Gothic Metal

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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.

Source: http://en.wikipedia.org/wiki/Gothic_metal

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


gothic metal top albums

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PARADISE LOST Obsidian Album Cover Obsidian
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4.69 | 23 ratings
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PARADISE LOST Draconian Times Album Cover Draconian Times
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PARADISE LOST Icon Album Cover Icon
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MOONSPELL Wolfheart Album Cover Wolfheart
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THE GATHERING Mandylion Album Cover Mandylion
THE GATHERING
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PARADISE LOST Faith Divides Us - Death Unites Us Album Cover Faith Divides Us - Death Unites Us
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MOONSPELL Irreligious Album Cover Irreligious
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TYPE O NEGATIVE Life Is Killing Me Album Cover Life Is Killing Me
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PARADISE LOST In Requiem Album Cover In Requiem
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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.

PARADISE LOST Icon 30

Album · 2023 · Gothic Metal
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UMUR
"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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SilentScream213
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.

TIAMAT Judas Christ

Album · 2002 · Gothic Metal
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UMUR
"Judas Christ" is the 7th full-length studio album by Swedish band Tiamat. The album was released through Century Media Records in February 2002. It´s the successor to "Skeleton Skeletron" from 1999, and adds guitarist Thomas Petersson to the three-piece lineup, who recorded the predecessor, making Tiamat a four-piece on "Judas Christ".

Stylistically the material on "Judas Christ" continue the gothic rock/metal style of the predecessor (strongly influenced by artists like The Sisters of Mercy and The Mission). There are also still nods toward 60/70s influenced psychadelic rock and especially Pink Floyd comes to mind more than one time during the album playing time (tracks like "The Return of the Son of Nothing" and "Love Is as Good as Soma"). So while the stylistic elements which make up Tiamat´s sound are tried and true, the combination of those elements is what makes "Judas Christ" an interesting listen and which provide Tiamat with at least a relatively distinct sound.

The atmosphere of the music is predominantly dark and heavy, and in some cases hard rocking, but the most psychadelic influenced tracks usually feature a more uplifing mood and a more tranquil atmosphere ("Heaven of High" and "Too Far Gone" are two semi-acoustic tracks which despite their lyrical content are examples of that). The performances are organic and lead vocalist/guitarist/keyboard player Johan Edlund has a pleasant voice and a smooth laid back delivery. Many of the more upbeat goth rock influenced tracks feature female and male backing vocals by Danish backing singers Trille Palsgaard and Lars Nissen and it´s just another strong gothic rock element on the album.

"Judas Christ" is a well produced album, featuring a warm, organic, and powerful sounding production, suiting the material perfectly. The quality of the material is also high throughout and Tiamat are successful in combining the various elements of their sound to a whole that is greater than the sum of the parts. A 3.5 star (70%) rating is deserved.

THE GATHERING Nighttime Birds

Album · 1997 · Gothic Metal
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SilentScream213
After The Gathering finally settled on a unique and strong sound of Ethereal, Progressive Gothic-Doom on their last album, Nighttime Birds is a continuation of this sound with just a few changes. The songs overall are a bit less heavy, with clean instrumentation aplenty, and a bit of psychedelia for good measure.

Atmospheres here are layered and dreamlike, lyrics are similarly abstract, and the multi-layered vocals of Anneke usually take center stage. She’s a crazy good singer, but I will say she “over-sings” a bit for my taste. Does every single line need to be multi layered? Still though, most of the time her voice is wonderfully dreamy and captivating.

It's not as strong as Mandylion and I wish the lyrics were a bit less abstract, but songs like “Kevin’s Telescope” go down as some of the best in this style of Gothic Metal.

gothic metal movie reviews

PARADISE LOST Draconian Times MMXI

Movie · 2011 · Gothic Metal
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Warthur
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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