Gothtober- Mousecunt : "Orgasmic Mouse"

 This Iranian band is pretty wild, they play a verse chaotic style of death rock. To their credit, they have more in common with Alien Sex Feind if they were having a circle jerk with Marilyn Manson than with Christian Death, and they are playing a more surrealist style of goth than just punk rock with effects on the guitars. They have my attention so let's see where it goes. The abstract collision of sound also brings Street Sects to mind at times. The vocals are more dramatic, swinging from a lower muttering to higher, unhinged sing-song verses. The guitar hass balls but rather than a metal chug, it's more of an angular accent. The drummer approaches things with a looseness that is like they are delving into free form jazz. While it does not find a groove you can dance to at goth nite, it is very interesting. 

The higher dramatic whine of the vocals leads the way into "You Know About Art" which should have been the opener, as it is the thesis statement for this album, and the lyrics explain a great deal about where this band is coming from and help this make sense. "Mon Too" is the most goth moment so far; it's more about emotional complexity than it is Halloween, but it's dark enough to compensate for that and also carries more melody and less chaos, making it perhaps the best song of the first four. "The Orgasming" is more rock, though considering I review metal sixty percent of the time, the double bass is a little sloppy but forgivable. I think the jazzy sections are more who this drummer is. 

"Your Repulsive Husband " is more of a cathartic art turned dark sound. It works for what it is.  "Godspeed" is the first song that touches on death rock's punk roots. I like the lyrics to this one. Things get more abstract for the song 'Cunt". It has an almost Skinny Puppy feel minus the industrial beats. The last song picks up where the previous song left off but with a marginally more perverse undertone. It lacks the more defined bass that someone like Christian Death would drive this with, but in doing so creates a more abstract atmosphere which is unsettling in it's own way. I have listened to a ton of goth music this month, and these guys have found their own unique spot in the genre.I will give this one a 9.5 and see how it grows on me if you like your goth with the empahsis on weird, then this is for you. 

https://youtube.com/shorts/LBPA3-xkwVA?si=-2cpT4aaVWxW-BIp

pst520

xforever warx : "Upon the Week and Broken"

 This album from the straight edge band from Salt Lake City hardcore crew came out bakc in March. They play a very metallic and in-your-face brand of hardcore. I am typically not into straight edge bands, but if they can bring it without preaching at me, then I am fine with it. They are obviously very influenced by Slayer, judging by the opening track. There is the taunt thrashing groove almost so much so that the lines between wehre thrash and hardcore are blurred here, so perhaps just admitting they are a crossover band might be the best apporach. The second song has more of a breakdown riff at the end but that is not really their thing. 

They are back to awaiting the hour of reprisal on "The Highest Truth". The coarse shouted vocals sometimes lower into more of a growl, but I have not really been paying attention to what the lyrics are. There is a little more of a hardcore roar to this one. They pour on the hyper-aggressive thrashing speed with "Apotheosis". This is angrier and does not groove as much as the first three songs. Double bass is used sparingly, which is a more hardcore trait. All but one song stays under the three-minute mark. 

Double bass does not really make itself known until going into"Sacrificed' I knew a drummer being in a band this influenced by Slayer would have pulled it out at some point. They are back to the slap-your-momma grooves with this one, and you know the kids are out karate chopping to this. They bust out some mean as fuck riffs here. The mean grooving riffing is crafted in a way that flows, putting them above most bands of this sort. I will give it a 9.5, and see how it grows on me. 

pst519

Master Boot Record : "Computer Metal"

 In a world where the rise of the machine is coming to fruition, with AI now cranking out tunes, adding a layer of guitar to provide a more human element to this project's computer metal is essential. The bigger challenge for my ears is that this is all instrumental. It's not my first dance with them, as "Hardwarez" earned a 9, putting it in the top tier of this brand of aggressive synth-driven music. Two songs in, I am unsure if they are going to fully realize the songwriting potential here or are they just going to make heavy sounds. There are some cool riffs, but cool riffs alone does not a good song make is the mantra here. 

"Plug and Play" finds them backing off a little to introduce more synthwave sound. It's happy in the way power metal is that I am not a fan of, though it works better in this context. However, this compromises the mission a bit, as heavy is what sets this project apart from the pack, with acts like Perturbator also bringing a more metal dynamic. He hammers you harder on "Firmware" but it does not hook me in. It is more often than not a heavier album than what I recall from the last time I gave this project a shot. "Boot Section" has more of a neo-classical flair. It is impressive playing for what it is. Though no more of a song than what Yngwie Malmsteen does. 

"Turbo Button" races faster with the devil down a Spanish highway. More of a thrasher but on the more technical side. "Voodoo2" is darker; it almost feels like if a King Diamond song was turned into video gamee music. "CRT" locks into an effective groove. But the last song treads ground we have already heard on this album before. Overall for this album to keep my attention as much as it did says something I will give this a 9, and see if I feel the need to revisit what they do, but if you're into aggressive synthwave, this is worth your time. Dropping on Metal Blade Records.

pst 518

Spirit Possession :" Cathedral Speech"

 

My interest in black metal seems to be having a resurgence. Surprisingly, I have never given this band from Oregan a chance. This could be because I am typically not into American black metal, but there seems to be a resurgence in that as well after the hipsters turned their backs on it and deemed it problematic. They shift through first-wave-flavored black metal that is not unlike Watain in some ways. Vocally, there are some similarities in the way the vocals are delivered, though Eirk has a more menacing tone. They don't sound like they are from America. These guys do not sound Scandinavian either, but if you said they were from Belgium or the Netherlands, then I would have believed you. 

They incorporate clean guitar for the minute interlude that is  "Backwards Commandments". "Hanged Angels as Patternwalls."  They are not actual Satanists and just dressing up the song like Venom did. They are more adventurous when it comes to guitar playing than Venom and are not as punk-oriented, though the arrangements can get a little chaotic. They are not catchy, but create a punchy swirl of sinister atmosphere that creates the effective sound we think of as black metal. I was more impressed by the sound summoned on the first song. "The Sharpening " makes it clear it's the early thrash influence on black metal that they have ingested the most, which draws comparison to the first wave bands. The racing riffs begin to feel like they are just thrown against the wall to see what sticks. Sure, you can bang your head to it, but as these songs are going to inspire me to want to listen to them again. 

"First Levitation" starts off with more deliberate riffing then begins to rush into the snarling feral madness. But they do emerge with some riffs that are much more memorable than what we heard in the previous song. The vocals are inchoherent barking that feels more obligatory than not, this is where Watain has the upper hand over them as Erik locks into the song much more. They are capable of melodic playing but only use it for intros; there is an impressive one that leads into "Second Liturgy," then the song threatens to race out from under them. To their credit, they do not default to blast beats. It feels like they put more effort into the songwriting on this one. Midway a creepy, more Mercyful Fate-like riff is introduced, which is the album's best moment. They need to lean into this more. 

On the last song, they split the difference between the more memorable Mercyful Fate school of songwriting and the unhinged chaos they thrash out. Their need for speed often gets the best of them, until they back off into a melodic interlude. There are few more deliberate moments, but not as impressive as the previous song.I think the hype train behind the album might have more momentum to it than other albums where black metal is being done in a manner that serves the songs.   I will give this one an 8.5. I understand what appeals to people and it sounds good, not the most song-focused release. IT dropped on Prodound Lore.

  d

pt517

Fontaines D.C. : "Dopamine Chamber"

 The 5th album by this Irish band finds them returning to the studio with Depeche Mode producer James Ellis Ford who worked ithe band on their previous album. The album wakes up with the atmospheric synths of "Six Shot Morning", it lingers here until the groove creeps in. The lyrics are muttered in a reverbed out stream of consciousness. Then the lead single "Marianne" moves things in a hookier direction with melody at the forefront. Vocalist Grain Chatten wrote the album's lyrics on a trip to Italy, which must have been a very introspective journey for him. Cascading strings draping the background are not a novelty in Brit-pop; they prove effective here. 

"Mimesis" drifts into a moodier and marginally darker sonic space. There is a great deal of pondering going on in this album that takes it in a Cure like direction, though not as dark. Melancholic speculation colors "Happy For You". The vocal melody drifts over the lingering instrumentation beneath it.  Rock guitar crashes in to bring things to a climax and give more dynamic heft. "Demolition" is more overtly Britpop, doing what Oasis attempted better than they did.I did not expect them to be spearheading a Britpop revival but that is what it feels like. 

Going into this review, "Tongue" is my favorite song on this album, as the vocals dance around the droning music beneath them in an infectious way that feels perfect. This songwriting approach is contrasted by the more ambient drift of "One Man". It gains some momentum as it flows into a stoned shuffle. Rosalia joins them on "Where is Gone," the first time they have had a guest on an album. This duet serves as a haunting ballad that works well with their voices. She is basically Italy's Lana Del Rey.

There is a subtle, almost trip-hop groove to "You Miss Me" that helps the vocal and keeps things moving rather than allowing the the already ballad-heavy album to be weighed down.  "Japan" is another ballad that leans into the wistful strum of acoustic guitar; it was the song I was least excited about when it came to the first three songs I heard leading up to this album's release. "Intimate" finds the drone of a more sullen vocal setting the tone amid the ambiance as the groove finds its feet. I will give this album a 10; it's their most thoughtful work, and yet it has a bigger impact on the music scene in its wake. 

pt516

Gothtober -The Top 40 Greatest Goth Bands- 10 - 1

Here we at the top 10 of our top 40 greatest goth bands of all time. If you are just joining us, let's clear up a few things first off: it says bands, so that eliminates solo acts and one-man shows, and some of my favorites, so no Gary Numan, Chelsea Wolfe, or Marilyn Manson. Sure, some of them have freuent collaborators, but these are at the very least, duos who continued to make an impact on goth as we know it today. Some opened new doors for the genre; others are keeping the flame burning in the midnight hour into the genre's tomorrow. There are a range of sub-genres that are included under the black umbrella of goth, death rock, and dark wave being the most obvious, but I am including a few post-punk, neo-folk, metal and industrial acts if they really have Halloween flowing through their veins.

10- Skinny Poppy

Industrial, so dark and drug-ridden that it belongs here.

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9- Killing Joke

The least Halloween of the top 10, but musically powerful and with a more apocalyptic darkness that bleeds into industrial

 

8-Siouxsie and the Banshees

And now all female goth singers in 2026 are trying to sound like her.

    

7-Bauhaus 

The real question is why they are not higher on the list; the real anser is sometimes they get too experimental for their own good and lose the plot. 

6-Cocteau Twins

If you think these guys just make music for fairies on acid, then you need to listen to "The Garlands"

   

5- Fields of the Nephilim 

They kept the atmosphere of goth rock, while adding bigger balls and casting a darker sonic shadow

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4-Type O Negative

If you wrote these guys off as just being a metal band... then it's your loss 

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3-Dead Can Dance

Their brand of neo-folk is elevated by being the genre's most immense vocal talents. 

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2-Christian Death

They brought a different kind of darkness to the table, held a raw drugged out sexuality that could have only come from Los Angeles . 

1- The Cure 

"Pornography" gave them the edge to seal their spot at the top, but they have remained true to who they became without standing in one place. 

pst515

Gothtober -The Top 40 Greatest Goth Bands -20 to 11

Here we go, continuing to count down our top 40 greatest goth bands of all time. If you are just joining us, let's clear up a few things first off: it says bands, so that eliminates solo acts and one-man shows, and some of my favorites, so no Gary Numan, Chelsea Wolfe, or Marilyn Manson. Sure, some of them have freuent collaborators, but these are at the very least duos who continued to make an impact on goth as we know it today. Some opened new doors for the genre; others are keeping the flame burning in the midnight hour into the genre's tomorrow. There are a range of sub-genres that are included under the black umbrella of goth, death rock, and dark wave being the most obvious, but I am including a few post-punk, neo-folk, metal and industrial acts if they really have Halloween flowing through their veins.

20-Clan of  Xymox

They have perfected their sound over the years until it is now the very definition of what goth should be. 

19-Psyclon Nine

From hammering dancefloor-banging industrial  to bleak darkwave, these guys are serious shit

 

 

18-Cold Cave

He started off as more of a solo project, but it's turned into an actual organic band that works live. Over the past few years, they have gone from post-punk to darkwave. 

 

 

17-Strvngers

An underrated band that coasted below the radar of most, but wrote hyper-edgy darkwave with a nu-metal attitude.

16-Rasputina 

Quirky chamber music for vampires... yes please. 

15- My Life With the Thrill Kill Kult 

Poen soundracks for the devil 

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14-Oingo Boingo

I'll admit the horns can come close to being too happy at times, but they have some of yhe most endearing Halloween bangers, as well as the voice of Jack Skellington on the mic,

13-The Jesus and Mary Chain

A testament that when post-punk gets depressed enough it can darken into goth.

   

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12-Grave Pleasures

The umbrella Mat's work also includes Beastmilk, further solidifying their place here.

   

11- Swans 

What knocked them out of the top 10 was the fact that they have a really strong goth era of albums, but it's bookended by industrial noise and experimental post-rock. If this were the 40 loudest bands, they would be number 1. 

pst514