Dark cabaret
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Dark cabaret may be a simple description of the theme and mood of a cabaret performance, but more recently has come to define a particular musical 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 punk music.
Cabaret proper had long associations with counter-culture and dealt with disturbing themes, as exemplified by The Threepenny Opera by Bertolt Brecht and Kurt Weill, with one of its best known songs "Mack the Knife" ("Moritat von Mackie Messer") which tells the story of a murderous anti-hero, or the 1933 song "Gloomy Sunday" ("Szomorú Vasárnap") by Hungarian composer Rezső Seress with the more recent urban legends which have grown up around it. It was therefore natural that later artists drew upon it for inspiration: Nico's 1974 album The End... is an early example of such influence, especially in songs such as "You Forgot to Answer" and "Secret Side", while influenced artists associated with goth and punk music specifically include Nina Hagen,Sex Gang Children and The Virgin Prunes.
One of the earliest bands to play mainly or exclusively in a style which might now 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 blasphemy, prostitution and bestiality in their songs, sung by Martyn Jacques in a menacing style with a falsetto voice. A collaboration between Rozz Williams and Gitane Demone - both former 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" or "glam cabaret". Following her 1996 debut solo album Quintessentially Unreal, San Francisco-based singer/pianist Jill Tracy released her second CD, Diabolical Streak, in 1999. Canada's Shift magazine called the album one of the "Top 10 Neo-Cabaret albums of all time."
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