Gothtober-The Top Ten Goth Albums of 2021

It's that time of year again. It might seem early to start this, but record labels have pretty much sent me most of what this year has to offer already, by the time I am done sorting through the top 10 albums of all the respective genres, I will then compile the top 10 albums of the year. As I predicted last year 2021 was not much better than 2020, things continue on a downward spiral, making dark music more important as a soundtrack for this. As far as 2021 goes for goth there was so much to choose from I have to split things up and move some of the bands over to the electronic list,  as there was not as much  interesting electronic music this year and only three new bands on this year's list .The very fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again.  Perhaps you can find your next favorite on this list; and have included links to reviews of these albums if you want to check out audio on these guys. Anyways here are the top 10 goth albums of 2021

10-Lotus Thrones - "Lovers in Wartime" 

Another metal musician goes to the dark side. The trend of having a post punk project is one I am fond of despite the mixed results it sometimes brings, here everything works well.  This one comes from former Wolvhammer drummer Heath Rave. He recorded this during last year's quarantine. His self-isolation was not too strict as he is joined by Bruce from Yakuza who throws down some sax on a couple of songs. Andy from Feral Light also drops a guitar solo on the fourth song "the Quarry" .  Sanford Parker mixed this album, so few metal heads have their hands in this.

9-Moonspell- "Hermitage" 

Once upon a time this band from Portugal used to be at the forefront of the goth metal movement. This album finds them no longer trying to be Type O Negative . The vocals have improved over the years, their singer knows himself better and continues to improve. The most metal album on the list this year.  

Abysmal Hymns: Moonspell : " Hermitage"

 

8-Skold - "Die Irae "

I was surprised how mean and metal the guitars were going into the  album. There is more of a Marilyn Manson or Orgy , which considering he has played with both Manson and KMFDM this makes sense. At times falling ore in line with more typical industrial , electronic elements come in to move it in a more experimental direction.

Abysmal Hymns: Skold : "Die Irae"

7-Esses - "Bloodletting for the Lonely" 

Stormy foreboding tension from Oakland, where the bulk of this revivalist death rock seems to be coming from. Ok this is a little more on the Siouxsie side of things, perhaps a bit less manic than Miss Sioux’s more punk days. The bass is driving and more over driven which owes more to Bauhaus. The vocals are more aggressive than your typical Siouxsie worship

 

Abysmal Hymns: ESSES : " Bloodletting for the Lonely"

6-Kælan Mikla :" Undir Köldum Norðurljósum"

Darker than I remember these gals from Iceland getting before, but with a pulsing drive at time.  There are crazy layers of vocals in the background that sound like screaming witches , helping to make this a perfect Halloween album.

Abysmal Hymns: Gothtober- Kælan Mikla :" Undir Köldum Norðurljósum"

5-Clan of Xymox- "Limbo"

These guys are busting out lots of new music while their fires are still burning. Last year's "Spider on the Wall" made it onto the top 10 Goth albums of the year list, and now this one is too making them equally consistent since their 2017 album. "Brave New World " is more organic and guitar focused though they do step into the club enough for you to get your dance on as called for. 

Abysmal Hymns: Gothtober- Clan of Xymox : "Limbo"

4- Cold Cave- "Fate in 7 Lessons"

 10 years since the last full length from this "band" , so we will take what ever we can get. A step further in this progression into darkness chronicled in the 2018 ep . Thought there is a range of sounds dipping into more upbeat new wave not out of place on the soundtrack of a John Hughes movie and many a thick groove that is hard to resist being moved by.

Abysmal Hymns: Cold Cave: "Fate In Seven Lessons"

  3-Deathsomnia- "You Will Never Find Peace" 

 This gem blends darkwave , shoegaze and industrial in a manner not unlike the old roster of 4AD, these days indie rock bands are on the label but it used to mean something to be released by them. These guys are not on the label , but should be as they deserve it more. We have ethereal vocals with memorable melodies . We have solid percussive grooves. We have a band that can capture the sound and still write songs. Grows on me with each listen.

Abysmal Hymns: Gothtober -Deathsomnia - "You Will Never Find Peace"

2-Gary Numan- "Intruder"  

At 63  who would have guessed Numan would be making some of the best music of his career at this late in the game. I really liked his last album "Savage" it was less future pop and more industrial. The same can be said of this one , but the mood is darker and compositions more lushly colored.  His voice sounds great, granted he using a more nuanced and softer approach. Though he never really flexed his pipes a ton on his more classic stuff. The album hits  more power balladry feel in the second act but still stronger than most everything else that came out this year.

Abysmal Hymns: Gary Numan : "Intruder"

 

1- Bloody Hammers - "Songs of Unspeakable Terror"

 It was a tough call between this one and Gary Numan, but what gave these guys the edge is that this album came out back in January and hung tough as an album I would return to at least once a week or so. An impressive feat when you consider how much new music I ingest . This time the band leaned into the punk side of their influences and it works much better. It is not total Danzig as the Elvis side of the coin is toned down. The vocals are great and very catchy. I can appreciate how this is married to an almost edgy cock rock side of 80s metal, but all horror anthems which earned their place at the top of this list.

Abysmal Hymns: Bloody Hammers : "Songs of Unspeakable Terror"

Gothtober- the Top 10 Post Punk Albums of 2021

It's that time of year again.  It might seem early to start these now, but record labels have pretty much sent me most of what this year has to offer already, by the time I am done sorting through the top 10 albums of all the respective genres, I will use them, to compile the top 10 albums of the year. As I predicted last year 2021 was not much better than 2020, as things continue on a downward spiral ug dark music more important as a soundtrack for this.   As far as 2021 goes for post- punk, musically I think these albums are better than last year. Some faces that appeared on last year's list reoccur, and three new bands on this year's list.  The very fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. Perhaps you can find your next favorite on this list; and have included links to reviews of these albums if you want to check out audio on these guys. Anyways here are the top 10 post-punk albums of 2021 

10- Flood Twin - 'S/T" 

They have the tension part right and are dark enough to make it work, vocals are their weak spot , but they make up for it with the aggression in the guitar that keeps an unsettling tone going that works for me. 

Abysmal Hymns: Gothtober- Flood Twin : "S/T"

9-Fotocrime - "Heart of Crime"

Uber-retro synths and more spoken vocals caught me off guard, guitars and more actual instruments come in on the second song things begin to feel more familiar. There is a touch of Sisters of Mercy, though at time the guitars make me think of Bruce Springsteen. Often early80s moods creep in and get dancey seeing a progression from post-punk into this

Abysmal Hymns: Fotocrime : "Heart of Crime"

 8- Pink Turns Blue - "Tainted"  

Here is a comeback album I did not expect. Less creepy than their early years, they are less dark wave and starker post -punk. The album sounds great, alongside bands like the Cure and Joy Division these guys have been doing this since the 80s so it is pretty much like riding a bike. Much like riding a bike they allow themselves to coast along on songs that are really easy on the ears.

Abysmal Hymns: Gothtober- Pink Turns Blue : "Tainted"

7-Liars - "the Apple Drop" 

The 10th album from this experimental project whose only consistent member is the founder Angus Andrew. They continue to throw electronic music against post-punk and see what happenings. Each album has a different result, this one is no different in that regard. Perhaps equal parts moodier and darker. At times conforming more to conventional song writing than previously expected. His melodies range in shades of depression and unhinged tension. 

Abysmal Hymns: Liars : " the Apple Drop"

6- Spectres - "Hindsight"

This is not a return to the kind of goth infused sound they gave us on "Nothing to Nowhere", but it is their best album since then, even if some of the punk moments, keep it being just shy of perfect there are enough almost Smiths like moments to compensate for it and put it at the number 8 spot here.  

Abysmal Hymns: Gothtober- Spectres : "Hindsight"

5-Johnny Marr- "Fever Dreams pt 1 "

"I Can't Stand Morrissey but Johnny Marr is a great guitarist. While it is true Marr is great this is a common phrase uttered by many a poseur to afraid of what people think of think them to admit to listening to the Smiths. Funny enough the press release by BMG does not mention the Smiths but calls him a legend, which is funny because The The, Electronic, Modest Mouse and the Cribs did not make him a legend. What he did in the Smiths works here. 

 Abysmal Hymns: Gothtober- Johnny Marr : "Fever Dreams pt 1 "

4-Rope Sect-  "Proskynesis"

The German lords of gloom are back. This time we only get 6 songs, but I will take whatever I can get. This album finds them going down the dark road. Less aggressive than their previous offering in terms of the guitar attack, the mull on the melodies more and give the vocals room to breathe. This album is odd as the first three songs are three parts of the title track. 
 

Abysmal Hymns: Gothtober - Rope Sect :" Proskynesis"

 3-Old Moon- "Altars"  

This album beat out Rope Sect for the number three spot which says a lot. While Rope Sect continued to be themselves, this project carved its way into the world with modest ambition and roughhewn charm in their sound that is familiar enough to still be different. 

Abysmal Hymns: Gothtober- Old Moon : "Altars"

2- Viagra Boys - "Trailer Park Jazz"

This is another band that makes solid argument for Scandinavian post-punk. This album is also a stylistic shift for the band in many ways. Punchy yet still manages to be very danceable. The horns that crop up bring the Stooges to mind  at times even though the groove has a more electronic feel.

Abysmal Hymns: Viagra Boys : " Welfare Jazz"

1- Black Country New Road- "For the First Time" 

This album reminds us post-punk can span from many things. It emerged in the 1970s as a more artful way to add thought from a somewhat cruder punk rock movement. It is thinking man's punk in many ways. Not content with being a Joy Division cover band, This band is an example of how the best of the genre seems to be now comings from England. This group embraces the tension and inner darkness and explore how to convey starkness with more sonic colors

Abysmal Hymns: Gothtober- Black Country, New Road : "For the first time"

Gothtober- Spectres : "Hindsight"

This band from Canada goes  further down the punk side of post-punk. The first song points it's finger in the most snotty brat manner possible despite being grown men. There is a booze ridden swagger than begins to develop that reminds me of Iceage. To their credit the first song is catchy even with it's politically correct confrontation. They just kind of wallow in their hangover on the second song. They might not be as dark as I want them to be in the ways that I want them to, be though the thud of the bass lines is still there. I am open to them just being a downtrodden bitter punk band, but I need good songs in either case. They more fully commit to a Joy Division influenced punk on "Visions of New World', which is ok, but sounds like every other post-punk revival band. 

You have to sit through another punk song until they relent and give me what I want which is a more death rock flavored affair. They keep punk sensibilities to the lyrics but bathe them in the flavor of darkness I want. Why they had to wait a few songs in for this , I dunno. They are still plenty pissed. After this they retain a new wave sense of melody to the more nuanced ambiance of the guitar playing. Their singer sings instead of shouts. So much so you can almost here a ghost of a Smiths ' influence on the song "Northern Towns". Then oddly they throw in three songs from the Part Tine Punks live sessions. These are raw and the vocals sit back in the guitar.. I can however hand with the energy they are throwing at me here. The bass line to "Vertigo" gives me that more Halloween flavored postpunk I want. They continue with the great guitar sounds on "Crosses and Wreathes" . 

"To the Victor" goes into a more melancholy tone that once again recalls the Smiths .  Why did we need any of the punk stuff they were doing earlier when they could have been doing this sort of thig all along. " Tell Me" is driven by the more disco root of new wave. The sung vocals are heartfelt and well thought out.  The great songs balance out the more punk ones that are not bad just not as great as what they deliver four songs in. 

 

Mastodon : "Hushed and Grim"

 The 8th album by the Atlanta band is a massive undertaking that takes some time to absorb. The opening track, The playing is great and the melody floats, the drumming really goes for the gold. It is not until the last couple of minutes that the song locks into a metal riff. The second song has more attack to it.  Perhaps not as much attack as their first couple albums but puts its foot to the gas more however it is the guitar work of Hinds when it drops into a more, blues-based section that makes the song shine. Often when we think of progressive rock we think of just odd time signature and lots of  dazzling wanking, but how much progress is being made there. On "Sickle and Peace" we here the band pushing forward with their sound. It is almost dancey in how the guitar moves.  

I like how they vocals are produced on this album, while Brann has the best voice, things are really smoothed out with the effects on them to make them feel more a part of the musical backdrop. "More Than I Could Chew" touches on some great melodic moments and the guitar solos really are dialed in on this album. It is not surprising that Brent Hinds is moving into a more country direction with his writing input as it feels like he invested himself in the writing of this song. The dreamy 'Skeleton of Splendor" is not as air tight in the writing, as it floats off on it's own atmosphere, but I appreciate the fact they continue to expand the range of sonic colors here.  "Teardrinker" was the first single I caught from this album and it works , perhaps not as impressive as the few songs, or as hooky as they have been in the past but it works. The burlier bluster of "Pushing the Tides" rocks harder but still remains a far cry from the more hard core sludge of yester year. 

After the more Megadeth like riff that opens "Peace and Tranquility" I had to listen to the song three times for it kept my attention enough to form an opinion. It works off their signature formula they default to. "The Dagger" and "Had it All" feel as though they run together to finish the thought, the first song being the trip and the second the come down. There is a more Pink Floyd like mellowness to the second half before they roar back harder on "Savage Lands . It is one of the album's most metal moments so far.  "Gobblers of Dregs " finds more Tool influence seeping in after touring with them . They last two songs are very prog indulgent, though "Eyes of Serpents' rings out with a darker storm coming mood I can appreciate. They bleed into one another, it is almost like the last song is a continuation. It builds up into an epic guitar solo, and while melodic feels like the second part of the previous song, so maybe this is how they kept the songs all under nine minutes. Lyrically this feels like their most personal album since 'Crack the Skye" and their best since that one as well. I  will give this one a 9.5. 

Gothtober- Cradle of Filth : "Existence is Futile"

 It is understandable why these guys are a metal that crossed over into a goth audience. Dani Filth\s screech has long annoyed me, but I appreciate what the band does and they have grown as songwriters as the years have gone on.  I mean they have had since 1994 to perfect it. I prefer Dimmu to these guys , but hey, I have reviewed every album they have released since this blog started so why stop now. Let's be clear this is symphonic metal and not black metal, got it? Ok preceding with the review. The opening track finds them further refining the sound, there are no surprises , you know what you are getting , it is more of a question as to how fresh they are keeping. "Necromantic Fantasies " does not feel as inspired. Lyrically there is more of a focus on  the human condition than horror framed as Satanic gibberish.  "Crawling King Chaos" is more of the same old same old from them. 

The operatic soprano vocals play a larger role on "Black Smoke Curling From the Lips of War" .  They slow down and get a little more deliberate with the riffing to accommodate this .  Making this a half way decent song. Which considering how long these guys have been at it is the least we should expect from them. 'the Dying of the Embers" is the first song that catches my intention, there is a more rock n roll flavored riffs that stands out in the landscape of shifting dynamics. Dani's vocals works well with this here. The next great song is " Suffer Dominion" . The samples involved help create the mood for the narrative. 

There is a better sense of songwriting on the hookier "Us, Dark , Invincible".  It goes to show heavy music can still be catchy. Granted decades for them to finely tune it past the point of battering your ear drums almost annoyingly and bookending it with spooky melodrama.  "Sisters of the Mist " proves when they lean into their more thrashy influences the results are better.  The last song kinda splits the difference on it and reminds me of what Europe might sound like if they were a black metal band. I will give this album a 7. It sounds good for what it is, but feels like they are punching a well oiled time clock than really writing songs with a passion for what they do.

Gothtober - Gothfathers The Doors Top 10 Darkest Songs

It was not until after high school that the Doors clicked for me. Their radio songs do not always paint the best picture of what these guys were about . I knew they were obviously and influence on many artists I liked but the thought was why listen to those hippies play circus music when I can hear the Cult or Danzig do it harder. I think smoking pot while depressed made things click more and I began to delve into the actual albums and undercover a wealth of songs that supports the fact that these guys might be the first goth band.  Jim Morrison was obsessed with both death and the occult at various points. Sonically when you listen to these songs you can hear how these guys influenced bands like the Cure, Bauhaus, Swans, Nick Cave and others .So here are the top 10 darkest songs this band has to offer to cast a shadow on their status along side the likes of Bowie, Leonard Cohen, and Iggy Pop as the godfathers of goth. 

10-"Indian Summer"

This one is at the bottom of the list for a reason. There is more of a moody introspective longing, lost in a cloudy haze than the kind of  end of the world bleakness they are capable of delving into.  

 

 

9-"Five to One"

This is a darker song for them in how angry it is. These guys were hanging more with the beat poet jazz crowd than hippies so this one clearly shows they were not about just peace and lover. 

   

 

8-"Queen of the Highway"

The keyboards are a little too happy for the lyrics,  then there is also that break towards then end, but if you get really high the reason it is here will make more sense 

   

 

7-"Waiting For The Sun"

The chorus of this song is a little on the happy side, but every thing else on the verses are there like those ominous punches.  That chorus does not do the lyrics on the verses justice. 

   

 6-"Riders on the Storm"

This song does sound like a brooding storm feels, I think all the jazz influence and the jammy bits are what kept it from making it higher up on the list. 

   

5- "Strange Days"

I am surprised this one did not rank higher like in the top three , but there are some happy chords that slip up here and there and take them back to that more circus like place. 

   

 4- "Not to Touch the Earth" 

The lyrics to this song certainly gave it an edge. The are pretty grim. Perhaps not as creepy as "Strange Days'  but I think overall the combination of factors and dynamics makes this one win out. ,

   

3- "You're Lost Little Girl"

Is this girl lost in a horror movie? These sounds are creepy as fuck and Morrison's stalker like delivery sounds like the Snake from the Jungle Book. 

   

2-" the End" 

There is a shimmering brightness to this song, but when you listen closely you can hear how it influenced Swans. The song takes a nightmarish turn. It fought in my head hard for first place, but sonically this one might be more intense than the number one slot, but it is not darker.   

 

 

2-" People Are Strange "

I get it you know this one because of "Lost Boys" ... but I weighed it hard against the bleaker lyrical content of  "the End" and sonically this one won out.  The lyrics are almost Morrissey like in the sense it's not other people who are the outsider it is the fact he is and is isolated by being himself, which is one of the most goth themes there is.     

 

Gothtober - Kontravoid : "Faceless"

 This is a well known name in the underground of the dark wave revival. Is anything groundbreaking taking place here? No. Is this project good at what it does ? Yes. Is it very dark? Yes. Is being very dark enough? No.  At this point the pseudo retro drum programming and the synth are a dime a dozen, so I need to here what is happening from a song writing perspective. Their is lots of energy, almost aggressively. "Maskerade" has more to dance to. Along with the fact S.L.U.T lends her voice to the song for aa stronger hook, than the main singer who sounds like the dude from Aqua. "Judgement" has a beat that sounds more like a darker version of "Into the Groove" . It almost picks up where the previous song left of but the more robotic chant of the vocals has less appeal . 

"Nitrious" certainly summons a sound. One that might work at a goth night. But it also just sounds like faceless aggrotech. Interesting that the title of the album is "Faceless" not sure if that was what they were going for, I think when it comes to artists like this they do not want to just be  anyone with a drum machine amped up. I had this song on as I was doing some packing and it did nothing to flesh out what made it stand on it's own and offer a defining picture of this artist. Perhaps that is who this artist is. It is certainly driving in fact , some much so the only thing that makes the song after it stand out is a synth riff and the dead pan robo vocals. 

They back of on the in your face report to the dance floor barrage and manage to write an alright song with some dynamics. Who would have thunk after getting blasted by that fit of flying elbows?  I think a 7.5 is a fair enough score for this album, They do work off of capturing a song, and write two really decent songs, though the album is totally listenable, to say it is great club music is to say it is also background music since how much time do you spend in the club unless you work there on a daily basis. I great album is one that works it's way into the fabric of your daily life and provides a soundtrack to that as well. For what it is it is well done, I am sure some of your reading this will need more of  that sort of thing I am sure. 

 

Gothtober- Kælan Mikla :" Undir Köldum Norðurljósum"

This album was timed just right.  Darker than I remember these gals from Iceland getting before, but I am not mad about it. Sure the accent is bound to bring Bjork comparisons. I wish Bjork had gotten this dark. The opener has the right amount of drive. On the second song the vocals come more to the forefront and their melody drives the song. There are crazy layers of vocals in the background that sound like screaming witches , helping to make this a perfect Halloween album.  At first it sounded like their were going to the well twice on the third song, but it turns out to be more organic and they are driving the verses with an actual bass guitar. Sung in their native tongue the melodies are infectious enough for you to sing along even if you are unsure what they words are. I think this also gives her the ability to use her voice more like an instrument. 

Midway into the album things begin to take on more of a dark wave feel. Things become more concise in how the more traditional layers of vocals and synth interact within the space in which they are mix. Guitar begins to surface and it is more reverb heavy Cure like guitar. "Sirenur" goes back to a more atmospheric route. The beat is not the album's strongest kinda feels like they are just using a default ethereal dark wave pre set. "Stormurrin" has a thudding bass to balance out the pan pipes and other dreamy elf sounds. Almost more new age than dark wave. The song after this has more wine in it's languid sway. 

Alcest joins them for " Hvitir Sandar" . This collaboration sounds almost exactly as you might imagine it would. Though Neige employs his screamed vocals that are further back in the mix. Musically it is a hypnotic shoe gaze with a big crash.  'Saman" is more like a dark folk ballad, but it is well done for what it is, even if what it is puts the bulk of the weight of the composition upon the vocals. I will give this album, a 9, I really enjoyed what they do here. If you are a fan of the more ethereal side of dark wave with a healthy side of Nordic folk mixed in at times , then this is more than worth your time. 

 

Gothtober- Looking Back in Anger at Oingo Boingo's "Dead Man's Party"

 When it comes it to new wave, these guys paint with the broadest brush. If you are goth then you know Danny Elfman already from his work with Tim Burton. This band put him on the map. If you are a pedestrian to all things Halloween then you are going to know the title track from every Halloween mix you have heard at Party City or Spencers . The opening track not as dark as you might have expected. Elfman is a great singer who is also the voice of Jack Skellington so like I tell my daughter while we might never get a Nightmare Before X-mas, if we ever want to hear more Jack this is the place to do it. His upper register is used well on this song, even if it is a little on the happy side.  

I do have to take about the title track again, this is more to see if the rest of the album measures up to this and "Weird Science" two 80s defining songs. For 1985 the production on this album is amazing, it holds up against anything out today. Steve Bartek reminds you on "Heard Somebody Cry" that he is a great guitar. Highly under rated and it is a crime his name is not mentioned more in conversations about great rock guitarists. There are some halloween themes in this song as well, so it goes to prove that these guys belong here in October. Those spooky themes are even more present in the lyrics to "No One Lives Forever". I normally do not like ska , but it is certainly something present in that song. This is one of the few bands with a horn section I like. 

While they had a video out for "Stay" I do not remember this song out of context of the album. It does follow a more traditional format almost more like Roxy Music, who could be considered an influence on the direction this band took over time. I like hearing the dip into his lower range on "Fools Paradise" which has more of a David Bowie feel. "Help Me" gets almost too happy for me on the chorus though I like the verses. There is also some great guitar work .  On "Same Man I Was Before' they once again get peppy and play it safer in terms of  fitting along the lines of the current trends, but they do return to singing about ghosts, thus adding more spooky cred.He al;ready had his toe in Hollywood as the closer to this album was the theme song to the movie of the same name. I will give this album a 10 and pank it as a classic, because well it is and t he moments with too much pep are balanaced out by his wonderful vocals.     

  

Gothober - doused : "Murmur"

 Shoe gaze if it is dark enough can cross over into what we are listening for here this month. It opens much darker with an instrumental than when they kick into their more standard songs.   The muffled vocals against the sonic wall they kick up is brighter than most post punk, but you can hear how the Cure has influenced this genre of the years. There is a post rock feel to the guitars, but it has the more dream poppish straight ahead drive on "Strawberry Blonde" .  By the time we get to " Ease' there is now a uniformity to their sound. Some dynamic ebb and flow exists when they stomp around from loud to soft. Here it is executed with a great deal of power.   

Wish that they made an entire song out of "II" rather than it just being a passing interlude, as it has t he sounds I want more of. They veer more into this direction and indulge themselves to bathe in atmosphere for "Again" while keeping the song moving, with drums that drive the song rather than allowing it to drift and drone on the sonic waves.  "Dizzy" takes this vibe and pounds it out harder while drowning it in an array of crazy space sounds until it explodes into noise. While two and a half minutes long, the instrumental focus of "Swirl" just drones off one sound so it feels more like an interlude than a song. This is my one complaint about the album is there are cool sounds that I feel like these kids are more than capable of evolving into songs, but instead they just left things as they were rather than cultivating it into something more, which might be something they just have to grow into. 

The first time we get into a more boozy warble that brings My Bloody Valentine to mind is on the title track that closes the album. This song if we are going to think of it as such , starts off with a well balanced feel offering melody against the more Bloody sonics. Then it just kind of drops out into a piano piece that takes the song out. Here it feels like there was another missed opportunity to do more. I think this is a great band with a tremendous amount of potential they might still grow into, even if they remain where they are it is still marvelous enough work for me to give this album a 9.  

Gothtober- Love the Ghost : "Lapis"

Perhaps it is the fact they are from Italy, but there is something to their sound that is too happy and reminds me of Pat Benatar. Dueling male and female vocals intertwine, against hard rock guitars. On paper I suppose this should be compared to Sisters of Mercy, but the end result is something that sounds more like it is the theme song to anime. Too much major chords , not enough minor is part of the problem. The individual parts work on their own but when put together showcase the fact when it comes to the term goth rock, the emphasis is on rock . On the second song this comes across more like a Meatloaf song. The male vocals have the dramatic quiver to them that might not be out of place in death rock, but they come across more like David Byrne or Ric Ocasek in other phrases.    

"Hellfire' is a small dynamic shift they are obviously working off a very solid songwriting formula in place. "Hero" is in some ways poppier, but I like the creeping tension in the guitar on the verses before it goes total anthem on the chorus. I am not sure what the B-52s is going on with the zany " Pray For Rain" that in some ways rocks a little hard , but in others has more of a quirky bounce to. The production is really even, here I think with a better producer this could have been given a more compact and darker mix.  The choice of sounds used to color the songs is sometimes the problem as there is something that sounds like a laser hitting a spring swirling around this very confused mix. 

"Justified' sounds like a collision of many things from the 80s ranging from Oingo Boingo to Billy Idol. They can not be blamed for not trying hard enough, in fact just the opposite. They might be trying to hard. " Temple" sounds like something Cher might have done during her power ballad days. It is some what steamy but for certain not moody enough. While technically a mess and perhaps misguided this album still is an easy listen if you are in the mood for something that could have been a long lost soundtrack from the 80s, so I will give it a 7.        

5.1

Gothtober- Child of Night - " the Walls at Dawn"

 This is an interesting trio slightly dark wave but into analog synths, the vocals have kind of a stark Death in June vibe to them. The production is interesting. While lo-fi , everything feels like it is mixed back in the distance purposefully but in so doing it still retains an organic ambiance. The sound wins me over on the first song so I guess we will see if they songs are capable of keeping me in their spell.  On "Unafraid" they shift over and let the female vocalist step into the fore front and things go in a more retro dark wave direction. Still works for me!  She keeps singing going into "Wounded Child" but by where a chorus would be they trade off vocals . This one is not as focused of a song , kinda gets lost in the smoke machine , though they do hold onto the drone.  

Her voice cuts through better on "Disappear",  The production that gave their sound a unique charm begins to play against them when instrumentation shifts. The keyboard riff, keeps the song moving in a right direction. I am going to give this album another listen through head phones and see if that helps . ( Puts ear buds in) Ok well that helped sound wise. So listen to this album with headphones, though truth be told I listen and rate everything normally off my first listen through my computer speakers, so there are albums like the Creeping Death I just reviewed that sounded just fine though them.  "Outbreak" seems like it would be timely subject matter and I am going to be disappointed this month if I do not get more dystopian themed music. I suppose there is a dystopian feel to the music, but this is more of an instrumental interlude working off an ambient wave of synths. I am most impressed by the emotive male vocals on "Son". They are not the most powerful, in other words no Bowie like belting, but it gives me more of an indication that this guy can actually sing. The female vocals also harmonize well. The bass player could commit more to hitting their strings, but everything picks up the slack. 

By the time we get to "Indigence" there is a more new wave feel to things. They begin to take on a more uniform feel to the songs , there are some little flourishes of 80s styled synth bits that add flair, but of the two songs "Indigence " has more hook in her melody than his starker exclamations that this place is poison, which might be a lyric I like it just does not stick as well. "True Love Needs Discipline" is a great song title but sadly it is also just an instrumental interlude not a song about BDSM. There is more of a traditional post punk like them to the last song that benefits from a Cure style guitar melody.  Overall I like what they are doing and think they make it work the majority of the time they are writing actual vocal centric songs , so I will give this album a 9 and see how it grows on me. 

 

Gothtober- Old Moon : "Altars"

When it comes to the post-punk we accept this month it must be dark enough to cross over into the sonic realms of say the Cure or the Damned. This project does just that with a dusky shade of melancholy glazing the jangle of guitar . This is the solo endeavor of Tom Weir. He does a good job of making this feel as organic as possible. It could very well be a band knocking this out in a garage. The vocals typically sit back in the reverb thick mix. The second song his voice drops into a more despondent baritone that resonates more with me. The first song sets the stage. By the time we get to " Past Lives' we have already established the tone for the album, the jangle is more relaxed reminding me more of the Church or Echo and the Bunny Men. While the4 debt is owed to that era, this could sit along side most indie rock. 

I like how the melody sits on "Anhedonia" even though there is an almost shoe gaze haze to things. Here is where the sound they created compensates for the direction of the song as they have reached enough of a balance to make it work.  The vocals take on a more sedate croon  that recalls the place where new wave a punk met going into the 80s. Even with the odd lo-fi production the song shines through. I can hear echoes of  a song like "Pretty In Pink" on "Untouched" . The vocals has a more breathy almost Throbbing Gristle era Genesis quality to them , so many influences collide from different angles to create something that is this project's own. 

The album's last two songs take you into a much more downtrodden place. The sluggish guitars return to a more shoe gazing lethargy. The pace picks up for the last song with the bass driving it.  I can hear some Jesus and the Mary Chain influence within the ambiance of the brooding melodies, which once again works perfectly for me. The songs do drone, but carry enough melody to always keep you drawn in. I really enjoyed this album and want to begin searching for a copy of my own to see how it grows on me which is one of the best compliments I can give a band. I will give it a 9.5 .

Gothtober -Vlimmer : "Nebenkörper"

 

At first your ears might be leading you to believe these guys are  Germany's answer to HEALTH. In almost seems like this fact is being made this clear by the second song. I would have been fine  with this if it had been the case since the last thing I want is another band trying to be Sisters of Mercy, we have a hundred already thanks. They veer around as things progress and get into traditional goth more than HEALTH, because well they are German how can this resist. The first song is more progressive than I expected in terms of arrangements and vocals going in every direction.  The drums on the third song could come up in the mix. The guitars and synths almost drown them out. The vocals sit back into the track more than the other songs.  "Meter' finds the trend towards more normal dark wave continue and lends credence to the theory I once had that when singing in German it is easy to sound like you are flat.   

Things return to a hazy more experimental side. While songwriting is not abandoned, by "IPA'  it feels like things are getting sloppy in the haze from which they are springing from.  Things get weird on "Ad Astra", the weirdness spirals into a more atmospheric murk on "Wangendruck" which follows this one. It feel like they started huffing ether after the acid peaked. Though I certainly want artists creating these darker sounds to convey a drugged feeling. In someway it feels like they are heading toward Throbbing Gristle or Psychic Tv's land of the bizarre. Of course I know those bands are the same thing , well almost. I always have to clear up these facts as we go as some genius in their mother's basement will be quick to try and correct me like we are on Quora.  

"Kartenwarten" begins their cruise into the mellower side. It works for what it is. The vocals do sit back, at first I thought it was computer speakers and when I put headphones in it just improved how things are panned , but not where they sit in this sleepy mix. "Kron" is a noise tinged industrial pounder. It reminds me a little of Uniform.   They back off on the last song and get more into their feelings and let themselves drift in melancholy atmosphere. Which does not go any where , but works for what it is. Overall this album is very enjoyable I will give these guys a 9 as if you are into this newer mixture opf post-industrial you will dig this for sure, though I am unsure how much air time this will get on my end from here.

Gothtober- Zeromancer -"Orchestra of Knives"

 More organic than "Eurotrash" from 20 years ago which is the only other album from this Norwegian goth band  I have invested much time with. There is less of an overt industrial or dark wave feel to what they are doing now. They come across as more 90s goth alt rock, which still works pretty well for me. There is an Orgy like dance groove to the second song , which creates something a little more unique. His voice has held up well and still works in this context. There is a little more of a hushed quiver to it at the end of phrasing for making things overly emotive. I can also hear some Depeche Mode in the way this groove swings. 'Transparency" might not be as memorable as the first two songs, but it still works and might just need more time to grow on me as it is more introspective than what I am used to from these guys. 

"Mourners" is a darker shade of melodic future pop. There is more tension to the brooding "Birthday". It's his party he will cry if he wants to. "Terminal Love' sounds more hopeful than terminal with it's much brighter chorus. Sure it's hooky, but it is on the happy side . The first song that really reminds me of their more industrial moments is " Worth Less Than Deutsche Marks to Me" . It has an underlying oppression to it's creeping groove, making it one of the album's strongest songs.  It is more solidly in the middle of the cyber dread industrial bed. Not saying it is more synths than machines colliding , but it works well as a song. The dynamics are dialed in nicely.

The title tracks marks somewhat of a turn for the album. It leans more in the electronic side, perhaps more cold wave , though at the same time it owes a huge debt to the electro alternative bands of the 90s which should not be surprising considering that was the scene that spawned these guys. The emotive quality of the vocals is very goth, and the most appealing element in motion.  The song after this take it in a more organic and even more goth direction with echoes of the Cure in the guitar. They take a more dynamic turn and build it up into more of an industrial anthem. The last song "San Zero" has an almost nu metal bounce to it, perhaps working off a groove with more in common with Filter. I will give this album a 9 and see how it sits on me the songs are stronger on the front in but stay pretty solid throughout.  .  

  

Gothtober- White Ring- "Show Me Heaven"

 

First a new Salem album , now this, one might think 'witch house" was making a comeback if it ever had anything to have come back to. The almost Tumblr reality genre, that went on to become known as vapor wave in come circles would be well defined by what goes on in the opening track of this album. Though the murky haze here is almost shoe gaze like, rather than trappy in it's darkness.  This more ethereal tone is contrasted by an industrial abrasion in the second song. The vocals are buried in this , though it works for what this is trying to do. I might not be able to handle an entire album of this , but in the context of the album as a whole it works. On "They Say Something' they split the difference and focus more on a slinky groove that finds them heading in the direction of more sound focused than song. If not trying to breathe amid all the atmosphere the beat to "Calm Down' might remind you of Nine Inch Nails. 

 A question to ask of this album might be can you focus on this sound and write songs as well as Salem did on their last album?  "Drop" finds this balance better though not as well as the first three songs. "Got U" you proves they needed to pick up the pace and lean more into the groove. The vocals are then allowed to fade into more of a texture and not needed to be relied on to hold the song together. There is a strum of guitar on "Fake Fuck" which feels like something Grimes might do. It should be noted Grimes pulled more than her fair share of inspiration from this genre. This does feel more song focused. "Loose" is text book witch house will male vocals drowned in effects. Speaking of drowning in effects, that is what happens to the entirety of 'Dagger III" .  "Charm" dwells in a similar dream state. 

This album excels at capturing the sounds that take you to the place of narcotic sonic euphoria . You will feel like it is the summer of 2011 all over again. "Tower" is not the Zola Jesus cover you might have been hoping for. The vocals on this album never really come close to any kind of belting it out , and are content to stay obscured in the mist. If I was on drugs I am sure I would appreciate this more. They end things on a darker and denser note with a whispered vocal on the verses that reminds me of the last Hante album, but they are capable of a bigger dynamic shift on the chorus.  I will give this album a 9, as it is good at doing what it sets out to do and sounds great.  

Gothtober- Black Country, New Road : "For the first time"

Post-punk can span from many things . It emerged in the 1970s as a more art ful way to add thought from a somewhat cruder punk rock movement. It is thinking man's punk in many ways. The revival that came into popularity a decade pretty much just found itself content with being Joy Division cover bands. This band is an example of how the best of the genre seems to be now comings from England. This group embraces the tension and inner darkness and explore how to convey starkness with more sonic colors. It opens with an instrumental, but when the vocals come in on the second they have a desperation to their almost spoken narrative that is not unlike Xiu Xiu, though  the delivery is more spoken than sung. 

They get noisier on the more chaotic "Science Fair' . Jazz is scrambled into the mix, though the unsettling sound of a nervous break down on the horizon can be heard. "Sunglasses' is the first song where, he sings. It has a more sonic quality, but the horns also go wild and create a wall of wild geese that attack the song . But this song, is almost ten minutes and they make the most to dabble in all kinds of dynamics. In the lyrics they reference Richard Hell, which shows the debt they know is to be paid to the era of punk that inspired this. Things get heavy in a very Swans like manner , though not as dark , yet still pretty unsettled. This is almost like the progressive rock version of post-punk.    

"Track X" is more introspective. All of the songs have a wandering quality that falls some where between free jazz and jam rock that adds another layer to their sound. This time things are moody , but not dark. There is droning ambiance to this song. If this was all guitars and no horns then it might fit more neatly into the post-punk box you are expecting here. There is an eastern European influence to the last song, that gives it almost a ska like skip in it's step.  I will give this album an 9.5, it's pretty incredible. 

Gothtober- Looking Back In Anger at Iggy Pop's "Blah Blah Blah"

 

I often credit  the Jesus and Mary Chain's "Darklands' album as being the first "goth" album I bought, but this album I bought before that one. During my intital obsessive interest in David Bowie, I discovered Iggy.  Alongside the Doors and Bowie , Iggy Pop is one of the more influential figures in goth music. I bought this album when it came it out so it proceeded the 87 release of "Darklands" . This was Iggy's stab at making his own version of "Let's Dance". This album was a collaboration with Bowie who co wrote most of the songs, and his backing vocals can be heard through out the album. "Real Wild Child" the lead single is one of Pop's most well known songs so it was a success from that stand point. It is a cover of a Johnny O Keefe song. "It Can't Fall" sounds like it could have been a b-side from "Tonight" or "Never Let Me Down".    

It is not until 'Shades' that things get darker and moodier , reflecting the tone of Bowie's 80s period.  The ballad like 'Fire Girl" co written by Steve Jones of the Sex Pistols, keeps a new wave pop slant , but is still darker than even the Cure's radio fare .Much of this is due to the bleak nature of his baritone, that finds Pop in one of his better places vocals as far as the croon here goes. "Isolation" is sung with even more passion. I heard this album before the Stooges, so I can under stand how now 7 albums away from his punk does this could have been divisive , and in some ways it might have been a sell out, but if Bowie was behind it how much of a sell out could it really be?   

There is a more rock tone the guitar of "Cry For Love' . I am not sure if the more Billy Idol like sonic quality of the production was intentional or not, but it is a great song. There is a longing in it that falls one the moodier side of post -punk run through a new wave filter. The title track has more of bouncy post-punk quirk to it not unlike Gang of Four if they went in a poppier direction. "Hideaway" is back to being one of those could have been a Bowie b-side that did not make the cut. Even those are better than most people's best work.  With even the nostalgia attached to this album I can still round it up as the 80's production that hampers some of these album when run through Bowie's filter finds this album working perhaps even better than "Never Let Me Down:. 

Gothtober - Rope Sect :" Proskynesis"

 The German lords of gloom are back. This time we only get 6 songs, but I will take whatever I can get from these guys.  I have been a fan since their inception and this album finds them going down the dark road . Less aggressive than their previous offering in terms of the guitar attack, the mull on the melodies more and give the vocals room to breathe. This album is odd as the first three songs are three parts of the title track. I am reviewing them as 3 separate songs since that is how they track out. The first one has some rock drive in the guitars as the vocal lay back in a mellow croon. The vocals sit back against the guitar. The second part I had to listen to a few times to fully absorb, it starts off more doomy, though kicks into a more death rocky riff that has punk drive to it without forsaking the room for melody as they slow down to allow the vocals to emote. They are more melodic thought starkly plaintive, though this guys has improved as a singer over the years. There is a lingering metal feel that bridges some sections of the song. 

While of the 3 parts it all works the 3rd part is just the hookiest and stands on it's own the best. It also serves as a suited bridge to the other three songs. "Handsome Youth" has a less organic feel when it comes to the drums, but as a song , composition wise is it really strong. The melodies are all very gray which I can appreciate. Lyrically it is nice too. Images of empty souls and such.  The contrast between the bass and the guitar on "Lava" is really great. Lyrically I am not sure what it has to do with the title but oh well. I know these guys are from Germany but there is something Irish feeling to the mood. 

The first song that stands apart as a newer sound for these guys while being true to what they do is the last one. The vocals are slightly softer , though the Irish thing can be felt here as well, despite them being German, not sure why this gets stuck in my head but it does. Despite this fact I would not say it grips you like the other songs, in fact the more sedate vibe , makes it less catchy than the more driving songs where the melody counterbalances things.  Moodier as a whole for sure. These guys have really come into their own since the last album and I am glad to hear them continue the path here.  I will give this album a 9.5 as I allow it to grow on me, and look forward to hearing more from them in the future. 

Ded : "School of Thought"

 My first thought was well it's out goth month here, maybe this is one of those nu-metal bands like Coal Chamber that cross over enough to count. The photo in their press kit seemed to lend it self to this line of thinking.  The actual music while nu-metal, is bigger arena rocking in the emphasis placed on the chorus that find them begging for radio play. They are quick to jump to emo flavored introspection on the second song that is closer to the loud to soft dynamic formula that got worn out back in the days of Myspace. It is not to say they do not want to go for that after covering the Cure's "Love Song" which do we not already have enough covers of that song even if you bring along Maria Brink to help with the vocals . It is however better than having all the late 90s sounds thrown at you at once on "Eyes Sewn Shut" . 

While they have the modern radio metal guitar sound dialed in it never comes across as heavy to me , just that these guys have spent too much time hanging out in LA clubs.  They want to be all the parts of Slipknot that sell albums with none of the maggots and masks when we get to "Mannequin Idol" . They keep skipping into familiar knots of tropes. The parts of their sound that remind me of Linkin Park are far more offensive since, I can not think of a prefabricated band that sucks worse than those guys. If you are offended by this because you like Linkin Park then I would urge you to follow the example of Chester set of how to deal with this. By the time we get to "Persona" which might have the album's best lyrics , all the song have begun to sound the same . I think their fans might want to heed the lyrics ' stop making stupid famous" .

"My Blood" starts off by making me think , they might be onto something , but by the dumbed chorus we are back to everything else on the radio. I think these guys have to potential to be ok, but they need to get over this trying to sound like everything else on the radio in order to be on the radio. If this is a manager or producer whispering this into their ears, then fuck them.  I am sure their fans are quick to post shit memes about Nickelback, but in truth there is little more than a shallow coat of distortion separating them.  I mean half the fault here might lie in the PR company who sent this thinking that this was the kind of music I am into. Though I might send mixed messages since I do like Issues and the new Spirit Box was pretty decent so I can take commercial music if done the right way . Not that this sucks in the manner it was crafted, from a production and performance stance everything works , the source of inspiration is the problem. Metal is like funk you can not fake it.  By the last song I no longer care what side of nu metal they are falling on and just want this to be over. I will give this album a 6, there are moments maybe two good songs, though they accomplished what they set out to do and are professional in how they do it it is just they excel at creating a dollar store Slipknot.

Gothtober - Unto Others : "Strength"

 

Idle Hands by any other name. My first thought on the change is the vocals are more aggressive which plays to their advantage. There is less of an 80s metal vibe. Not that it is shed entirely as the second song has some Iron Maidenish harmony guitar parts. The goth side of the band sits more smoothly into what they do? There is more of a Misfts vibe, though vocally he is more like Graves than Danzig, so a little watered down.  "When Will God's Work Be Done" runs off of the driving bass line. I am not as big of a fan of this one as I am the first two songs/ The guitar parts are more well arranged and constructed. The more melodic "No Children Laughing Now" is somewhat emo in the AFI direction, but still a more memorable song than most. 

"Destiny" also tread down a more melodic path with synths filling up the background, but while it might not be as catchy as the previous song , still proves to be effective. As the album progresses we get further into more clean guitar tones with the drummer this time holding the heavy. In some ways this reminds me of Volbeat if they wrote moody power ballads.  On a song like "Little Bird" the drums help things more aggressive, but most of the weight hangs on the shoulders of the vocals , which fall back on the Volbeat power ballad formula an increasing amount amount as the album progresses. "Why" fakes like they are going to pick things up into more of a punk pacing, and while the drummer is still game for it every one else drops back into the moody emo power ballad thing, this once just has the drums powering through and dragging the rest of the band behind them. "Just a Matter of Time' works off the same formula. In fact it teeters at the brink of going to the well one too many times , but it works however it is just a matter of time before it won't .  

Their cover of "Hell is For Children" is fun , except for the fact he does not try to go up into a falsetto to hit any Pat Benatar notes. Guess he did not take notes when they toured with King Diamond. Or he jut can't do it which seems a more likely answer, as he never strays from his baritone octave. The bass line to "Summer Lightning" not like they have a direct influence of Sisters of Mercy, but of a band who is influenced by Sisters of Mercy like 69 Eyes. So 3rd generation goth .Lyrically this is one of the album's better songs. I like the effects on his voice on "Instinct" . I think some of the rocket launch samples are little over board. It was on the third listen through that I finally figured out the lyrics do have some space shipish references. The title track that closes the album is a little more metal, but over all I feel the song is rather anti climatic.  There are better songs on the album it could have ended with. This album feels like an improvement in many ways though it falls back on formulas frequently , I think a 9 is pretty fair for this one.