Gothtober- Bleached Cross : "Wrath"

 It's about time we get into some heavier shades of darkness. This album starts off with more of an industrial feel and sung vocals that drift behind grim sonics. A bass line carries things into a synth-laced dungeon of sorrow. The sung vocals deviate from your typical sullen post-punk tropes and have more of a 90s industrial rock feel, with more angst to them and hyper-emotional delivery. It's emotional to the point of being emo, which is heard on "Blood Moon". The fact that it's not trying to be pop punk or anthemic makes this work for me, since it would not if this had been handled differently. They have synths where the big arena power chord would normally sit. 

"Crucible" is more likea a post-punk but with mid-2000s  smoothness to the melody, like the Killers might have done if they were darker. Things get more aggressive on "Tomb," which uses harsh vocals and some atmosphere. "Lingering Souls". The more emotive vocals return on "Lingering Souls" . The more emo melodies are balanced with electronic elements. Not the smoothest chorus, but it works for what it is. "Torment" finds us back in 90s industrial mode. 

"Requiem" finds their feeling more invested in a manner that brings AFI to mind. The more militant vocal refrain reconfirms this AFI comparison. "the Dark" finds a more modern post-punk vibe established, which is one thing I should be clear about: they have more of a late-90s post-punk sound, owing little to bands like Joy Division. There is a Myspace goth feel to this for certain. Lyrically, it seems like religion is what broke their hearts on this album. There is a cool bass line that leads into the last song. Things shift into a danceier place for this song. I am going to need to spend more time with this album but I like what they are doing and their commitment to making their personal darkness into sound, so I will give this album a 9.5 

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"'Gothtober - Exhuming the Tunes with Christian Death's "the Iron Mask"

 

This is a Rozz Williams re-recording of a classic song. For the opener 'Spiritual Cramp," it works, as the vocals are more articulated and the lyrics stand out, making the music feel more like new wave than punk. "Sleepwalk" also feels different from the original. It is a cleaner mix, and they are giving the vocals more love, but double-tracking them to give you a better idea of Rozz's voice. A more metallic guitar tone crunches in with some songs, but it does not take it as far as Valor's metal flirtations. 'Skeleton Kiss" is a new song, and it works well with a creepy boogie to the riff, and Rozz singing some impressive harmonies with himself. Eva O is joining him on this album, and you can hear her raise her voice on this one. 

"Figurative Theater" cleans up the preformance from the original arrangement, hsi lyrics are phrased with more precision. Eva's harmonies are pretty cool. This one feels a little more upbeat. The articulation of the lyrics proves to be another plus. There is less of the punk tension, as it's less frantic and played more deliberately. This feels like what a band sounds like in the studio, with "Only Theater of Pain" sounding like how they sound on stage. "Desperate Hell" finds the vocals phrasing more refined. The guitars sit further back andd the vocals are mixed way up front, making it Rozz's show. I can see where a guitarist might hate these versions. I love that "Death Wish " feels more like a metal song with vocals mixed up. The harmonies on this rule, and you can really hear how great of a singer Rozz is in his own right. 

"Luxury of Tears"  is not the song from "Ahes" I would have re-recorded, but here we are; it works for what it is. I guess Rozz really liked this song. "Cervix Couch" also feels like an odd choice, but Rozz must love it enough to want to carry it into the 90s. The Death mix of "Skeleton's Kiss"  feels darker. The live of Gary Numan's "Down in the Park" is pretty cool, they nail it. This album is an essential gem for fans; I give it a 10.

   

4

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Gothtober - Theodor Bastard : "▽"

Russian electronic wizards continue to blend world music into their mix of sounds. They have said they shifted into a darker direction as the world is darker. The opening track shows they still have a pop inclination in their choruses, but the collage of sounds all transfigure each other into something unique and oddly catchy. Where Dead Can Dance takes ancient sounds from the world and creates with them, these Russians are not tied to the past but delve into electronic heavilly on songs like "Nebo". There is a great deal of sonic weight to the layers of sound even in the face of ethereal ambiance.  

"Kaplya Rosi" has what feels like more organic folk instrumentation, which is given a slinky groove to work off. It reminds me a little of Björk. "Zveroboy" is more ambient, with her voice gliding into a fairyland before a trip-hop-like beat grounds it.  'Dusha" is more of a folk song that happens to walk on electronic legs. This trip-hop meets folk vibe continues on with a more ethereal tone on "Ditya".  Sometimes there are hints of pop music that weave through things to create a more acessible sound. 

"Sverkay" is the lead single andd first song that sparked my interest in what they are doing; it also carries a more rock intensity in its dynamics. There is a wonderful aching melancholy in the chorus, which is what  I want from my dark electronic music. "Vremya" finds a haunting folk ambiance moving through their electronic beats; this combination has been a winning formula for this band. This album is catchy and dynamic as well as full of complex sounds. I will gives this album a 10 as it was one great song after another. Drops November 13th on Season of Mist Records

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"'Gothtober - Exhuming the Tunes with Christian Death's "Insanus, Ultio, Proditio, Misericordiaque"

This 1990 album is the last from Valor before our timeline intersects with Rozz Williams again. It is almsot more likea Laibach album. Opening with a droning symphonic piece before lightning hits Frankenstein's castle. "Malus Amor" finds them clicking back into a rock formula. Granted, 1990 was a weird time for music, and they were at the most transgressive end of the weirdness as death rock started to merge with industrial. The beat almsot reminds me of Robert Palmer. But if you think about it, it's not too far removed from the Revolting Cocks. It struts more than grooves. 

They bring in pieces that return to sprawling stretches of unsettling amabiance and balance them out with songs more supplied with actual instrumentation, such as "vexatio" which brings a creepy sensibility to blues-tinged rock. Even this descends into weirdness, but we were at least given something with more substance to contrast it with, which is pretty dark. "Somnium" has a straight-up rock drum beat and oddly rendered rock chords. Volar's stream-of-consciousness vocals rein it in to something on brand. Not what you would think of as death rock, but it still sounds like the band. 

"venenum" has some rockabilly qualities. It would have fit well into today's indie rock market. They were ahead of their time even when trying to find where to go next. This album is much better than I remember it being."Mors Voluntaria" finds heavier guitar looming in. I liek the weird effects on his voice for this one. Not as many guitar solos on this one as the previous Valor albums, nor are there any hints of Jimi Hendrix, which is an improvement. There is some weirdness they wander into between the heavy riff segments. This sometimes causes it to wander off. "Vita Volutaria" is more of an abstract outro. I will give this on a 9.5; it's better than I remembered. 

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Gothtober- RARE DM : "Attention"

 

This album came out back in May, so I am getting caught up, but this will be the last dark wave adjacent future pop album I review, as there has been a great deal of that this year, it seems, and I do not hear anybody outdoing Boy Harsher, though this project does not shy away from catchy melodies and complex, dancey synth arrangements. There is, however, a similar feel to the breathy vocals on the second song. "Honey" has more of the indie ambiance that propelled Boy Harsher earlier on, but that is where comparisons pretty much stop, aside from the fact that this is moody electronic music with female vocals. 

Things begin to get sexual on "Mean Girled", this horniness carries over into "Butterfly Historian" even though that song has a much different vibe.  The bass thumps in a more dance-floor grinding fashion for "325". Here, some of the eroticism gets projected onto cars.  She sings about driving around Europe which checks out with the vibe. "LA Traffic" minds 80s synths informing the booty shaking; it's a marginally brighter sound. The groove works well. "Lil DM" is moodier but with a playful undercurrent, as the vocals are more crooned in a higher register. There is a tragressive Billie Ellish vibe to the more self aware pulse of "Skater Hits Me Harder". The formula begins to get a little diluted here. 

She gets back on track with the more driving pulse of "Significant Other". Though it's just an instrumental dance track with odd sounds peppering it. "Feel Nothing" has a more hypnotic pulse. Her vocals are more chanted as the song takes a ghostly turn. She is not following a hyperpop blueprint but is aware of what it is. The last track is so atmospheric it might as well just be an outro. This album impressed me , I like smart moody pop music so it checked off a great deal of sonic boxes for me I will give it a 9.5.

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'Gothtober - Exhuming the Tunes with Christian Death's"All the Love All the Hate" (Part Two: All the Hate)

 Ok I just reviewed part one, and it's no surprise the all the hate" part is going to be my favorite of the two. "Born in a Womb, Died in a Tomb" is much darker and slightly industrial in its attack. Production-wise, it is a little clunky. The mix is weird, but lyrically it's great. It reminds me a little of Alice Cooper. "Baptized in Fire" is more than just slightly industrial; it is fully commited. It is also droning and experimental, but the guitars hold it together. "I Hate You" is totally silly, as it has a child ranting about why he hates you over the track. I am not into silly shit when it comes to music, as it loses its novelty on the third listen, if that. 

The production is the main problem with this album as "Children of the Volley" would have landed better with the vocals getting different treatment. Some of this is growing pains as they have outgrown the punk way of doing things, but when using metal guitar tones and riffs that figure more prominently, it needs to get the treatment of a Killing Joke album. "Kneel Down" works better under these conditions. The vocals are snarled in some parts here. I am not sure this song needs to be almost six minutes long."Climate of Violence" is more punk in its rowdy intentions.  Things build into a Slayer-like riff. Then things take an odd shift into weirdness, which sounds better; it's how the guitars were recorded that alters things here.  I am not sure what drugs he is on here, but their effects are evident. Six minutes in, it sounds like they are ripping off a Megadeth riff. 

They return to industrial for "Final Solution". It carries a machine-like drone on this one.  "Nazi Killer" works off a similar industrial formula as the previous song, with a metal riff holding everything down for the samples overlaying it.  Vocals do not come in for over tow minutes, and when they do, it's more of an angry rant. Once again, six minutes is pushing it. "Man to Father Fire" has more of a Megadeth feel on the guitar, as the vocals wander around. It's like he is just figuring out how to adapt his vocals to metal. There are stream-of-consciousness vocals that might have more bite if arranged differently. I will give this one an 8.5; they deserve a re-mix at least. 

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Gothtober- Darkswoon : "Antivenom"

This is the fourth album from this Portland-based band that plays a moody vision of indie rock, with vocals that are not overtly trying to be Siouxsie; in fact, there is more of a Savages meets PJ Harvey feel. The grit in the bass is dialed back but chomp at the bit. Everything is a slow build to a heftier pulse, which I appreciate. This album came out back in April, and I am surprised that it did not get more hype or come up on my radar, but that is the benefit of dedicating this month to dark music; it gets us caught up on what we might have missed. This was just found by me clicking around on Bandcamp; it deserves more of a shout-out just based on the opening track.

Granted, the thing about having a strong opener like that is it sets the bar high for the rest of the album. They build momentum almost up to gallop for the stormy "Pacific City". It feels half disco in how the drums play against this and more rock with the subtle tension built. "Thread" and "Monochrome" find themselves kind of blending together as they coast through the sound, not allowing the album to gain my attention until it gets to "Small Death"; they use similar intervals and the melody follows a similar formula, but the sound stands out more. Though at this point of the album it's clear they are programming the drums which  is a limiting factor for them 

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Sometimes it does give them more options with sound as they switch it up on the more ambient "Devour My Eyes". While I appreciate that they switch up the dynamics, this one does not hook me in .  "Blood Let" almsot has more oa darkwave thump to it. There is a slinkier groove than the bulk of the album. I would say it is one of the album's stronger songs. She belts it out more on the chorus. "x3' does find them graduating to darkwave and might be the album's best song. "Going Dark" maintains the momentum, but is not as interesting sonically. Overall, I enjoyed where they are going with this, and when they take things in a darker direction, it works best for me will give this album a 9. 

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Gothtober - Exhuming the Tunes with Christian Death's "All the Love All the Hate"(part 1 All the Love)

 This album starts off in a manner that might cause you to question if you bought the right as album, as it starts with a gospel song. Granted, this is the love part of the equation, so it's not as dark, though the second song is more like a Roxy Music take on death rock. This album also argues Valor is a better singer than Rozz, as there is no way Rozz could ever belt it out like Valor does on the opening track. This is not me saying the Valor albums are better, but you must be deaf if you can not hear that they deserve respect. 

"Love Don't Let Me Down" carries a bit more of a wandering psychedelic couple, with vocal production darker than the music holding it aloft. I will admit this is a bit of an adventure for me, despite the fact that I used to own this album on cassette in the 90s  I have not spent much time with it; they jam things out more here. An almost nine-minute song means the Jimi Hendrix playing back, as they are already covering another one of his songs later in the album. Some of the fat could have been trimmed. Things thankfully get darker and creepier on "Suivre La Trace".  But as songs, they are jamming on clear direction. 

They plug in for some rock n roll on "Love is a Bitchin in my Heart", perhaps a little too dumbed down for me, but there is great guitar playing on every song. "I'm Using You For Love" is more in the 70s rock vein. There is a riff that reminds me of "Sweet Child O Mine".  Not Valor's best vocals it feels pitchy. Aside from a weird synth sound and dated production, "Deviate Love" is closer to what I want from them. Of course, their cover of Hendrix's "Angel" is going to be heartfelt given how much Valor loves Jimi.. It might be the album's strongest moment after the opening track. "Woman to Mother Earth" finds the vocals recorded close up on the mic. The riff from Metallica's "Sad But True"  showing up is unexpected.  Vocally, he is throwing everything at the wall to see what sticks. Overall, things balance out with good ideas; I will give it a 9. 

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Gothtober- The Harrow : "the Drowned World"

 

This New York-based band does a great job of blending dream-pop and darkwave, with jangling Cure-stained guitars and ethereal vocals that are well-produced. In fact, the overall production helps set them apart from the bulk of bands I have heard while preparing for this month. It is not the darkest sound, but I would rather hear this presentation of who they are than the same old reverb-heavy Bat-cave wannabe mix that you hear from most of the revivalist bands who are more concerned with capturing a sound of an era than being who they are. 

This might not be the witchy band of the month, but they are one of the msot interesting ones. They cast a similar hypnotic spell with the languid wall of crystal guitars as the Cocteau Twins, but without trying to be the Cocteau Twins; granted, Elizabeth Fraser is not as imitated as Siouxsie, but it does happen from time to time. The second song has a darker shade of gray to its melancholy. 'Salbrume" has a more electronic feel in the vein of Chrvches, bt it's an instrumental, which seems weird for a four song ep but ok, it works well enough. I would prefer another song with vocals, as in some ways, I wish this was full length, but it's better to get the digestible-sized portions than wear out one's welcome. 

The last song, "Insect Lament," is also the longest. It's more atmospheric and surreal than the other song; this comes with a somewhat more smokescreened mix that the bass line warbles under. I will give this one a 9.5, it plants them firmly on my radar as a band to keep in my periphery and see where they go from here. This album is more of a winter wonderland than Halloween, but works for what it is. 

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Gothtober- Exhuming the Tunes with Christian Death's " Sex and Drugs and Jesus Christ"

Their sixth album really recaptures the magic of Rozz Willaims original vision while continuing on the path that Gitane opened for them of making dark gospel music of sorts. The songwriting is the most focused since Rozz left the band, with songs like 'Hersey" holding its own even against the "Only Theater of Pain " classics. I  think it becomes clearer as Valor's croon becomes more focused that he is actually a better singer than Rozz in terms of range and power; Roz just has the charisma. Much like the Dio andd Ozzy comparison when it comes to Black Sabbath. His melodies are certainly more thoughtful when it comes to "Wretched Mankind."

His best vocal performance that really drives this point home can be heard on "Tragedy". It might also be the album's best song. Dark and dynamic, with a more memorable riff than most.  Up to this point, they have not really been a riff-oriented band. I think that is what I like about Valor: he brings a more metal influence to this project. "Erection" does not get it up until tow minutes in, and then Gitane takes control of it. Gitane belts it out likea female Danzig here. "Ten Thousand Hundred Times" is driven by a more industrial beat as the music broods over it. "Incendiary Lover" moves with more ofa punk shuffle that is textbook death rock. In doing this series, I have gained a new appreciation for Gitane. 

"Ketzerei" is almost likea industrial remix of "This is Heresy' which works for me. The more aggressive guitar is cool. I can only imagine that the title "Window Pain" is a wink at the brand of LSD. The songs also seem like some LSD is going on. I have to think that after covering Jimi Hendrix, they have an appreciation for the drug, though I never figured out the exact drugs referenced in the album title. Whatever drugs they are on cause the song to wander off. The stay tripped out on "The Third Antichrist" and keep wandering in ambient noise. They pull it together to close the album with the Gitane-sung "This is Not Blasphemy," which carries a slinky noir-ish groove. I will give this album a 10, as the more avant-garde sound baths are balanced out with great songwriting.  

/ 9 

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Gothtober - And Also the Trees : "the devil's door"

 

The British band plays a unique take on noir-ish folk. It touches on moody contemplation that falls in the lineage of Leonard Cohen and the melancholic crooners he inspired, like Nick Cave. There is a very 60s feel to the production and organic nature of the arrangements. They excelled at capturing these sounds. The drums carry things with a jazzy cadence, so they are wandering and introspective rather than just popping out radio-friendly fare, unless we are talking the 60s, and even then it would not have been poppy enough. The first tow songs come from a similar sonic place, then "Rooftops" is an odd atmospheric instrumental that would normally be more like an interlude, but they did commit almost three minutes to this so it was very much intended. 

It feels like on "the Child in You" they are going more for the Brendan Perry side of the Dead Can Dance equation, but more his debonair lounge side. "Return of the Reapers" is in the same ballpark, more hypnotic in its intent. The bass play creates the most solid groove so far on "the Trickster".     There is a more German folk feel that underpins this one. "I Lit a Light" is less focused but flows pretty well. "The Riffleman's Wedding" kinda breezes by as the songs begin to sound the same, due to the fact that even though they are not using a conventional modern rock format, what they are doing is working off a set formula. The vocals are like a stream of consciousness and not going for hooky melodies. 

"The Beginning of the End" is the first song since the halfway point of the album that has stood out as sounding different. The jazzy patter of the drums lets it wander. It's an instrumental but still works for what it is. There is a similar vibe but with vocals, and it is not as focused as a song as they close the album. I will give this one an 8.5; it works well for the cool, jazzy stroy telling it embarks on chances are I am going to listen to morphine if I am in the mood for this sort of thing. 

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Pain of Truth : " s/t"

 I wanted to take a break from our goth month celebration to cover this album from Connecticut's hardcore crusher, as thi album hits hard and is heavy as fuck, while still carrying a great deal of groove. "Done For" is a ridiculous chug. It feels likea cross between Pantera and Agnostic Front. A massive guitar sound that carries a great deal of weight. "Stranded' finds death metal vocals filling in for where gang vocals would normally chime in. The drumming is working over time on this album, but it is worth. The breakdowns do not feel forced as everything flows with the brutality. 

"This Hatred' has angrily rapped vocals in parts of the verses, as they stomp along to something that reminds me of 90s hardcore. While they are heavier than Biohazard in many ways, they are influenced by them. "Unforgiven" is more deliberate, with the vocals spit out with urban aggression, and a somewhat sung part. "Chinatown, NY" is the first song that hits with a more thrashing speed, though this is broken up by a spoken interlude that is more likea skit. There is a more chaotic element held together by solid, grooving riffs. There is a slight Rage Against the Machine vibe, but these guys hold a little more appeal to me in 2026, as the lyrics are not idiotic. 

"Fed By Fear" has a really mean riff driving it. I can only imagine how much karate would be going down at this show. With an album like this, it is hard to keep the intensity up so things dull slightly at this point. "Beyond the Damage" keeps hammering at you with the spitfire vocals firing over it. 'Filth in Your Head" speeds up to a mroe punk tempo, with gang vocals joining in. "Web of Lies" finds the pieces fitting in a hookier manner. "Destroy It All' closes things with a more focused 90s metal groove. The cadance of the vocals fires off in an aggressive manner that flows with the overall vibe of this album. I will give this one a 9.5, if you want some metallic hardcore that is not metalcore this is the album for you. 

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Gothtober- Exhuming the Tunes of Christian Death's "the Scriptures"

 The 1987 is a study in comparative religion. It opens with a sample of a televangelist talking about hell. "Song of Songs" kicks things off. It's a more refined and almost pop-focused approach to the songwriting. Valor's vocals carry more of a purr and become more distinguished rather than jsut trying to fill the Rozz Williams void; Gitane is belting in the background. It's the most upbeat thing they have done up to this point, but still works within their identity. There is a weird new wave take on punk that I guess makes sense for 1987 when it comes to "Vanity". It feels less focused than the first song. 

"Four Horsemen" finds them returning to the more languid, narcotic creep that unfolds in many of their more surreal moments. There is some great guitar playing on this album, and this song serves as an example of this fact, even if they bounce into the more quirky pogo hop , similar to what they did on the previous song here. I like the dramatic nature of his vocals here. They cover Jimi Hendrix's "1983," which shows you the influence of psychedelic music and highlights my previous statement about how great the guitar playing was on this album. The curveball they throw is having Gitane take the mic for this one. Not the best mix, but it is 1987, so not really holding the production under a fine-tooth comb. They jam this one out for ten minutes, upholding the vibe of the original. 

"Omega Time' works at a more deliberate march to establish tension similar to a horror movie. It is a little more on their abstract side. "Ringing in their Ears' is more of a noisy interlude. "Golden Age" is a piano ballad that Gitane sings. An almost folky, normal moment before the samples come in to take things in a weird Swans direction. It builds into a choir. "Alpha Sunset" feels like something Psychic TV might do. "Spilt Blood" brings back the marching drum pattern. It's more of an interlude of sound than a song. "Raw War" tumbles out of this. It has a more deconstructed rock feel. She has grit to her belt.

"Reflections" is a long six minutes of experimental modern classical music, or so I'd say. They remember they are a rock band of sorts on "Jezebel's Tribulation," which might not be the darkest song on the album but it is well written and worked for the time it was released while holding up well enough today, though the guitar tones have not aged as well. The last song is darker and, unlike the previous song, has no Van Halen in it; the guitar being used here sits back in the mix. If you are tripping on Halloween and this song comes on, it might work, but it's more about a creepy soup of sound than a song you would return to otherwise. I will give this album an 8.5, an interesting listen but not one I would return to as often as the previous album, which has held up against the legacy better. 

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Gothtober - She Past Away : "Mizanthrop"

 This album came out back in February, and I'm not sure why I waited the bulk of the year to check it out. Not that anything drastically new is happening here; by their own admission, they are reworking a 90s darkwave sound. The Turkish band has a very specific formula they work off  , and it continues to stay in motion here, with perhaps more nuanced guitar parts that are not just droning on. The male vocals are really the only link to a Sisters of Mercy sound, his approach continues in a hushed, breathy baritone that utters lyrics from behind a smoke-veiled shroud of sound. But they do not have the rock punch that Sisters of Mercy has, so the drive is not as booming. 

After three songs, I begin to start wantign to hear a greater range of dynamics. There is a more dialed-in 80s sound this time around, but it only goes so far. "Inziva" finds the beat holding a similar BPM and cadence; they also continue to use the same intervals in the melodies. This might be why I did not immediately jump to check out their album. If they do this same thing on the song after this, I will officially begin to become bored with them. Just because they are a darkwave band and you want to be goth does not mean you should expect less from any of the new big names of the genre. Boy Harsher jsut delivered a banger, so that should be the expectation of every band. With that said jsut playing a louder version of what you were already doing is lazy dynamics.

There is a marginal shift on "Kaypan...". The vocals all sound the same, so that acts as a bit of a hindrance in fully getting behind what is going on here. The guitar sound has improved on this album; it's one way to see their goblet half full. The synth pulses have not. "Kuyui Maar" is danceier; if you are a goth DJ, I imagine this would be the song you would throw in your set from this album, perhaps the beat does not hit as hard, but everything else is more refined. It might be the album's best song. The last song highlights the colder wave vibes they give off in their more stark, detached attitude porjected here, there is less pageantry than what I expect from the more emotive dark wave. They take their time leading into this one, which leads to an almost six-minute song. I guess if yo uare a DJ that needs to go to the bathroom, this plays in your favor, but it is not as groove-oriented as the previous song. Four minutes in it dramatically breaks down andd still has no vocals; what they are doing is not intersting enough to make for an instrumental But they think otherwise. I will give this one an 8.5. jsut based on the fact that it's well done, well produced, and creates the hypnotic sound they are known for, but it feels like they are a bit of a one-trick pony, so if you are a fan of what they do you will like this, but you are probably bored as well. 

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Gothtober -LOR3L3I : "Peace By Proxy'

Heike Langhans from Draconian spearheads this atmospheric darkwave project. The darkness lurks under the surface at first listen; her ethereal voice just glides over synths, but holds a great deal of melancholy. Her melodies are well crafted and arranged; the music under her voice is more minimal. Nothing like the work she's done in the various metal bands she has worked with over the years, but that is the point. "Black Widow" casts more of a shadow. There is more urgency in its pulse. The subtle storm lingering in "Fables" is pretty powerful. 

"Exogeneis"  is more ambient than the previous song, working with a whisper of a throb and a strong emotional current. It is a song best heard through headphones. The lyrics cut through when enveloped in the sound this way. "Oneiro" is more of a slow burn with the hushed vocals compressed in layers of synth and a lone bass line ringing out. It might have to grow on me, but it does not hook me in like the others. There is more of a beat to "Passive Resistance," but much lik the song's title, it approaches it in a more minimalist, almost fragile fashion. In some ways, the mood of this album reminds me of Kate Bush's "Sensual World " album. Comparisons could also be drawn in equal measure to Chelsea Wolfe or Cocteau Twins, depending on the angle of the songs you hear this from. It is very surreal. The production is increbile it's the most amazing mix so far. 

"Drive" is more of a banger; depending on how hard you need your bangers to bang, you are not going to twerk to this unless high on opiates. Some 90s dramatics are in play without going new wave on "Rogue". The vocal melody is killer. It creates an almost synthwave mood. The title track also comes closer to having a more accessible sound. That synthwave element is in play but from a different sonic direction than the previous song. The album does take a turn in the third act with songs like this that have a beat that is more driving. The last song is "Opaline Tears," which drops back to become more of a ballad, though her vocals are not as layered and allow you to hear a purer quality of her voice.The rock guitars at the end surprised me.  I will give this album a 10; it is totally stunning. If you like a more melancholy whimsy to your ethereal darkwave, you need to hear this album; if you like great-sounding albums with beautiful voices perfectly captured, you need to listen to this album. It's being released on Avantgarde Records. 

 

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Gothtober- Exhuming Tunes with Christian Death's "Atrocities"

Here is where things get tricky: it splits them off into two timelines, so here is the first album with the Valor Kand lineup. This album is just about Nazi Germany with an emphasis on Josef Mengele. After a symphonic build-up that lingers, "Will O Wisp" kicks in with a more metallic heft; Gitane is also along for the ride on this lineup.  It's one of the albums I have not spent as much time with over the years, but I enjoy it when I hear it. "Tales of Innocence' is slow, creepy, and atmospheric, which also marks the stylistic change for the band. On the previous album, you can hear where things were going in this direction. It further cements the shift from death rock to goth. The melodies are pretty haunting, which works for me

. I can understand how people want to take Rozz's side, and it made more sense when he was alive, but you have to appreciate what is being done here if yo uare a fan of dark music. "Strapping Me Down" has more of a punkish death rock jangle to it, showing that even now they have not turned their backs on the genre they created. "The Danzig Waltz" is a more languid wallowing in ambiance. I appreciate how Valor adapted something that was very much unique to Rozz and kept that signature to uphold what this band is about, meaning he got andd respected Rozz's vision. "Chimere Di Ce Di La" leans more in the rock direction with a decent side of weird. 

They are more focused on "Silent Thunder". The solid bass line follows the goth formula to root it.  They wander into a strange, dark weirdness for the more Doors-like crooning. The guitar is angular as the arrangement carries an aura of New Orleans blues. It floats more than grooves."Ventriloquist" snarls back with more punch. This shows that Valor also understands the rowdy punk side of the band. They cover Billie Holiday's "Gloomy Sunday," which is an odd choice considering the theme of this album. Gitane does it in her own touch, which works. "The Death of Josef' closes the album. It's more of a ghostly atmospheric outro. Overall, this album works to uphold the legacy as they kept the band going. I will give it a 9.5 

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Gothtober- Lord of Acid : "Mundo Bizarro"

 This is the project's first album since 2018 andd their first with Carla Harvey off the Butcher Babies on vocals .The opening tracks her blending pretty well and not introducing her more aggressive apporach to vocals than past singers until  the second song. There are some touches of the synths that colored the more techno beginnings of "Lust", but it feels more like a rock album, which could also have been said back when "Voodoo-U" came out. "El Mundo..." has more Latin flair while also flirting with some dub sound before busting into rock. The chorus is a little weak and does not hold up to the first two songs. 

"Dopamine War" finds them back into the more electronic grooves that work best for what this project should be doing. "Maximo Roboto" feels more like KMFDM with its industrial stomp and metallic guitars. I think the less sexed-up feel of the songs makes tnot feel like a Lords of Acid album. They are all over the place, going from Spanish to German here. The German feels more true to who they are. There is a more sultry vibe to "City of Angels" .  Though I am not sure about the chorus, and the production tends to be hit or miss on this album. This is the first time it's sounded clunky. Perhaps it's the blending of the electronic with the guitars. 

"Stoned Today" has more of an industrial pulse. The guitar mix is still suspect. Songwriting feels more natural, but the chorus is still a little week. They used to keep things simpler and catchier. It's a small world, after all, as now they are adding Japan to Germany and Mexico on this world tour of musical styles. It's the album's worst song. The purpose of "You're Obscence " shows us the lane they need to stay in/ Lyrically, she is just announcing that you want to fuck her ass, but for this project, that is what we need more of. The world tour finishes in Norway, which is the last appropriation, as there is no reason Nordic folk has any reason to appear here. I will give this album an 8.5, which makes it a pretty decent album, but considering who this is it falls short of what you expect from them,

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Gothtober- Exhuming Tunes with Christian Death's "Ashes"

This 1985 classic is an all-too-forgotten album with some real deep-cut bangers, including one of my all-time favorite songs by the band. It's the second and final studio album that was a collaboration between Williams and Valor. It's also very experimental.  It opens with the title track that lingers, with piano setting the mood for Rozz's poetic musings. Gitane's vocals chime in to add an almsot gospel flair; this song rocks out pretty hard, taking rock n roll and twisting it into their image. After this is a more experimental sound excursion. 

"When I Was Bed" is one of my all-time favorites from the band, which I discussed on the podcast that you can have a listen to here... https://www.youtube.com/watch?v=tUDqbCl-E6w&t=159s

So the first two actual songs raised the bar pretty high for this album already. Gitane plays a larger role on this album. This can be heard on "Lament". The song turns into an odd polka ballad. Not surprising they would be fans of the musical "Cabaret," as there has always been a bit of Joel Gray in the shadows of goth. "Face' kicks in to remind you they have not forgotten their old aggressive punk roots. Rozz spits out his vocals with renewed attitude that I appreciate."The Luxury of  Tears" is more atmospheric, with an abundance of the elegance that defines goth. This is when they took the turn from a death rock band to a goth band. The last song ends things in the more surreal collage of sound and poetry, with babies crying and all manner of moaning, witch cackles along with other assorted dissonance. Not really a song, but I get why he goes off into this excursion and why they are important in the presentation. With this in mind, I will give this album a 10. 

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Gothtober- Normal Weirds : " Frown Time"

This East Bay Death-punk band leans more into the punk side of the equation, but are dark enough for me to put them under the umbrella of Gothtober. Angrier than they are drugged out and sleazy like most death-rock, some creepy undertones ride in on "Capsized". The vocals are what anchor them most into punk; the songs are driving and upbeat but not like Minor Threat. Harsher vocals chime in from the periphery. There is a layer of crust caked on what they do that I enjoy since crust punk tends to be one of my favorite flavors of the genre. 

They pick up the tempo with a burlier bass line, giving them weight on "Bury Me" and maintain this vibe though, with more classic punk hooks on "Lost Desires. They maintain this momentum until "Druidess," which is the first song that doesn't connect with me as strongly it's closer to straight-up punk than I am normally into with the vocals pushing it further in that direction. I had to listen to it twice to confirm this feeling. They stick to their bullet belts with "Don't Fear Death" which is more straightforward punk, but all the moving parts click better for me than the previous song, and I like the lyrics. 

"Headstone Engraving" finds female vocals taking over the mic to help ease them into a darker, more death rock place. Given the song title, it would be more of a surprise if they didn't, but this works for me. "Swan Dive" meets in the middle of the band's contrasting dynamics. They are more dependable at making memorable choruses than your average punk band., The title track is an angry outburst of punk, but even then it's pretty deliberate. I will give this album a 9.5, and see how it grows on me it's well done punk that keeps the songwriting first andd forement. 

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Gothtober-Night Gaunt : " Rupture"

 

Most goth bands don't think they are goth. Here is a prime example: this Italian band thinks they are doom. Their lack of self-awareness in this regard does not bother me since I am into what they are doing. Sure, there is some metal in the mix, but it is closer to what In Solitude once did than Solitude Aeturnus, making them heavy goth rock. The vocals have a dramatic baritone croon that works well over the ringing chords. There is less intent in following the path of Mercyful Fate than In Solitude, and I suppose Candlemass might be their point of reference when it comes to doom, but that does not explain the haunting reverb-coated guitar they introduce in "Struck by thee Fever."  Not complaining about this, just observing. Lyrically, it feels more like a murder ballad.

The first in-your-face overt metal moment is going into the gallop of "Ordeal".  It is dark but not mournful, more aggressive than that. At times possessed by a more power metal-like bombast, they are not far removed from what the Night Eternal is doing on their new album. These guys are more atmospheric. "The Revenant" finds them back in the more murder-folk balladry. This song has more in common with Amigo the Devil than Pallbearer. "The Deer and the Hunter" is more metallic and dynamic, but in tone, a murder ballad.  "September Song" is more of a folk ballad.

 "The Antagonist" unwinds with a more brooding mood. Vocally, he begins to go into his upper regiter; it's not quite power metal but dramatic and belting in that direction.  They balance this out with a smoky tension. I have a friend who thinks this is really old-school doom, so I am guessing she means pre-90s, and I suppose I can have a little Trouble here andd there.'Blooming " feels like it bleeds out of this one. It lingers in the show with a lingering deliberation. It's an instrumental bridge to the last song, and might be the only song that I'll concede to being doom. The last song finds the strum of acoustic guitars leading in before a more mournful guitar melody comes in. It's a dynamic and, yes, more doomy moment but I like it; it eventually gives way to build into something more metallic. I will give this album a 9.5 and see how it grows on me.  

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Gothtober - Exhuming Tunes- Christian Death's "Catastrophe Ballet"

Totally different lineup for the second album, but it's where Valor Kand steps in. It is a better-sounding album than "Onlyt Theater of Pain," production-wise, and Rozz settles into his vocal delivery with more assurance."Awake at the Wall" is more of an intro to me than a free-standing song, which is best understood when "Sleepwalk" kicks in. "Sleepwalk" is a more energetic display of how this lineup keeps the identity of the band.  "The Drowning" abandons the punk energy to find a tense groove that opens the door to display that this is something different than where they started, though the homoeroticism is on parade, with different contemplation behind it.

"The Blue Hour" is something different than what the bandd who played on the first album would have done, which was important to Rozz, who was not going to be limited to just playing punk rock songs for Halloween. A Doors-like is pondering is set against chords David Bowie would have used. The album gains momentum on "As Evening Falls," which carries over into the infectious 'Electra Descending". Rozz really kills it on the chorus on this album; they are memorable without trying to be anthemic in a radio-ready manner.  "Cervix Couch" is the first song that switches gears into something more droning. While there is that element in "the Blue Hour," it is also more brooding thanks to the drums. 

Then things get weird with "the Feeling Somnambulist". It's a bath of odd ambient, about as LSD driven as "Revolution # 9". If you are on drugs, this one might not be the best track to focus on, as it can take you down a heloish introspective rabbit hole, written from experience. The drugs have n worn off going into "the Somnolent Pursuit" it takes the theme established in the previous trakc and continues into the abyss with them. "Between Youth" finds a bit of sanity returning. It meets halfway between what they were ddoing and the new experimental twist their warped minds have turned towards. "After the Rain' is  brings back the death rock after this excursion. I will give this album a 10 as even with all the experimentation it is blanced out with growth and great songwriting. 

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Gothtober - Whirling in Rags : "Venture"

 Scowering the inner webs to find new goth music and I came across this intersting band from Norway who blends neo-folk with darkwave in a different manner.It is only a three-song EP, but it gives you a goodd glmipe at what they do. It almsot sounds like sea shanties on one hand, as the vocals dance with a more upbeat cadance than the more haunting music layered behind her singing. Normally, neo-folk uses more acoustic instrumentation, so It's novel to hear it performed in this manner. More lo-fi than, say, Heartworms, there is a similar whimsy but with a darker ambiance. 

They are c redited as being a trio, with drumming not listed, so the percussion must be programmed. "Cocoon" finds the bass line less plodding, as everything falls in line with more of a goth slither. The vocals are trying to find where they fall in on this one. There is some ambiance, but it is not as balanced as what happened on the first track. It begins to find its footing past the half way point, but does not sync as well as how they got started. 

The last song "Human Animal"  has more of a creep as the guitar provides a clearer riff for them to follow. The vocals drop lower, but work better with the music supporting them here.I appreciate the effort they put into this and where they are going with better production andd more focus on building around the vocals, they could perfect this. Still, I will give this an 8 for the vision. 

 

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Gothtober- the Keening :"Devotion"

Rebecca from Subrosa returns with her second album from this dark folk project. The opening track has a more organic, almost dreamy Cowboy Junkies feel, with her vocals smoothly floating over the instrumentation. "Fitful Sleep" has a stormier dynamic, with the drums crashing in. Some darker chords rein in the emotional center. The first heavier distorted chords don't surface until "The King"; this gives it a doomier feel. This is the first song that finds the project moving more in this direction. 

Things are stripped down to a piano on "O Mother."  The strings come in to build a more longing atmosphere. The more fragile vocal lines dance around the emoting instrumentation. "Little Bit of Blood" has a warmer hint of country in the melody. This brings back the comparisons to Cowboy Junkies, though they are more atmospheric even here, as the strings are layered. The most accessible radio-ready song on the album without being a compromise to what this project is. If it were edited down as it does, it goes off into a Swans-like strummed section that builds up. 

"Time Travel" has one of the stronger vocal lines when it builds up instead of the simmer the verses hold. When the songs are sprawled out to the seven-minute mark, at times the third act seems like a separate piece. AT over seven and a half minutes, "The Murder of Anna Brown" is the longest song. It's the album closer, so this is forgivable, as they take their time with the first verse. There is almost a 60s rock proto-doom feel to this. Overall, this is more ambitious and dynamic, more folk rock, but if you liked the first album, then this is perfecting what they did there. I will give it a 9.5 and see how it grows on me.

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Gothtober - the Autumn Aurora :"False Idols"

 

The Italian band will be out one Siouxsie-influenced band for the month. Not the worst offender I have heard in this regard, but a very obvious influence in a genre where she has played such a huge role. This does not mean I am giving a pass to male singers who are trying to sound like Ian Curtis; nope, that is just as bad  to me. "Keep Our Love in the Dark" has potential considering the cool gloom it is cast in. They're using a nice room for the melody to breathe here, finding her reverting to this a little less. Sure, they have all the sounds of this era more dialed in , but these days that is more of a matter of production choices.

"Wasteland" is the most original moment so far, making it the best song on the album thus far, and that is what we are really listening for here: to listen past the influences to who they really are as songwriters. The next song, "But if Not' has a more Sisters of Mercy-like bass line that creates an all-too-familiar feeling. The title track is more atmospheric. It has a more Cure-like guitar riff. They find their groove and ride it with enough conviction for me.  There is a more deliberate pulse to "Be My..." which might be the most Siouxsie moment, but it also sounds pretty cool, and Siouxsie is not busting out any new music any time soon, or ever, so the void must be filled

On every goth album these days, there has to be one track where they speed things up a bit, as if to let you know they are informed of the genre's more punk beginning, and this obligatory acknowledgement comes in the form of "Surrender"; I'd rather they get it out in one than do this sort of thing for half the album. Even though their indulgence is not going full-on Liberty Spikes with it.  The last song is much slower and more atmospheric, to the point of creating an ambient drone, before the beat comes in at the final minute. I will give thi album a 9 it works for me.  

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Gothtober- David Caress : "Azure'

 

There is a sheen of shining weirdness to the brand of post-punk that unfolds on the opening track here that is not unlike early Roxy Music in many ways. There is an odd quality to the baritone croon delivered here. Dallas Seger, who is the brainchild of this project, also plays in Manic Abraxas, which is a metal band, but it's not unheard of for more metal guys to branch out into the adjacent darkness of post-punk; this brand of post-punk is just flavored with a late-70s feel. The second song does not flow as seamlessly as the first. But it works more often than not. 

Perhaps it is stylistically intentional to create an Oingo Boingo feel, but the dancey shuffle of "I Confess" feels awkward and clunky. There is deliberate homage going on to the early 90s in the sounds being captured that might have been better left to bands like the Tubes. The underlying groove of "Angels Lies" is subtly aggressive. The mix is really weird in terms of how the vocals sit on this. "Summer's Grip" reminds me of the indie band Merchandise in the guitar tone and lower vocal delivery. But it is not as hooky as those guys and flaunts its own weirdness. There is more new wave circling "Cinnamon," along with a touch of early industrial; the vocals continue to crawl lower.  It sounds ok, but is not that hooky, as the vocals lurk more than lock in. 

"Gloaming" starts off with a more overt post-punk feel that is goth-leaning. The vocals have the grace of an autistic kid trying to find their place in a conversation. It's more of a "Dead Man's Party" for the rock vibe built in "Echoes in Light"; the vocals improve, so I am not complaining. At first I was torn about whether this would earn the Gothtober, and it's more goth-adjacent, though the album does get darker; it's moodier in an Echo and the Bunnymen fashion, who I do consider dark enough to be goth, so here they are. The chord progression of "Wildflowers has more in common with Dire Straits. He is a better guitarist than singer. 

There is a Cure-ish riff to "Holy Ground," but the synths in the background brighten it a little. It might not be the quality of his voice; I am uncertain about that, but the lack of certainty seems to haunt him as he second-guesses where he puts it, though it all works out on this one. I am obviously hyper-intuitive about vocals if I can hear confidence or lack of it in them in the studio. We are back to the awkward; something here is a little off when it comes to "Breka the Same" . If you are going to pay homage to new wave then mix it more like a new wave album. "Shatter" tries to go for more of a Depeche Mode feel and it is not really shaking the disease, but it works well enough. I will give this album a 8, if you want new wave produced like indie rock this is your album.

11

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Gothtober- Ductape; "Faded Flowers"

Here is a French goth band that is getting it right. Not dramatically removed from the Siouxsie school of Batcaving, they have some 80s new wave sounds in the mix that help give them their own sound that is relevant in 2026. Bands like this are why gatekeeping is important it is not about shunning other bands but making sure awesome bands like this find their right audience. If you don't get that sentence, then stop reading now. There is more of a cold wave dance vibe to "Fine," as it is more organice an the guitar does not come in until midway through. 

"Obscure" finds them beginning to play it safe, and sticks to the more familar 90s thump of their drum machine. Then the album begins to thankfully take a darker turn. The bass lines are not breaking new ground but are effective. The bass playing breaks from the drone on "Velvet Dawn," giving her a chance to let her voice dance with a different cadance. "Burn" is not a cover of the Cure. It's not that dark or driving.  "DERT" drifts by on a more atmospheric cloud. 

They switch things up for the some what moodier and more dynamic "Sad Gravity," which might be the album's best song. The more melancholic pulse and nuanced vocal melodies. It also builds into the sonically heaviest part of this album. Then they go into the more dancefloor-minded take on post-punk with "Delilik" and "Last Dance," which centers around a more Cure-like bass line, closing the album. The haunting moan of her vocals grows more hypnotic here. I will give this album a 9.5 and see how it grows on me; they refine all the things that already work well when it comes to the sonic scope of goth.It is just as relevant as the new Boy Harsher.

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Gothtober- Exhuming Tunes- Christian Death's "Only Theater of Pain"

 In March of 1982, one of the most important goth albums ever was released. I don't think I was turned on to it until 89, and I couldn't stop listening to it, even though it came from artists like Bowie and The Jesus andd Mary Chain; all I listened to was metal. They don't open the album fast and furiously like a punk band would, but with a more macabre pulse.  Rozz Williams trembling croon and poetic lyrics are different than anything I had heard before, granted I had not listened to a great deal of the Doors at the time. There is more groove to "Figurative Theater"; his vocal delivery becomes punchier on the chorus. 

Rikk Agnew, who came from a punk background, experiments more on "Burnt Offerings"; you can hear who they influenced bands like Jane's Addiction here. The lyrics are more homo erotic. In a Burroughs-like fashion. This was next-level transgressive shit for the 80s. The blasphemous lyrics are wonderful. This open rejection of organized religion in a reconciliation with his sexuality is not only hinted at in the lyrics but establishes the use of this iconography in the genre as a whole while opening the door for modern non-goth artists like Ehtel Cain to employ similar devices. 

"Dream For Mother" is a more angular stab at punk and perhaps not as far removed as the previous song from that past. "Stairs Uncertain Journey" might be the album's best song, as the B Aeolian Mode scale creates the Middle Eastern slither that creates the eerie atmosphere that some of Williams' best lyrics flow over.  "Spiritual Cramp" contrasts the previous song by being a pretty straight-up punk anthem. Romeo's Distress" is their most infamous song and one of their best, as it shows how they evolved from punk to create goth in this form. 

"Resurrection" is another song that has a creepy, angular pulse too. They are great at building tension on the chorus. "Prayer" closes the album and gives a glimpse into some of the experimentation to come from this band. It's more of a n outro than an actual song. I will give this album the rare 11, as it redefined goth music. 

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