Killing Joke (Rated NRG for Not Really Goth)

A post-punk group that seems too heavy to fit into the Goth category, its unique sound influenced many rock and grunge bands, an influence that continues to this day. The Blinders, for example, has definitely channeled both Killing Joke and the Birthday Party in its sound. Formed in 1979 by vocalist Jaz Coleman, guitarist Geordie Walker, bassist Youth, and drummer Paul Ferguson, the group released 15 albums over its long career and is probably best known to casual fans for the singles “Eighties” and “Love Like Blood.” Metallica also covered “The Wait” on The $5.98 E.P. – Garage Days Re-Revisited.

The Birthday Party (Rated NRG for Not Really Goth)

My first exposure to the Birthday Party was a quote I had read describing the band as “loud, nightmarish, and deliciously crude.” That was something I needed to experience. The Australian quintet that had morphed from the Boys Next Door may have been too dark even for Goth, and the “crude” aspect of its sound is definitely more post-punk anyway. Fun story: In the original Off-Broadway stage show for Hedwig and the Angry Inch, Hedwig makes the joke, “I know who you are, sitting there all in black thinking ‘I listened to Nick Cave when he was in the Birthday Party.’” I was the only person in the audience who laughed that night. RIP Tracy Pew. You were taken from us too soon.

The Damned (Rated EG for Eventually Goth-like)

The Damned was the first band of the 70s UK punk movement to release a single, “New Rose” in 1976. Singer Dave Vivian wore a lot of black eye makeup back then. By the time the group appeared on the Young Ones’s “Nasty” episode (my favorite), Vivian’s style had become more vampiric in appearance, and the Damned’s music eventually shifted into Goth territory in the mid-'80s, though on the pop end of the spectrum.

Southern Death Cult (Rated AG for Actually Goth)

Though the band wasn’t happy being lumped into the genre, the music is definitely more truly aligned with it than many outfits of the early 80s (and they were on Beggars Banquet). They too evolved over the years, becoming Death Cult and simply The Cult as they moved closer to the mainstream and enjoyed success with their breakthrough releases, Dreamtime and Love.

The Sisters of Mercy (Rated ADG for Absolutely, Definitely Goth)

Blessed with the perfect voice for Goth, Andrew Eldritch formed The Sisters of Mercy with guitarist Gary Marx in Leeds in 1980. The group underwent significant personnel changes over its lifespan. Releasing some early singles, the Sisters really took off with the release of First and Last and Always in 1985 when its lineup was perhaps at its most stable with guitarist Wayne Hussey and bassist Craig Adams, and a drum machine named Doktor Avalanche. Hussey and Adams eventually left to form The Mission, and Marx teamed up with Anne-Marie Hurst for Ghost Dance.

The Cure (Rated GAT for Goth at Times)

The Cure endures. The group hasn’t released an album since 2008 but its fan base is probably as loyal as ever. Known for its poppy new wave tunes (and Robert Smith’s makeup and the messiest wig of all time), the group did hit some Goth notes in its day. I used to be a much bigger fan, but I had a roommate in college that listened to them every day, and that took its toll.

The Cramps (Rated NRG for Not Really Goth)

The Cramps were amazing and funny and sometimes wrote about Gothy things, but they were garage rock/Psychobilly or perhaps Gothabilly. Known for offbeat, horror-themed songs like “Human Fly,” they influenced Goth bands to come. Kid Congo, a member of both the Cramps and Nick Cave’s the Bad Seeds, continues that tradition today with his group The Pink Monkey Birds. RIP Lux, you beautiful freak.

Siouxsie and the Banshees (Rated EG for Eventually Goth-like)

Another iconic punk band from the 70s, Siouxsie and co. explored darker realms with the 1981 release Juju. Siouxsie Sioux and Steven Severin had met in 1975 at a Roxy Music show, fitting enough since the seminal art rock band (and Eno’s post-Roxy projects) certainly had a strong influence on future goth artists (though quite far from being “dark” in any way).

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