Tag Archives: Goth

Lost and Found: A Vital Live Recording From Argentinian Cult Band Los Pillos

Los Pillos

It starts like this: a kick drum reverberating in what sounds like a large open space, while a collective murmur becomes louder. There is the crackling of microphones, the sound of breathing, and then the toms start off the first song, “Conversaciones con la hierba.” This is the live recording of Argentinian rock group Los Pillos’ show opening for Siouxsie and The Banshees in December 1986—a console recording that remained unreleased for 32 years. Siouxsie’s visit was a milestone for shows in Buenos Aires, a connection to the thriving post-punk underground. Lesser-known bands like The Bolshoi, or poppier acts like The Police, had come through—but nobody on Siouxsie’s level. The show took place at the Obras Sanitarias basketball stadium, a covered arena that can fit just under 5,000 concertgoers. A show of that size, for a band of this scope, was a rarity.

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The Provocative Dark Pop of Istanbul’s Jakuzi


Photos by Atilla Eren Gokturk

The dark synth-pop outfit Jakuzi love to provoke. That’s partially due to their background—principal members Kutay Soyocak and Taner Yücel have roots in Istanbul’s underground punk scene. But it’s also because they have a particular knack for arresting visuals. In the video for “Istediğin Gibi Kullan,” from their 2017 full-length debut Fantezi Müzik, the pair are subjected to physical manipulation by a male and female domme while their drummer looks on in disinterest. (At one point, he decides to kill time by playing Candy Crush.)

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Ten Metal Veterans Who Found New Life in Goth and Post-Punk



Metal and goth have always gone hand in hand. Whether it was the arena aspirations of goth titans like Sisters of Mercy and Fields of the Nephilim or gothic metal acts like Danzig, Type O Negative, and The Gathering, the two genres have long found common ground on the dark side. And while there is a long history of punk and goth intermingling, the last few years have seen a rise in the number of musicians with a specifically metal background applying their heavy aesthetics to goth and industrial.

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Boy Harsher’s Deeply Personal Darkwave


Photography by Angela Owens

“I can no longer run away from things the way I used to be able to.”

That’s Jae Matthews, vocalist of Western Massachusetts darkwave duo Boy Harsher, talking about the role of escapism in the group’s oeuvre at large. She and Gus Muller, who handles most of the synths and programming, have been making dark, soulful, synth-based music since 2013. The idea of movement, of leaving, of dropping everything, is a consistent theme throughout their catalog, especially on 2017’s Country Girl EP and their new LP, Careful. Careful is released on their own imprint, Nude Club Records, and it is a triumph; they’ve been through the fire, and have used those experiences to forge a testament to vulnerability and honesty.

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Big Ups: Bauhaus’ Kevin Haskins Dompe and David J Haskins Pick Their Bandcamp Favorites


Photo by Brian Shanley

“Releasing such a long single in ‘Bela Lugosi’s Dead’ broke the rules, and inspired the kind of open-ended creativity that typified post-punk,” says Kevin Haskins Dompe. “And it still sounds like something an indie band would come up with today.”

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Shadow Age’s Goth Testimonial to Human Survival

Shadow Age

In 2013, while fishing on a boat in Alaska, Aaron Tyree got frostbite. It was so severe that the disease seeped into his bones, nearly causing him to lose a portion of his foot. Tyree spent the majority of the year hooked to an IV that pumped antibiotics directly into his heart. Physical activity was strictly forbidden. “[I] found myself in a position where playing music was literally the only thing I could do to pass the time,” he says. “Dealing with the injury and not being able to do any kind of strenuous activity put me in the mindset to really get the band up and running.”

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Popnihil Records: A Southern Gothic Tale

Pop NihilMatthew Moyer, the mind behind Florida goth/dark music label Popnihil, jokingly muses over phone that whatever is goth “catches your ear and crushes your heart.” The Florida native resides in Orlando working as music editor for Orlando Weekly, but for 13 years, Moyer worked as a librarian at the Jacksonville Public Library. The archival impulse is strong in Moyer; he still owns many of the cassettes that informed his early musical development, even a special mixtape from early adolescence where he first heard Coil’s “Slur,” Skinny Puppy’s “Worlock,” and Nitzer Ebb, a mixtape that sent him down the spiral of music made with synthesizers—“all of that led to Suicide, and then that opened the floodgates.”

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A Guide To The World’s Largest Goth Festival

Saigon Blue Rain

Saigon Blue Rain

I am in Stasi Museum Berlin on the last day of the world’s largest goth festival when a thunderstorm hits. A flock of goths flee under a set of identical black-peaked parasols (rainproof, apparently). The rest of us are trapped here, on the first floor of the Runde Ecke, a nondescript office building in Leipzig, Germany, the former headquarters of the Ministry for State Security, once home to the East German secret police known as the Stasi. A man in a beige uniform ushers us in from the storm, “Kommen Sie, bitte.”

A teen girl in spiderweb tights rushes in, brushing back the lace covering her pin-straight black hair. A middle-aged couple with matching teardrop tattoos under their eyes drift over from the “Banality of Evil” exhibit. Inside, a set of round tables are spread with decades’ worth of neatly-bound typewritten pages detailing the comings-and-goings of teenagers under official state surveillance by the East German government. Gruftis punks and other negativ-dekadent jungen (“negative-decadent youth”) are the subject of the exhibit, a category which easily describes three-quarters of the crowd (minus, in many cases, the youth).

I turn back the plastic notebook cover on one such report and read, “Frage: Was besagt der Glauben des Gruftis?” (“Question: What do Goths believe in?”)

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