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Gothic metal or goth metal is a subgenre of heavy metal music. Gothic metal combines the aggression of heavy metal with the dark melancholy of gothic rock. The genre originated during the early 1990s in Europe as an outgrowth of death/doom, a fusion of death metal and doom metal. The music of gothic metal is diverse with bands known to adopt the gothic approach to different styles of heavy metal music. Lyrics are generally melodramatic and mournful with inspiration from gothic fiction as well as personal experiences.

Pioneers of gothic metal include Paradise Lost, Theater Of Tragedy, The 3rd And The Mortal. Other pioneers from the first half of the 1990s include Type O Negative from the United States, Tiamat from Sweden, and The Gathering from the Netherlands. Norwegian band Theatre of Tragedy developed the "beauty and the beast" aesthetic of combining aggressive male vocals with clean female vocals, a contrast that has since been adopted by many gothic metal groups. During the mid-1990s, Moonspell, Theatres des Vampires and Cradle of Filth brought the gothic approach to black metal. By the end of the decade, a symphonic metal variant of gothic metal had been developed by Tristania and Within Temptation.

In the 21st century, gothic metal has moved towards the mainstream in Europe, particularly in Finland where groups such as The 69 Eyes, Entwine, HIM, Lullacry, Poisonblack and Sentenced have released hit singles or chart-topping albums. In the US, however, only a few bands such as Lacuna Coil, Evanescence have found commercial success.


Sub-genre collaborators (shared with Symphonic Metal):
  • DippoMagoo

gothic metal top albums

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PARADISE LOST Obsidian Album Cover Obsidian
4.69 | 23 ratings
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PARADISE LOST Draconian Times Album Cover Draconian Times
4.40 | 57 ratings
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THEATRE OF TRAGEDY Velvet Darkness They Fear Album Cover Velvet Darkness They Fear
4.26 | 31 ratings
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PARADISE LOST Icon Album Cover Icon
4.21 | 50 ratings
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PARADISE LOST Tragic Idol Album Cover Tragic Idol
4.23 | 28 ratings
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MOONSPELL Wolfheart Album Cover Wolfheart
4.16 | 29 ratings
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THE GATHERING Mandylion Album Cover Mandylion
4.11 | 42 ratings
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MOONSPELL Irreligious Album Cover Irreligious
4.10 | 27 ratings
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PARADISE LOST Faith Divides Us - Death Unites Us Album Cover Faith Divides Us - Death Unites Us
4.10 | 25 ratings
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TRIBULATION The Children of the Night Album Cover The Children of the Night
4.15 | 13 ratings
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TYPE O NEGATIVE Life Is Killing Me Album Cover Life Is Killing Me
4.03 | 35 ratings
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PARADISE LOST In Requiem Album Cover In Requiem
4.03 | 27 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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THE GATHERING Nighttime Birds

Album · 1997 · Gothic Metal
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"Nighttime Birds" is the fourth full-length studio album by Dutch gothic metal (later atmospheric rock) act The Gathering. The album was released through Century Media Records in May 1997. It´s the successor to "Mandylion" from August 1995, which was The Gathering´s big breakthrough album. "Nighttime Birds" marks the first time up until then that The Gathering recorded an album featuring the same lineup (and lead singer) as the album which came before it. They had searched for consistency and a sound they could call their own, and with the addition of lead vocalist Anneke van Giersbergen, they found that sound on "Mandylion".

So it´s only natural that "Nighttime Birds" is more or less a sibling release to "Mandylion". This was not the time to change a winning formula, but merely perfect it...and that The Gathering did. "Mandylion" is a great album in its own right, but when you listen to "Nighttime Birds", it feels like "Mandylion" was just an album where The Gathering were testing their new songwriting approach and then they went on to nail it 100% on this album.

Stylistically the material on "Nighttime Birds" is a melancholic and atmospheric type of gothic/doom metal with van Giersbergen´s strong voice and distinct sounding vocal style leading the show. She is thankfully not an operatic type female vocalist, although she can hit some pretty impressive notes, and she is generally very intense and has a personal singing style. To my ears all three previous album releases weren´t written with vocals being the priority in the songwriting process, although "Mandylion" certainly showed improvement in that department over the first two albums. "Nighttime Birds" is on the other hand obviously an album composed primarily to support the beautiful vocal lines. All instruments are composed to support and compliment the vocals and provide them with the best possible conditions to shine.

The keyboards which had been very much at the forefront of the band´s music up until then are much more tastefully applied here and often just add atmosphere or texture to the songs (as opposed to the lead instrument role they often played before), while the heavy distorted riffs and rhythms add doomy heaviness. There are however many sections without distorted guitars, which aren´t that heavy and add an atmospheric/dreamy rock element to the band´s sound. The simple melancholic melodic guitar leads deserve a mention too and the bass playing by Hugo Prinsen Geerligs is also an important element.

"Nighttime Birds" features a gorgeous sounding production. It´s dynamic, powerful, and perfectly suits the material. All details are heard in the music and the mix favors both mellow dreamy parts and massive epic heavy sections. I wasn´t surprised to learn that the album was recorded at Woodhouse Studio in Hagen, Germany with producer/engineer Siggi Bemm. That´s a name which is a guarantee for high quality sound productions.

So "Nighttime Birds" is everything a fan of "Mandylion" had hoped it would be. More dynamic, even stronger musicianship, superior sound production values, and vocal-centric songwriting which focus on The Gathering´s greatest asset, which in those days was arguably the voice and vocals of van Giersbergen. A 4 star (80%) rating is deserved.

THE GATHERING Almost a Dance

Album · 1993 · Gothic Metal
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"Almost a Dance" is the second full-length studio album by Dutch death/doom/gothic metal (later atmospheric rock) act The Gathering. The album was released through the Foundation 2000 label in October 1993. It´s the successor to "Always..." from June 1992. The basic tracks were recorded live in the studio. Everything was recorded and mixed in September, 1993 at "Spitsbergen" Studio.

There have been a few lineup changes since the preceding album as lead vocalist Bart Smits has been replaced by Niels Duffhues and the band have also added Martine van Loon as a permanent female vocalist, making The Gathering a septet on "Almost a Dance". The departure of Smits has great impact on "Almost a Dance" as there are now no longer death metal growling but instead clean male vocals in the band´s music. Duffhues unfortunately has a pretty weak and unremarkable voice (he sounds like a strained Mike Patton with a cold...) and the melody lines he is given to perform aren´t particularly memorable. So the change on the male vocalist post is a definite step down in quality from "Always...". van Loon only performs vocals on four out of nine tracks on the 53:58 minutes long album, so she doesn´t have as much impact on the album as Duffhues does. When she does perform her ethereal atmospheric vocals it´s a welcome change from Duffhues tedious vocal style. The only time my ears are able to partially appreciate his performance is on the alternative acoustic rock ballad track "Nobody Cares" (which by the way interupts the flow of the album).

The instrumental part of the music is keyboard dominated doom metal and it´s generally atmospheric, melancholic, and epic music. The sound production is decent and slightly better balanced than the sound production of the preceding album, but when it comes to evaluating the album it´s impossible not to let the monotone and strained male clean vocals affect the rating. So upon conclusion "Almost a Dance" is an intriguing doom/goth metal album which is almost completely destroyed by the vocals. It´s not often a sophomore studio album is this much weaker than a band´s debut album, but that´s unfortunately the reality of things. Fortunately The Gathering would strike back with great force on their next album. A 2.5 star (50%) rating is warranted.

THE AGONY COLUMN ...Away From Luciferian Claws

EP · 2020 · Gothic Metal
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siLLy puPPy
THE AGONY COLUMN was formed in 2018 in Baranavichy, Belarus in the Brest Region of the nation. The lineup features Ulya Kotozhuk (Vocal), David Kobain (Vocal), Aleksey Chirkun (Guitar), Dmitriy Maliuk (Bass), Anna Zlotnik (Violin) and Roman Stroiev (Drums) and so far the band has released the single “Delirium” in 2018 and in 2020 its first EP release titled AWAY FROM LUCIFERIAN CLAWS.

The EP features 7 tracks and is just shy of 25 minutes playing time. The sound of THE AGONY COLUMN is a doom flavored style of Gothic metal that mixes in various elements such as funeral doom, post-black, shoegaze and atmospheric black metal. The music is melodic and the male and female vocals engage in the classic beauty and beast exchange with Rusian providing the guttural growls and Alice delivering the Goth diva charm.

There are local Belarusian folk flavors to be heard as well as the melodies are primary mined from traditional sources. This is a highly atmospheric release with the neoclassical darkwave providing half of the entertainment value. In this regard they can be compared to classic neo-darkwave bands like Dead Can Dance or more recently Lingua Ignota. The metal aspects consist of a chugging fuzzed out guitar, thumping bass and competent series of drumming prowess.

The Goth aspects are crystal clear with a somber and gloomy atmosphere and a touch of romanticism. The down-tuned riffing style provides the proper accompaniment for the more intricate atmospheric embellishments. The single “Delirium” appears on this release and is one of the strongest with the catchiest hooks and the perfect balance between the sensual and aggressive. The production is also top notch, a trait that the Belarusians have excelled in despite remaining one of the poorer European nation’s since its near obliteration after WW2.

For its short duration the album is surprisingly diverse with nice variations between the tracks but the biggest surprise comes from the closing “Revelation of Death” which features full orchestration so it sounds even richer in its attempt to nurture atmospheric tones and timbres. The digital version features the bonus track “Symphony of Delirium” which totally deviates from the album’s metal sound and solely features an orchestrated neoclassical darkwave sound which is more like the Game of Thrones theme track than metal but still very well executed.

Wow. I wasn’t expecting this to be so good. This sounds like a totally professional band with tons of background experience as classical performers who decided to go Goth metal. The details are all shined to perfection and the mixing of the neoclassical darkwave with the metal is impeccable. The last two tracks (one is a bonus track) show the symphonic side of the band which opens up an entirely new level of appreciation. I actually like this band’s one EP more than i like many classic Goth metal bands like Tiamat, The Gathering or Lacuna Coil.


Album · 2023 · Gothic Metal
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"Icon 30" is the seventeenth full-length studio album by UK doom/goth metal act Paradise Lost. The album was released through Nuclear Blast in December 2023. "Icon 30" doesn´t feature any new material but is instead a complete re-recording of Paradise Lost´s fourth full-length studio album "Icon" from September 1993. It´s released as a celebration of the 30th anniversary of the original album release. Four of the original members who performed on the 1993 album release are still members of Paradise Lost and all perform on "Icon 30". The only member of the original lineup who doesn´t perform on the 2023 version of the album is drummer Matthew Archer who left Paradise Lost in December 1994 after the tour supporting the original album. Quite a few drummers have come and gone since Archer left, but the drums on "Icon 30" were recorded by Italian drummer Guido Zima Montanarini, who also plays with guitarist Greg Mackintosh in Strigoi.

Re-recording "Icon" could have been approached by a number of different ways, but Paradise Lost opted to re-record the album as close to the original as possible. I´m not completely sure why they didn´t take the opportunity to make a few changes here and there or re-arrange a few parts to make "Icon 30" stand out as a different version of the original "Icon" album, but my most qualified guess is that first of all the band are satisfied with the original album as it is and don´t really want to change it, and secondly they probably don´t have the rights to the original recordings, and the only way to make a profit off their own music (and one of their most popular and best-selling releases) is to re-record the album and re-release it. It wouldn´t be the first time something like that has happened. I remember both Flotsam- and Jetsam and Testament having done similar things in the past. I´m sure the band will also say things like they want to introduce the album to younger generations of fans and give other similar reasons, but I´ll go with my original qualified guess.

Meddling with an album release that many consider a "classic" can be a dangerous road to travel, but Paradise Lost have obviously taken great care that the atmosphere, guitar tone, and general sound of "Icon 30" is relatively close to the original album. The drums are a bit different (Archer was not the most accomplished drummer, so it´s not necessarily a bad thing) and lead vocalist Nick Holmes voice has changed a bit over the years, but it´s details and if the goal was to re-create the original album I´ll say that goal is reached pretty well.

I suspect though that for most "old" fans this re-recording is more a novelty release than anything else, as they will always listen to the original album before this one, making "Icon 30" a bit of a redundant release in their collections, but of course there´s always the hardcore fans/completists who want everything Paradise Lost have ever released. Personally I think it´s a lost opportunity to reimagine "Icon". Not that it really needs reimagining as it´s pretty much perfect as it is, but since Paradise Lost wanted a celebration, creating a new and different version of the album would have made more sense and would have given the fans more value for their money. There´s nothing wrong with the content, the performances, or the sound production of "Icon 30" and I´m sure lots of listeners are going to appreciate it but yeah...a lost opportunity it is. Still a 3.5 star (70%) rating isn´t all wrong.

KATATONIA Discouraged Ones

Album · 1998 · Gothic Metal
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After the monumental Brave Murder Day, which quickly established itself as the greatest and most depressing Doom Metal release yet, Katatonia decided to follow it up by moving in a slightly different direction. Still insanely doomy, still walling you with the same shoegazy chords, but now the sound is more accessible. Gone are the demonic death growls, the assaulting double bass, and any tie to extreme Metal.

Replacing them are purely clean vocals and a focus on verse-chorus format. Jonas doesn’t push his voice too far here, instead opting for a lethargic, depressive croon. The songs are simple and rhythmic even, adding to the hypnotic nature of the gazy guitars.

The result of this odd direction is… well, just about as depressive and pessimistic as music can possibly get without creeping into extreme territory. All of the ingredients mesh stunningly to craft a much more accessible serving of catatonia. Lethargic apathy is the surface face here, a numb shell of what’s left after one is encased with pessimism. However, the shell is constantly threatening to shatter as it struggles to hold back the outpour of emotions underneath. Jonas very perfectly treads the fine line between total apathy and intense pain, letting inflections slip through his voice to indicate the intense amount of emotion being restrained by the defense mechanism of not caring.

Another masterpiece from the band that still shakes me and never fails to put a frown on my face.

gothic metal movie reviews


Movie · 2011 · Gothic Metal
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Released to celebrate the 16th anniversary of the classic gothic doom metal album, Paradise Lost's Draconian Times MMXI simply has them play through the entire album in order, then add on some encores from their wider discography at the end. It's a decent capture of the Paradise Lost live experience, though ultimately they stick close enough to the studio rendition to make this a little redundant in the end. If you're very keen on this specific period of the band's career - after their early pioneering death-doom work, before they steered away from metal entirely to explore other gothic realms prior to their 2000s return to metal - then it's probably worth it, but even then you might find you just prefer to spin the studio album again.

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