Heavenly voices

Données clés
Origines stylistiques	Dark wave néo-classique, dark wave, post-punk, 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

« Heavenly voices » [ˈ h ɛ v ə n l i ˈ v ɔ ɪ s ɪ z] (en francophonie^[4]) ou « ethereal wave » [ɪ ˈ θ ɪ ə .ɹ i .ə l .w e ɪ v] (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).
↑ (es) Simon Reynolds, « Pop View. 'Dream-Pop' Bands Define the Times in Britain », sur The New York Times, 1^er décembre 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, 30 décembre 2005 (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,‎ 23 mars 1987, p. 7 (lire en ligne).
↑ label prikosnovénie
↑ Bryan Reesman, « The Scene Is Now: Dark Wave », CMJ New Music Monthly, n^o 68,‎ avril 1999, 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.

[1] (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).

[2] (es) Simon Reynolds, « Pop View. 'Dream-Pop' Bands Define the Times in Britain », sur The New York Times, 1^er décembre 1991.

[3] (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.

[4] Antoine Durafour, Le Milieu Gothique, Éditions Le Manuscrit, 30 décembre 2005 (lire en ligne), p. 12

[Glasnost42-5] (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.

[6] (en) Thomas Wacker: Projekt Records label portrait, Black music magazine, issue # 7/97, p. 66, Spring 1997

[Fischer-7] (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,‎ 23 mars 1987, p. 7 (lire en ligne).

[8] rikosnovénie

[9] Bryan Reesman, « The Scene Is Now: Dark Wave », CMJ New Music Monthly, n^o 68,‎ avril 1999, p. 48.

[Relevant_Music-10] (en) Alicia Porter Smith: A Study of Gothic Subculture: An Inside Look for Outsiders, Description of Relevant Music, juillet 1997.

[11] (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.

[Poynor75-12] (en) Rick Poynor : Vaughan Oliver. Visceral Pleasures, p. 75, Booth-Clibborn 2000, (ISBN 1-8615-4072-8).

[13] (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.

[Reflex-14] (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.

[15] (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).

[Glasnost44-16] (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.

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Heavenly voices

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