The goth subculture is, for many, inherently queer. In fact, a running joke between me and several of my goth friends is that gayness in the goth community is considered “boring” due to the sheer volume of bi and pansexuals populating the subculture.
There are many different reasons as to why goths are so queer, and I doubt I’m wholly qualified to speculate. I will do so anyways.
Perhaps the marriage of the anti-establishment ethos from which goth was born and its darkly Victorian aesthetics gave way to the dissolution of contemporary markers of gender and sexuality.
Below is a short compilation of some of my favorite tracks by queer goth artists. Some of these songs focus on themes related to queerness while others simply intersect with the artist’s identity.
The Playlist
“Deathwish” – Christian Death
“Spiritual Cramp” – Christian Death
Christian Death is one of my all-time favorite goth bands. To me, they represent what I would consider to be the archetypal goth sound: doomy guitar, moody vocals and flippantly dark lyrics. Original frontman Rozz Williams was known for dressing in drag in opposition to the hypermasculinity of the punk scene, an act which solified him as something of a queer icon.
Cover for “The Iron Mask” by Christian Death
“Burial Ground” – Sopor Aeternus and the Ensemble of Shadows
“Deathhouse” – Sopor Aeternus and the Ensemble of Shadows
Sopor Aeternus and the Ensemble of Shadows is a largely underrated pioneer of the goth scene. I adore her work so much that I’ll probably dedicate an entire blog article to her in the future. The mastermind behind Sopor Aeternus (meaning Eternal Sleep or Sleep of Death) is Anna Varney, a trans woman whose experiences largely fuel her music. Varney’s 2020 album, “Island of the Dead” captures the despair of being in a relationship with someone who cannot accept their partner’s transness and is based on real-life experiences.
Cover for “Island of the Dead” by Sopor Aeternus and the Ensemble of Shadows
“Inked in Red” – Vision Video
“Death in a Hallway” – Vision Video
Vision Video is a band based in Athens, Georgia that is quickly mobilizing to change the goth subculture for the better. In my article about the band, I touched on the rich political commentary the band touches on in their songs as well as the work of frontman Dusty Gannon in cultivating a safer, more accessible goth scene.
Cover for “Death in a Hallway” by Vision Video
“Dark” – Secret Shame
“Who Died in Our Backyard” – Secret Shame
Based in Asheville, Secret Shame brings an interesting contemporary sound to the traditional goth style. With a slant bordering on alternative rock and a vocalist who sounds like a centuries-old ghost, Secret Shame produces songs right on the cusp of the goth scene.
Taking a brief detour from this month’s Pride-based content (because I’m very sick and incapable of concerted research) to cover a recent show I attended.
This show was special, not just because it was insanely fun and had a great line-up, but because it was the first show my younger brothers had ever attended.
Taking place June 18 at Kings in Raleigh, this three-band show was a wildly good time and a great way to kick off a fresh work week.
Paranoid Maniac
Composed of Raleigh locals, Paranoid Maniac delivered a frenzy of hurried, untethered sounds.
The five-piece group were the first of the three headliners to go on, and their performance certainly set the tone for the rest of the night.
With an unceremonious start, the vocalist and band quickly mobilized to flood the room with a slant of distorted guitar, gnarling bass and reverberating drums that thrummed in the ribcages of everyone in the audience.
Cover for “Hold Your Own Leash” by Paranoid Maniac
The vocalist, clad in a vest and large pair of opaque black shades, wailed barely-comprehensible lyrics into the mic as they paced back and forth across the stage.
Amid the swell of music that pounded against the venue’s concrete walls, certain phrases rang out with clarity, such as “f– the alt-right.”
The crowd was (frustratingly) still during this performance, headbanging and swaying in place despite the palpable energy that electrified the air.
At the end of the set, we’d all sufficiently woken up from our perpetual daytime half-slumber.
Reckoning Force
Reckoning Force is a rapid and rabid group based out of Norfolk, Virginia.
My first impression of the band formed while watching a roadie unceremoniously duct tape a flag on the venue wall.
Reckoning Force at Kings, Raleigh, photo by J
Everything following was perfectly intense and chaotic.
As Reckoning Force started their set, patrons who’d been tucked away at the bar began to flock to the stage.
The vocalist lurched around in a torn-up yellow shirt with a frayed, screaming voice that paired nicely with the frantic music. Shortly after the start of the set, the crowd parted as two individuals darted back and forth across the floor.
The energy in the crowd changed instantly. Everyone moved at once either to dart to the sides of the room or to slam as hard as possible into the nearest person. I went for the second option and was promptly knocked to the ground by someone twice my size.
Two massive punks in studded vests immediately grabbed me, pulling me to my feet and checking to make sure I hadn’t broken something. I was fine, if not a bit embarassed, but felt better after watching several others take a similar tumble later.
Though the pit was small, we were sufficiently invigorated by the sounds — or maybe the force — of Reckoning Force.
The highlight of their set was certaintly when they covered Minor Threat’s “Screaming at a Wall,” a track well suited to the vocalist’s particular brand of angsty screams.
Public Acid
The final band to perform was Public Acid, based out of Richmond and North Carolina.
Like Reckoning Force, the band set up a flag before their performance. To my absolute delight, they simply taped their flag — baring a Rorschachesque skull — over the one left up by Reckoning Force.
Cover for “The Beat Sessions” by Public Acid
Public Acid was my brothers’s favorite act of the night, as they said the music reminded them of the DOOM franchise.
The band’s straight-up heinous sound compelled my brothers, both teenagers “too cool” to do much of anything, to bob their heads and sway around. I consider that a massive win.
Though not many patrons entered the pit, this allowed for more movement and dynamism as people kicked their legs around, spun and knocked into each other. The energy in the room was magnetic, even for those outside of the pit.
Public Acid was a great way to end off the night, leaving the audience sweat-drenched and shaking with adrenaline. After the show, I felt both like I could run ten miles and sleep for ten years.
Closing Thoughts
Paranoid Maniac, Reckoning Force and Public Acid are three bands with small online presences.
They make up for this by totally dominating the stage and plunging the audience into a landscape of chaos, insanity and vigor.
Familiarity with the bands isn’t necessary to enjoy them. Their vibrant sounds and captivating stage presence strike you right through the ribcage in the best possible way.
The cover of Joyce Manor's sixth studio album "40 oz. to Fresno."
Joyce Manor is a pop punk band from Torrance, California.
I was 14 or so when I was first introduced to Joyce Manor by someone I probably considered cooler than me. Their 2016 album “Cody” was the first new album from the band that I was able to listen to as the singles dropped and I’ve considered it to be one of my favorite albums since then.
Joyce Manor will be at Cat’s Cradle with Teens in Trouble on June 26 as a small pit stop on their tour with Weezer. Tickets are currently being sold for $25, and more show info and ticket access can be found at the Cat’s Cradle website.
Joyce Manor
Joyce Manor’s most recent release was their album “40 oz. to Fresno” in 2022. Their most popular album, according to Spotify and the many Joyce Manor fans in my life, is “Never Hungover Again,” released in 2014 on Epitaph Records.
Joyce Manor has performed at the Cradle a number of times, including touring with Jeff Rosenstock and Modern Baseball. Their music is punchy and punky without crossing the bridge over to hardcore or pure punk. It’s like the type of punk that might be palatable to a larger audience, but still not everyone– essentially, pop punk.
Vocalist Barry Johnson has a trademark voice that sounds a bit like screaming without any of the vocal violence of screamo. It’s part of what makes the group so special, because they’re able to maintain a signature sound without becoming repetitive.
Teens in Trouble
Teens in Trouble is a WKNC favorite, especially after Double Barrel Benefit 19 earlier this year when they joined us for our annual fundraiser at Kings Raleigh.
Teens in Trouble is the perfect opener for Joyce Manor, because they’ve got indie rock to offer that is easily enjoyable without sacrificing inventiveness.
Vocalist and frontwoman Lizzie Killian described her band’s sound as “fuzzed out indie rock for dog people,” which is kind of a perfect descriptor. Reminiscient of music from Remo Drive and The Beths, Teens in Trouble should be a great opener for the show at the Cradle and will undoubtedly hype the crowd up before headliner Joyce Manor plays their set.
Album cover art for feeble little horse's "Girl with Fish"
Pittsburgh based band feeble little horse released “Girl with Fish” on June 6 2023, it has since became one of my favorite albums of the year.
On feeble little horse’s Bandcamp page for their May 2021 release “modern tourism”, the band was comprised of just their two guitarists (a lineup lacking their current main vocalist and bassist, Lydia Slocum). I found it pretty interesting to look at this album and see the band in its primordial state.
With time and the addition of new members, the group’s sound has since developed to fall in a middle ground between noise pop and shoegaze.
Favorite track – “Steamroller”
This track is a fantastic example of just how well feeble little horse does dynamics within their songs. About half way through the song, all the instruments and vocals completely pause as if they were taking a breath- listening to it feels like looking down over the edge of a cliff. Next, you are knocked off the cliff and are meet with a wall of sound ornamented by a brief eerie and unfamiliar sounding guitar solo. The part then leads into the second verse of the song.
A combination of opposing qualities: a strong driving power is maintained in the song while soft, pleasing melodies are carried throughout. Of course feeble little horse is not the first band to make a song with both of these attributes, but they bring their own sound to these songs in a way that I can’t help but love.
Official audio for feeble little horse’s song Steamroller
Other Recommended Tracks
It’s hard to not list all the songs off this album in this because it is just so consistent, but below are a few I would recommend.
“Freak”
“Tin Man”
“Paces”
“Pocket”
Concluding Thoughts
This has been the third album the band has released in a two year span and I feel they have continuing to improve with each album. I am super excited to see what this group puts out in the future.
Album cover of "Everyone's Crushed" by duo Water From Your Eyes
Water From Your Eyes is a duo made up of Rachel Brown and Nate Amos. In late May 2023, the duo released an album worth writing home about– it’s a unique mix of art pop and rock. It’s the sort of album your somewhat-elitist music friend would like.
The album, “Everyone’s Crushed,” begins with a song titled “Structure,” paying homage to Water From Your Eyes’s 2021 album “Structure.” The opening of the album is slow, almost cryptic, but still inviting– at the very least, intriguing.
The album feels a little bleak– it’s got catchy songs, high-tempo beats, interesting vocals with thoughtful lyrics, but it still leaves the listener with a feeling of melancholy, though not overwhelming. The musical choices made within the album are also pretty unique, and although the music doesn’t sound alien in any respect, it does maintain an “out of this world” sound.
The aforementioned bleakness of the album is the result of the artists’ perspective, which is focused on the struggles and discomfort of the pandemic and what’s come since then.
The album’s title reflects this. “Everyone’s Crushed.” It’s something you’d normally hear at a funeral, or upon hearing tragic news. In the case of this album, Water From Your Eyes seems to be attempting to relay the idea that everyone is struggling, it’s the nature of right now.
The album ends with a song called “Buy My Product,” which seems to be a kitschy kick at capitalism and corporations that spew adverts implying that a product or material good could bring you peace from the ugliness the rest of the album expresses.
The album is vulnerable in a way that’s not overt or cliched, and it makes for a good listen for those interested in new and different pop.
Cover for "The Pink and Black Album" by Dog Park Dissidents
Dog Park Dissidents is a self-described “loud and flamboyant” queer rock band from New Orleans, Long Island and Philadelphia.
As the band explains, they “bend genres, genders, and decency” with a mix of “old-school” punk, pop punk and camp energy in order to stoke the flames of queer rebellion.
Anti-Respectability
The band’s reputation largely comes from its unflinching condemnation of respectability politics and the corporatization of Pride Month.
While I personally am not a huge fan of the band I do admire their commitment to the defense of “queer anger,” a concept often shirked by mainstream circles due to its “poor optics” and “lack of respectability.”
The idea that being a “good queer” will somehow garner the support of the straight hegemony is certainly not new. The classic “kink at Pride” debate is a prime example of this.
“Norwich Pride 2019-308” uploaded to Wikimedia commons by Sasastro from Suffolk, licensed CC BY 2.0
While it’s understandable that members of a marginalized class would strive for anything to lessen the burden of systemic oppression, recent events involving a certain big-name grocery store demonstrate that even “respectable” queerness is not enough to win over those who have already decided that queer people are not worthy of public existence.
Thus, Dog Park Dissidents is wholly committed to being a group of “bad queers.”
Such is the reason that I respect the band. Not only do they produce flagrantly bitter, queer music, but they exist as open members of the predominately-gay puppy play scene, a group often looked down upon by fellow members of the LGBT community for its lack of respectability.
Cover for “Sexual and Violent” by Dog Park Dissidents
If Dog Park Dissidents makes anything clear, they couldn’t care less about playing the game of LGBT respectability, especially when the rules are made by the same people who oppress LGBT people in the first place.
“Queer As In F– You”
Dog Park Dissidents formed in 2017 after vocalist Zax Xeper and guitarist Jon Greco produced the single “Queer As In F– You” as part of an anti-Trump sampler compilation.
Don’t sell me a rainbow Your market’s never done s– for me Don’t want a seat at your table And f– an invitation to your party
You want to celebrate a gay man on your cable TV While trans lesbians of color dig in garbage just to eat You’ve paved the road for CEOs to suck on some d– While all the kids on the street are getting pelted with bricks
The following year, the band had their first live performance in Long Island with drummer Mike Costa and bassist Joe Bove from The Arrogant Sons of Bitches, a 6-piece ska band active from 1998 to 2006.
The EP features the track “Refugees,” which highlights the growing fear within the queer community as the enactment of anti-LGBT legislation becomes a growing threat on the horizon.
Into the great unknown In fear of losing our home With the stroke of a pen Threatening to erase us Our lives can be revoked Hard won rights in limbo When your shield’s on the books It’s thin as the pages
“Refugees,” Dog Park Dissidents
The band’s next release came in 2021 with the EP “ACAB For Cutie,” featuring Costa on drums.
Cover for “ACAB For Cutie” by Dog Park Dissidents
The EP touches on classism and queer liberation, exploring themes related to the queer community’s relationship to the police force and the ways in which prominent LGBT figures capitalize on fame at the expense of their peers.
I don’t care that the labor board Says it’s A-OK to be gay When they shout, “get out” You don’t got no clout They don’t need a f– reason They can say whatever they gonna say I don’t care that the police Carry rainbows in our parades ‘Cause they’ll be sent to take down all our flags As soon as their bosses want to put us in body bags
“Class Struggle,” Dog Park Dissidents
“Gay Pride in Valencia,” uploaded to Wikimedia Commons by Dorieo, licensed CC BY-SA 4.0
She’s that empress with her fierce jeweled crown And she don’t care if you call her a sellout Took your culture and she made it her brand That’s how you play, it’s just the law of the land But it was not enough for she To make it a commodity To turn your queerness into business And to sell your raison d’etre Bitch, she put on these nails To hydrofracture some shale You came to play, she came to slay Entire ecosystems, hunty
“RuPaul’s Frack Race,” Dog Park Dissidents
The Pink and Black Album
As Dog Park Dissidents released their third EP, they announced their partnership with Say-10 Records.
On June 2, 2023, they released their first full-length album, “The Pink and Black Album,” featuring a compilation of remixed and remastered tracks from all 3 EPs.
What I find particularly important about the album is its context. While other bands I’ve discussed, such as Limp Wrist and Los Crudos, were largely active during the 80s and 90s, Dog Park Dissidents exists in the contemporary sphere of queer culture in America.
As someone who often hears straight people chalk-up queerphobia to something of the past, something I and other queer people are responsible for “getting over,” projects such as “The Pink and Black Album” preclude the idea of straight people’s plausible deniability.
Straight people cannot look past the messages laid out by Dog Park Dissidents without admitting their deliberation in ignoring queer suffering and contributing to institutions which directly suppress our freedom and self-expression.
With songs targeting specific political and social figures, dynamics and events, “The Pink and Black Album” paints a very real picture of the fears and struggles of the modern-day queer community.
We’re only free to be you and me to the degree Capital and the state consent We only live our lives and we can only thrive Within the boundaries they have set
“Class Struggle,” Dog Park Dissidents
The purpose of groups like Dog Park Dissidents is not to make the queer community “look bad,” but rather to liberate the community from the burden of having to exist within the strictures of heterosexual respectability.
Once the queer community can reclaim its freedom of expression, it will be all the more easy to mobilize in defense of our civil liberties.
Until then, Dog Park Dissidents and other unabashed creatives will work to lay the foundation for queer revolution.
