The goth scene has a diversity problem. Most alternative music scenes, if I’m being honest, have a diversity problem.
While the contemporary state of the alternative scene is certainly facilitating some much-needed change, it’s important to recognize that people of color — specifically, black people — have always been part of the scene, and always will.
Here are five awesome goth bands that feature black musicians, proving that despite popular assumption, goth isn’t white.
Scary Black
A beloved artist of mine and one who I’ve spun on-air several times before, Scary Black is orchestrated by the brilliant mind of Albie Mason, a purveyor of “introverted darkwave.”
Based in Louisville, Kentucky, Scary Black redefines the term “southern gothic.”
Cover for “Live at Fascination Street” by Scary Black
With corpse-cold melodies, vampiric lyrics and a cultivated air of foreboding, each track is goosebump-inducing in the best way.
If you like music with screamier vocals, The Ire may be for you.
Based in Philadelphia, The Ire draws inspiration from 80’s post-punk and infuses the style with deathrock dramaticism.
Cover for “Bacchic Dance” by The Ire
Their first demo album, “Demo,” came out in 2019. From then on, their command of style only refined itself, leading to their most recent album, “Bacchic Dance,” which came out Feb 2, 2024.
Light Asylum
I remember dancing to “Dark Allies” at the Wicked Witch back in 2023. The energy was electrifying, the air gauzy with fluttering shawls and swaying arms and swooshing leather.
Light Asylum is the Brooklyn-based solo project of Shannon Funchess, founded first as a duo in 2007 until keyboardist Bruno Coviello left in 2012.
Cover for “Light Asylum” by Light Asylum
Light Asylum’s music is powerful and inspired, with Funchess’s vocals fueling the project’s international appeal. With an 80’s-inspired sound, Light Asylum’s influences extend from Depeche Mode to the industrial clang of Nine Inch Nails.
She Wants Revenge
At this point, I’d be hard-pressed to find someone in the alternative scene who hasn’t heard of She Wants Revenge.
Based in San Fernando Valley, California, She Wants Revenge presents a stilted and charmingly blunt take on post-punk and darkwave.
Cover for “She Wants Revenge” by She Wants Revenge
Consisting of Justin Warfield and Adam Bravin, the band emerged in 2006 after being scouted by none other than Fred Durst, every twenty-something-year-old teenage girl’s favorite man.
And the rest is history.
Shadow Age
Putting the dark back in darkwave, Shadow Age’s music is cold and diffused through fog.
Based in Richmond, Virginia, Shadow Age released their first demo in 2013. Two years later their first EP, “Silaluk,” hit the airwaves.
The album has a beautifully esoteric sound and a distant, hazy vocal quality that conjures images of blanched, glacial landscapes.
Cover for “Silaluk” by Shadow Age
The band’s 2017 album “The Fall” is comparatively warmer, though still with a lo-fi distortion.
Their most recent release, the single “Ours,” takes the band’s sound in an interesting new direction with stronger electronic and indie influences.
Final Thoughts
People of color have always influenced the alternative music scene, and for much of musical history, their impact has been ignored.
Lending recognition to the numerous artists who continue to operate in the scene is integral to building a more inclusive and representative space.
Howdy. Because I spent my week watching too many movies and TV shows, I quickly became distracted by their soundtracks. One of my favorites of this week was the classic Jamaican film, “Rockers”.
In “Rockers“, I was introduced to a wide variety of new Jamaican reggae sounds, so I set out to make a little playlist with a ix of my old and new favorites within this genre.
I know Spring and Summer are quite a long ways off, but to get your mind ready for pleasant vibes, I have a collection of delightful dub for your ears to feast upon.
Most notable new sounds (for me) on this playlist are The Heptones and Inner Circle. Both bands are staples in the reggae diet as they are inspirations to bands around the reggae scene and the world.
In reggae, dub, ska and rocksteady, I love the chaotic and smooth combinations of a wide variety of instruments. The reggae bands in “Rockers” are all smiles and rely on blissful beats. The music talks about injustice and wishes for the good times to come around via the end of corruption.
If you feel so inclined to vibe with some reggae classics, below is an embedded Spotify link to a smattering of chill vibrations:
It’s February, which always proves to be an…enigmatic…time of year.
Positioned right in the center between the start of winter and the beginning of spring, February is a time of anticipation, yearning and rumination. Valentine’s day — and midterms — loom on the horizon.
However, beyond these trivialities, February is also a time of remebrance. Black History Month, a time dedicated to honoring black excellence and elevating black voices.
The alternative music scene is, to put it plainly, quite white. While artists of color certainly exist, they often don’t receive the recognition or platforms they deserve.
My goal this month is to shine a light upon black influence in the alternative music scene and use this platform to explore the stories of several black artists.
Today, we’ll be focusing on Tobi O’Kandi of the goth rock band O. Children.
Bono Must Die
Before solidifying himself as the lead of O. Children, Tobi O’Kandi was the frontman of a controversial band, one I’d never heard of until I started doing research for this post.
Affecting a Cockney accent and singing satire about Satanism, money, sex and night buses, O’Kandi and his crew grew a following significant enough that the band toured twice alongside Florence + The Machine, Crystal Castles and numerous other topsters.
One lawsuit (from U2’s Bono himself) and a name change later, Bono Must Die finally died. After three years of activity, O’Kandi was bored. He wanted to try his hand at forming a “proper” band.
O. Children
O. Children, named after the Nick Cave song, formed in 2008. Consisting of O’Kandi, Andi Sleath, Gauthier Ajarrista and Harry James, O. Children drew inspiration from pivotal bands of the 80’s.
The band’s reverence for Cave didn’t end simply with their name. As they stated in an interview with Loud and Quiet back in 2009, their goal wasn’t simply to emulate, but to embody.
“We’re gonna be the guys that take over Nick Cave and dance on his grave, his Children. O. Children,” O’Kandi said.
Cover for “Apnea” by O. Children
When discussing his aims for the band, he stated, “We want to work on something we feel we can give our heart and soul to and it turns out it’s this. What we’re saying is that in two months… we’re going to blow you away.”
In 2010, O. Children released their self-titled debut album, which features some of their most iconic tracks, such as “Dead Disco Dancer” and “Ruins.”
With clear elements of gothic rock, post-punk and a dash of pop, the band’s energy is melancholy but riveting. Full of motion and emotion and emulating the borderline-western-borderline-opera style of Nick Cave, the album is beautifully done.
There’s an interesting parallel between the works of Nick Cave and O’Kandi. Both artists started with an experimental, distorted sound — Cave with The Birthday Party and O’Kandi with Bono Must Die — before transitioning to something smoother and more restrained.
After O. Children eventually ceased its activity, O’Kandi was left desiring another creative outlet. In 2019, he launched his solo project, Okandi, with the release of “Devil I Know.”
Cover for “God Save The Fake” by O. Children
Since, he’s released three more singles. The most recent, “God Save The Fake,” came out in 2022.
Okandi’s sound is more experimental than O. Children’s, foregoing the former band’s rocking style for a staunch darkwave/electro slant.
