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Neue Deutsche Todeskunst
Neue Deutsche Todeskunst (Translated as "New German Death Art") is a musical genre that was developed in Germany in the early 1990s. It is credited with establishing the German language in the Darkwave movement, although there were already such German bands as Xmal Deutschland, Geisterfahrer and Malaria!.
==History==
In the late 1980s, a number of German musicians combined music in neo-classical, Gothic Rock, and Darkwave styles with German philosophical texts and a highly theatrical stage show. The music was based on the Gothic Rock of bands such as Siouxsie and the Banshees, The Sisters of Mercy and Fields of the Nephilim and the Darkwave sounds of bands like Joy Division, The Cure and Depeche Mode. The words often paid deep homage to German philosophers like Andreas Gryphius, Johann Wolfgang von Goethe, Friedrich Nietzsche and Gottfried Benn, as well as international poets such as Edgar Allan Poe, Charles Baudelaire, and Jean-Paul Sartre. The concerts of these groups put a great emphasis on costumes, lights and pyrotechnics. The performances were designed to stimulate all the senses and convey an overall dark, brooding atmosphere. Lyrical themes include transience, evil, nihilism, surrealism, expressionism, existential philosophy, criticism of religion, violence, madness, isolation, depression, and especially death. As part of this movement, a number of bands use Classical Latin for their lyrics and album names.
The greatest Neue Deutsche Todeskunst successes include ''Gottes Tod'' by Das Ich (1990), ''Verflucht'' by Relatives Menschsein (1991), ''Der Ketzer'' by Lacrimosa (1991), ''Das Ende'' by Goethes Erben (1992) and ''Regentanz'' by Endraum (1992). Many NDT artists gravitated to the Danse Macabre record label.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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