The vast Goth underground--with its dignified, melancholic graveyard aesthetic derived from such sources as Gothic horror novels, the Addams Family, Alice Cooper, and Anne Rice--is nothing short of an international phenomenon. The Hex Files offers a five-continent survey of what's out there and how to plug into the Goth scene worldwide. 200+ illustrations.
Mick Mercer is a journalist and author best known for his photos and reviews of the goth, punk, and indie music scenes. He publishes a monthly online magazine called The Mick. He also photographed the band Tragic Venus both in the UK and Europe.
The updated "author's version" of Hex Files: The Goth Bible, Mick Mercer's Hex Files: Resurrection is an invaluable resource for Goth subculture on an international scope. From Australia to the United States, Mercer takes on authors, visual artists, club promoters, 'zine editors, and-- of course-- a seemingly endless black cloud of lachrymose musicians with teased, tormented and lacquered hairstyles.
While content heavy-- and physically heavy, for that matter-- to some, it may seem that Mercer "left nothing out."
Insofar as a Table of Contents, an index, or a single page number listing, however? Nada. Nichts. Forgettaboutit. The absence has proven itself frustrating on more than one occasion, yet still: in terms of reportage on dark-hearts who [quote] "want to experience everything...[who] surge with power over the art, literature and effects of the music"? Well...For Goth Lite, seek out your local Hot Topic. There's no shortage of clones clomping around in embarrassingly dated monster boots, sporting clip-in dreads, mired in the predictable tunes.
However, if one's pursuit is to grasp an idea of the intrinsic beauty and dignity [a minority of] the Goth Scene retains--as well as the pervasive "prevarication, bitchiness and mania" that are "as it should be. It's a contrary child": This book is the best starting place I can name.
I like the idea of what Mercer was trying to do here, creating a sort of address book of gothic musicians, record labels, writers & artists, magazines, clothing catalogues, etc. But this came during the height of the late 90's wave, when the internet was beginning to pick up a lot of promotional slack in the gothic community. Many bands have since broken up, record labels (like the wonderful Tess) have folded. As such, a lot of material is now oudated, and this serves better as a record of that period.
I will say that, at the time I read it, this was an invaluable resource for my burgeoning interest in the gothic subculture.
I have to give this five stars as I'm listed in it as an illustrator from my days of illustrating horror stories for US and UK magazines. Looks like it's a collector's item now. It is however, a valuable resource for those researching the goth scene of the late twentieth century.