I just finished going through the year-end wrapup issue (“Great Expectations,” 12/25), and I can contain myself no longer. I must finally ask the question that has been on my mind for many years.

Why, exactly, is the gothic/industrial dance club scene in the D.C. metropolitan area completely ignored by the Washington City Paper? Why does a newspaper that obviously prides itself on being hip and in the know about the D.C. club scene persistently and totally ignore one of its most vital genres? How is it that a music scene that boasts five weekly club nights in the D.C. area; countless Web sites, mailing lists, and chat rooms; and legions of fans is never even mentioned? How can you do a multipage overview of the year in bands and not devote a single word to bands like Apoptygma Berserk, Front 242, Project Pitchfork, and Covenant, all of whom played to packed houses in D.C. this year and whose music regularly packs dance floors all over the city? Why is it that when you write about Einstürzende Neubauten you sound like you’re writing about Barenaked Ladies?

Gothic/industrial dance music is admittedly an acquired taste and not the biggest genre in the city’s multifaceted club culture. But to not even garner a single word? I know that covering every single aspect of the D.C. clubs would be an impossibility. But this particular aspect has a large and widespread following. It’s high time the gothic/industrial music scene in Washington, D.C., and its patrons, DJs, and bands got the recognition they deserve.

Arlington, Va.

via the Internet