Entering Goth: A Playlist
graphic by Mikayla Alpert
As we enter the dreary winter months, it seems apt to explore the darker side of music. While the term “gothic” has existed for millennia, goth music specifically describes a subculture that took foot in the early 80s, a descendent of punk and glam rock.
Goth music itself is typically characterized by dark aesthetics and thematic material and disturbing sonic elements. That being said, “goth” does not have a precise definition, and the meaning has shifted throughout the years. Like most subcultures, the term “goth” has diverged completely from its origins. While most people are able to recognize something as “goth,” how many are actually aware of the music behind it? Therefore I ask: what really is “goth”? Let’s take a moment to go through the defining songs of early goth music to reach a better understanding.
Proto-Goth: The Bands which inspired Goth
Track: “The End” by the Doors (1966)
We begin the playlist with what can be classified as the original band to be called “gothic”. Jim Morrisson, with his otherworldly aura, serious demeanor, and captivating stage presence embodied the dark and theatrical performances of future goth musicians, rightfully earning himself the nickname “The Lizard King”. As the ninth track in The Door’s self-titled album, “The End”, captures a depraved emotional nadir for the entire record. The airy and dissonant atmosphere is created by the collaboration of Ray Manzarak’s elegiac piano playing, Rick Manzarak’s distorted guitar, and John Densmore’s loose yet focused drumming, which all builds together towards a crescendo where Morrisson yells: “Realms of bliss, realms of light / Some are born to sweet delight” to what culminates in a haunting track. The Door’s short-lived career would go on to influence a wide array of alternative rock bands, including many of the future bands to be featured.
Album: The Marble Index by Nico (1968)
Nico, originally known for her collaboration with Andy Warhol and the Velvet Underground, sought to refine her image from the folk-pop she was known for. The result of her independent path is The Marble Index, an avant-garde album which combines Nico’s mournful vocals with John Cale’s experimental instrumentals. The album was a complete makeover for Nico, representing a shift in her sonic and visual identity. The cover of the album itself features Nico, blonde locks dyed jet-black, staring into the listener. The second track, “Lawns of Dawn”, features dissonant bells and accordion that, when coupled with Nico’s shamanic lilt, creates a haunting, gothic effect.
Further Listening:
Songs of Leonard Cohen by Leonard Cohen (album)
Witchcraft by Coven (album)
“Sympathy for the Devil” by the Rolling Stones (song)
Underground by the Electric Prunes (album)
“The Vampire” by Buffy St Marie (song)
“Neat Neat Neat” by The Damned (song)
Low by David Bowie (album)
Enter Goth
Track: “Bela Lugosi’s Dead” by Bauhaus (1979)
“Bela Lugosi’s Dead” is arguably the catalyst for goth music. The first three minutes of the song consist of sonorous instrumentals, with an eerie quality that mimics the feeling of standing in an empty church. The song tells the story of Bela Lugosi, an Italian actor known best for his role as Dracula in 1930s cinema, who dies and is reborn as a vampire. “Bela Lugosi’s Dead” was the first song by Bauhaus, being recorded six weeks after their formation. Interestingly, the members of Bauhaus were heavily influenced by Jamaican dub and reggae, as seen through the alterations of guitar and bass riffs repeated throughout the song. The song would have a massive influence on post-punk and gothic rock, due to its unique sonic and thematic qualities.
Album: Seventeen Seconds by the Cure (1980)
Seventeen Seconds by the Cure is the first album in the band’s “goth trilogy”. The record marked an evolution from the Cure’s earlier new wave identity. The shift can be accredited to singer and guitarist Robert Smith touring with Siouxsie and The Banshees. After returning from the tour, Smith recruited Simon Gallup for the bass (after disagreements with the previous bassist, Michael Dempsey, due to Dempsey’s pop-oriented goals), and began the makeover of the Cure. It was during this era in the Cure’s career where the messy eye-liner and back-combed hair, which Smith would later be known for, originates. The band began to experiment with distortion effects, bleak lyrics, and avant-garde song composition. The final track, “Seventeen Seconds” highlights this, consisting only of a lethargic guitar playing, with a steady bass line and atmospheric drum beat, portending the Cure’s future experimentation with their instrumentals. The Cure would go on to become one of the most recognizable goth bands, post-punk bands, as well as 80s bands in general.
Track: “Spellbound” by Siouxsie and the Banshees (1981)
It is impossible to talk about the Cure without talking about the band which inspired Robert Smith’s entire identity, Siouxsie and the Banshees. The track “Spellbound” on the album Juju. After the electronic-based melodies of their previous album, the band aimed to craft a guitar-based record that drew on darker themes and narratives. The song tells the story of being bewitched, as Siouxsie Sioux sings: “You hear laughter/Cracking through the walls/It sends you spinning/You have no choice.” While the band disputes the classification of the album as gothic rock, they nonetheless had an irrefutable impact on the goth subcommunity in terms of both their visual and musical style.
Further listening:
“Requiem” by the Killing Joke (song)
“Human Fly” by The Cramps (song)
Hee Haw by The Birthday Party (album)
Floodland by Sisters of Mercy (album)
Dark Wave: The Convergence of New Wave, Post-Punk and Goth
Album: Closer by Joy Division (1980)
Joy Division’s career, despite its briefness, sent a resounding wave across the world of alternative rock. The band’s catchy riffs and dance melodies juxtaposed with the band’s sombre demeanour, Ian Curtis’ cryptic and depressing lyrics, and the stripped-back production by Martin Hannett. Closer is the second and final Joy Division album, released after the death of lead singer Ian Curtis. The album sees a return to the band’s punk roots with songs like “Atrocity Exhibition” and “Colony”, while also featuring synth-pop elements throughout. The final track, “Decades” perfectly captures the bleakness and desperation conveyed in the album, with a resounding drum machine and synth melody nearly overpowering the guitar and bass, replicating the effect of being consumed by technology. Both Joy Division albums remain widely adored to this day.
Album: Clans of Xymox, self-titled (1985)
The debut album of Dutch group Clans of Xymox, their self-titled album is remarkable in its versatility of both dance-pop anthems as well as introspective goth elegies. Tracks like “No Words” and “Stranger” are extremely catchy, using plenty of electronic instruments with a darker twist. For instance, in “Stranger”, a choral chorus can be heard in the background, intermixed with a drum machine and synth riffs. Meanwhile, tracks like “Cry in the Wind” and “No Human Can Drown” tell solemn anthems about heartbreak and death, mixing sonic elements of gothic rock and synth-pop.
Further listening:
“Head Over Heels” by Tears For Fears (song)
Power Corruption and Lies by New Order (album)
“Enola Gay” by Orchestral Manoeuvres in the Dark (song)
“Lips Like Sugar” by Echo & the Bunnymen (song)
“Enjoy the Silence” by Depeche Mode (song)
Death Rock
Track: “Now I’m Feeling Zombified” by Alien Sex Fiend (1990)
Combining punk rock elements with horror, deathrock bands like Alien Sex Fiend turned their gigs into theatrical experiences. “Now I’m Feeling Zombified”, one of their later releases, is a track that must be experienced live, though the studio version itself is quite compelling. The track opens with a steady drum machine, as reversed noise and grunting occurs in the background. The droning screams of Nik Fiend, along with the combination of industrial, electronic, and punk influences, make for a fascinating listen. The band was usually seen performing at the Batcave in London, a punk refuge that was frequented by the likes of Robert Smith, Siouxsie Sioux, and Nick Cave. Alien Sex Fiend embraced the subversive, delightfully indulging in their theatrics.
Album: Sleep in Safety by 45 Grave (1983)
On the other side of the pond was the West Coast punk scene, influenced by punk bands like the Stooges and New York Dolls, more glamorous acts such as David Bowie and Screamin’ Jay Hawkins, as well as drawing influence from horror films and television. Sleep in Safety opens with an announcement, “This album was created by men who are successful career field agents in the life insurance business,” before segueing into a church organ. The album feels like a horror-themed park attraction, with atmospheric storytelling, captivating instrumentals, and vocalist Dinah Cancer’s strong vocals that act as narrator for the wicked world of 45 Grave.
Further Listening:
“Kiss Kiss Bang Bang” by Specimen (song)
Catastrophe Ballet by Christian Death (album)
“Black Wedding” by Super Heroines (song)
Close One Sad Eye by Kommunity FK (album)
Goth Metal
“Moonchild” by Fields of The Nephilim (1988)
Field of Nephilim, whose name refers to the biblical creature Nephilim, combined hard rock with occult themes and imagery. “Moonchild” was the lead single of their second LP, The Nephilim. The track is sustained by a heavy guitar and bass, while Carl McCoy’s vocals provide a ferocious growl. The track tells the story of a war between two wizard factions, depicting various rites and rituals, as McCoy belts in the chorus: “Moonchild / Lower me down, lower me down.” The result is a fun and noisy track with a captivating story.
Bloody Kisses by Type O Negative (1993)
The third studio album of Type O Negative, this record saw the band establish itself as a champion of the goth metal genre. The record itself combines hard rock and metal with ethereal shoegaze and dream pop influences, to make for a thrilling sonic experience. Bloody Kisses is packed with satirical lyrics, lewd sexual references, and waves of noise that culminates in a melodic climax. Ballads like “Black No. 1” highlight the instrumental talent of the group, vocalist Peter Steele bellows: “Loving you is like loving the dead.” Other tracks like “Kill All The White People '' and “We Hate Everyone” delightfully poke fun at the goth and metal subculture through their use of satire. The track also features a cover of Seals & Crofts 1972 song “Summer Breeze,” turning a pop hit into a dark and heavy metal track. Bloody Kisses takes the goth and metal conventions and elevates them for a new audience.
Further Listening:
Draconian Times by Paradise Lost (album)
“Nymphetamine Fix” by Cradle of Filth (song)
Turn Loose the Swans by My Dying Bride (album)
Under The Moonspell by Moonspell (album)
The Future of Goth?
So, where does goth go from here? While there are artists that have identified with the goth label since the late 80s, namely “mall goth” bands like My Chemical Romance, Korn, Marilyn Manson or even the emergence of goth rap with artists like Lil Peep and Yungblud, most of these artists are met with contention by members of the goth subcommunities. While there are certainly post-punk and gothic rock bands around, (my personal favourites being Molchat Doma and O. Children), modern gothic rock scenes lack the same sense of community that existed in previous decades. The question then becomes: is goth dead?
I’d argue goth has reached an undead state. While the scene itself has mainly fizzled out, there is no denying the obvious impact of the goth subculture within both alternative and mainstream culture. Goth ultimately led the foundation for other angst and noise-driven music movements, such as shoegaze, post-rock, industrial rock, grunge, and even trip-hop. You can hear the goth influence on albums like Rid of Me, where PJ Harvey dances animatedly and sings at the top of her lungs, or more recently with the cacophonous yet melodic experimentation of post-rock bands like Black Midi and Black Country, New Road. Goth, it seems, has accomplished its initial purpose, entering a ghost state that will forever haunt music.