereal, dreamlike elegance.", Guinness Encyclopedia of Popular Music, p. 1156, Guinness Publishing 1992, (ISBN 0-85112-939-0).
- (en) Oliver Köble: Vollendete Gothic-Ästhetik, interview with William Faith of Faith & The Muse (and Tess Records), Glasnost Wave magazine, issue # 44, p. 11, novembre-décembre 1994.