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Furry logic: from the video for A Place To Bury Strangers’ Fear Of Transformation, from the new Synthesizer album
Song of the Day: Taken from the Brooklyn band’s recently released and seventh album, Synthesizer, a dark and alluring goth-electro-postpunk number reminiscent of 1980s Suicide, about a teenage boy sneaking our of his parent's house to go to his first Furry party, but with a deadly secret – he's a werewolf
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The Cure: Alone, taken from
Song of the Day: The first new song released by Robert Smith and the legendary British band for 16 years, this dark, melancholic majestic number heralds their forthcoming album, Songs of a Lost World, out on 1 November
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Chelsea Wolfe’s forthcoming album She Reaches Out To She Reaches Out To She out on Loma Vista Recordings
Song of the Day: Wonderfully dark, menacing, atmospheric goth-rock noir about identity and self-empowerment by the Californian artist heralding her forthcoming seventh studio album, She Reaches Out To She Reaches Out To She out on Loma Vista
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Goat are back …
Song of the Day: Meaty, viscous, dark, mysterious psychedelic-gothic rock with the unmistakable sound of the returning masked collective band from Sweden, taken from their forthcoming fifth album Medicine, out in October on Rocket Recordings
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Lead Belly
Song of the Day: Also known as In The Pines, and Black Girl, today we move onto another traditional song variously interpreted, dark and brooding, haunting in its melody, and simmering with suspicion and jealousy
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The Mountain Goats, fronted by John Darnielle
Song of the Day: With 16 studio albums since 1994, so many interesting, varied and clever songs to choose from the California indie-folk band fronted by John Darnielle, but how about this goth parody from 2017?
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Sisters of Mercy: Andrew Eldritch
Song of the Day: A Halloween and goth-style classic bonus track today, but with a twist, showing how a cover version can almost become a whole new song
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The Cure
Song of the Day: Continuing our arboreal theme, an otherworldly classic from the Cure's early goth days from their second album of 1980, Seventeen Seconds, which, on limited budget was recorded on only a week. Robert Smith's ghostly vocals and guitar effects (before his trademark long hair) combine eerily with Simon Gallup's echoing bass
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