Wednesday, May 22, 2024

K's GOTH SPECIAL - VA- Now That's What I Call Goth: 200 Gothic Rock and Dark Wave Classics (Super Deluxe Edition) [2024] (14 x CDs)


Now That's What I Call Goth: 200 Gothic Rock and Dark Wave Classics (Super Deluxe Edition) [2024] (14 x CDs) 

World Goth Day is observed annually on 22 May. The Official World Goth Day site defines it as "a day where the goth scene gets to celebrate its own being, and an opportunity to make its presence known to the rest of the world."

World Goth Day originated in the United Kingdom in 2009 initially as Goth Day, a smaller scale celebration of the gothic subculture inspired from the broadcasting of a special set of shows on BBC Radio 6. These shows planned to focus on various music subcultures throughout a week of May 2009, including Goth music, which was aired on 22 May.

Gothic rock (also called goth rock or simply goth) is a style of rock music that emerged from post-punk in the United Kingdom in the late 1970s. The first post-punk bands which shifted toward dark music with gothic overtones include Siouxsie and the Banshees, Joy Division, Bauhaus, and the Cure.

The genre itself was defined as a separate movement from post-punk. Gothic rock stood out due to its darker sound, with the use of primarily minor or bass chords, reverb, dark arrangements, or dramatic and melancholic melodies, having inspirations in gothic literature allied with themes such as sadness, nihilism, dark romanticism, tragedy, melancholy and morbidity. These themes are often approached poetically. The sensibilities of the genre led the lyrics to represent the evil of the century and the romantic idealization of death and the supernatural imagination. Gothic rock then gave rise to a broader goth subculture that included clubs, fashion and publications in the 1980s, 1990s, and into the 21st century.

According to music journalist Simon Reynolds, standard musical fixtures of gothic rock include "scything guitar patterns, high-pitched basslines that often usurped the melodic role [and] beats that were either hypnotically dirgelike or tom-tom heavy and 'tribal'". Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen". Several acts used drum machines downplaying the rhythm's backbeat.

Gothic rock typically deals with dark themes addressed through lyrics and the music's atmosphere. The poetic sensibilities of the genre led gothic rock lyrics to exhibit literary romanticism, morbidity, existentialism, religious symbolism, or supernatural mysticism.

Gothic rock is an offshoot of post-punk and, according to AllMusic, "took the cold synthesizers and processed guitars of post-punk and used them to construct foreboding, sorrowful, often epic soundscapes." Early gothic rock had introspective or personal lyrics, but according to AllMusic, "its poetic sensibilities soon led to a taste for literary romanticism, morbidity, religious symbolism, and/or supernatural mysticism."

Critic John Stickney used the term "gothic rock" to describe the music of the Doors in October 1967, in a review published in The Williams Record. Stickney wrote that the band met the journalists "in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors". The author noted that contrary to the "pleasant, amusing hippies", there was "violence" in their music and a dark atmosphere on stage during their concerts. Stickney ultimately titled his article, "Four Doors to the Future: Gothic Rock Is Their Thing".

Musicians who initially shaped the aesthetics and musical conventions of gothic rock include Marc Bolan, the Velvet Underground, the Doors, David Bowie, Brian Eno, and Iggy Pop. Journalist Kurt Loder would write that the song "All Tomorrow's Parties" by the Velvet Underground is a "mesmerizing gothic-rock masterpiece". However, Reynolds considers Alice Cooper as "the true ungodly godfather of goth" due to his "theatrics and black humor". Nico's 1968 album The Marble Index is sometimes described as "the first truly gothic album". With its stark sound, somber lyrics, and Nico's deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement. Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group the Velvet Underground, and many gothic singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at even lower pitches. Although gothic rock is an offshoot of post-punk, glam rock is another forerunner genre of gothic rock.

Pitchfork wrote: "Although it abandoned the psychedelic color palette and exchanged alien worship for a vampire cult, goth kept glam's theatricality intact, as well as its openness to experimentation." In April 1977, critic Dave Marsh of The Morning Record described Philip Glass's current album North Star as "the best neo-Gothic rock since John Cale and Terry Riley's Church of Anthrax, or more appropriately, the first couple of Doors albums". Reynolds retrospectively described Kate Bush's 1978 song "Wuthering Heights" as "Gothic romance distilled into four-and-a-half minutes of gaseous rhapsody".

In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine and Joy Division. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kentwrote that concerning their performance, "parallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground". In March 1979, Kent used the gothic adjective in his review of Magazine's second album, Secondhand Daylight. Kent noted that there was "a new austere sense of authority" to their music, with a "dank neo-Gothic sound". The second Siouxsie and the Banshees album, also released in 1979, was a precursor in several aspects. For journalist Alexis Petridis of The Guardian, "A lot of musical signifiers... - scything, effects-laden guitar, pounding tribal drums - are audible, on... Join Hands". In September, Joy Division's manager Tony Wilson described their music as "gothic" on the television show Something Else, and their producer Martin Hannett described their style as "dancing music with gothic overtones". In 1980, Melody Maker wrote that "Joy Division are masters of this gothic gloom". When their final album Closer came out a couple of months after the suicide of their singer Ian Curtis, Sounds noted in its review that there were "dark strokes of gothic rock".

Not long after, the "gothic" label "became a critical term of abuse" for a band like Bauhaus, who had arrived on the music scene in 1979. At the time, NME considered that "Siouxsie and the Banshees, Adam and the Ants and even... Joy Division" opened up "a potentially massive market" for newcomers like Bauhaus and Killing Joke: journalist Andy Gill then separated these two groups of bands, pointing out that there was a difference "between art and artifice".

However, Bauhaus's debut single, "Bela Lugosi's Dead", released in late 1979, was retrospectively considered to be the beginning of the gothic rock genre:

According to Peter Murphy, the song was written to be tongue-in-cheek, but since the group performed it with "naïve seriousness", that is how the audience understood it. Bauhaus released their debut album In the Flat Field in 1980, and the album is often considered the first gothic rock album.

In the early 1980s, post-punk bands such as Siouxsie and the Banshees and the Cure included more gothic characteristics in their music. According to Reynolds, with their fourth album, 1981's Juju, the Banshees included several gothic qualities, lyrically and sonically whereas according to The Guardian, Juju was art rock on certain album tracks and pop on the singles. Their bassist, Steven Severin, attributed the aesthetic used by the Banshees around that time to the influence of the The Cure's "oppressively dispirited" trio of albums, Seventeen Seconds (1980), Faith (1981) and Pornography (1982), cemented that group's stature in the genre. The line "It doesn't matter if we all die" began the Pornography album, which is considered as "the Cure's gothic piece de resistance". They would later become the most commercially successful of these groups. The Cure's style was "withdrawn", contrasting with their contemporaries like Nick Cave's the Birthday Party, who drew on blues and violent turmoil.

With the Birthday Party's Junkyard album, Nick Cave combined "sacred and profane" things, using Old Testament imagery with stories about sin, curses and damnation. Their 1981 single "Release the Bats" was particularly influential in the scene.

Killing Joke were originally inspired by Public Image Ltd., borrowing from funk, disco, dub and, later, heavy metal. Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically charged visual style. Reynolds identified the Birthday Party and Killing Joke as essential proto-goth groups. Despite their legacy as progenitors of gothic rock, those groups disliked the label. Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fanbase came from his milieu. Other early contributors to the scene included UK Decay and Ireland's Virgin Prunes.

Gothic rock would not be adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982. In London, the Batcave club opened 21 July 1982 to provide a venue for the goth scene: the band Specimen gave many concerts there. That same year, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans. Southern Death Cult became icons of the scene, drawing aesthetic inspiration from Native American culture and appearing on the cover of NME in October.

In February 1983, the emerging scene was described as "positive punk" on the front cover of NME: in his article, journalist Richard North described Bauhaus, Theatre of Hate and UK Decay as "the immediate forerunners of today's flood", and declared, "So here it is: the new positive punk, with no empty promises of revolution, either in the rock'n'roll sense or the wider political sphere. Here is only a chance of self-awareness, of personal revolution, of colourful perception and galvanization of the imagination that startles the slumbering mind and body from their sloth". That year, myriad goth groups emerged, including Flesh for Lulu, Play Dead, Gene Loves Jezebel, Blood and Roses, and Ausgang. The 4AD label released music in a more ethereal style, by groups such as Cocteau Twins, Dead Can Dance, and X-Mal Deutschland. The Icelandic group Kukl also appeared in this period, which included Björk and other musicians who later participated in the Sugarcubes.

By the mid-1980s, bands began proliferating and became increasingly popular, including the Sisters of Mercy, the Mission, Alien Sex Fiend, the March Violets, X-Mal Deutschland, and Fields of the Nephilim. Record labels like Factory, 4AD and Beggars Banquet released much of this music in Europe, and through a vibrant import music market in the US, the subculture grew, especially in New York and Los Angeles, California, where many nightclubs featured "gothic/industrial" nights and bands like Black Tape for a Blue Girl, Theatre of Ice, Human Drama and The Wake became key figures for the genre to expand on an nationwide level. The popularity of 4AD bands resulted in the creation of similar US labels, such as Wax Trax! Records and Projekt.

Reynolds has spoken of a shift from early goth to gothic rock proper, advanced by the Sisters of Mercy. As journalist Jennifer Park put it, "The original blueprint for gothic rock had mutated significantly. Doom and gloom was no longer confined to its characteristic atmospherics, but as the Sisters demonstrated, it could really rock". The Sisters of Mercy, who cited influences such as Leonard Cohen, Gary Glitter, Motörhead, the Stooges, the Velvet Underground, the Birthday Party, Suicide, and the Fall, created a new, harder form of gothic rock. In addition, they incorporated a drum machine. Reynolds identified their 1983 single "Temple of Love" as the quintessential goth anthem of the year, along with Southern Death Cult's "Fatman". The group created their own record label, Merciful Release, which also signed the March Violets, who performed in a similar style. According to Reynolds, the March Violets "imitated Joy Division sonically". Another band, the Danse Society was particularly inspired by the Cure's Pornography period.

Later stages of Gothic Rock came with a shift in sound and commercial success. Southern Death Cult reformed as the Cult, a more conventional hard rock group. Bauhaus members reformed as the psychedelia-influenced Love and Rockets achieving both critical and commercial success during the late 1980s and '90s. In their wake, the Mission, which included two former members of the Sisters of Mercy (Wayne Hussey and Craig Adams), achieved commercial success in the mid-1980s to early 1990s, as did Fields of the Nephilim and All About Eve. European groups inspired by gothic rock also proliferated, including Clan of Xymox.

Other bands associated with gothic rock include All Living Fear, And Also the Trees, Balaam and the Angel, Claytown Troupe, Dream Disciples, Feeding Fingers, Inkubus Sukkubus, Libitina, Miranda Sex Garden, Nosferatu, Rosetta Stone, and Suspiria. The 1990s saw a resurgence of the goth subculture, fueled largely by crossover from the industrial, electronic and metal scenes; and goth culture and aesthetic again worked itself into the mainstream consciousness, inspiring thriving goth music scenes in most cities and notoriety throughout popular culture. Beginning in the early 1990s, gothic metal fused "the bleak, icy atmospherics of goth rock with the loud guitars and aggression of heavy metal." In the 2000s, critics regularly noticed the influence of goth on bands of that time period. English band The Horrors mixed 1960s garage rock with 1980s goth. When referencing female singer Zola Jesus, writers questioned if she announced the second coming of the genre as her music was described with this term.

Depeche Mode burst from the U.K. town of Basildon in 1981 with the New Romantic synth-blast of Speak and Spell, as tunesmith Vince Clarke brought his sense of pop classicism to the dance floor in hits like “Just Can’t Get Enough” and “Dreaming of Me.” When Clarke left the group (to make inventive records with his groups Yazoo and Erasure), Gore stepped up to become one of his generation’s most influential songwriters, with his own black-leather blend of existential despair, erotic kink, political bite and sly wit.

Depeche Mode built a diehard cult - and helped invent the goth subculture - with groundbreaking hits like “Master and Servant” (1985), “Stripped” (1986), “A Question of Lust” (1986) and “Never Let Me Down Again” (1987) – while their electro reboot of “Route 66” showed off their wry take on the R&B verities. Black Celebration (1986) and Music for the Masses (1987) led to Depeche Mode’s masterwork Violator (1990), blending ominous synths with rock guitar for classics like “Personal Jesus” and “Enjoy the Silence.” Their newfound flair for the blues exploded in the goth-grunge swamp gospel of 1993’s Songs of Faith and Devotion, as well as recent global hits like Playing the Angel (2005) and Delta Machine (2013).

Although not strictly a gothic rock band, The Smiths' influence on the darker spectrum of alternative music cannot be denied. With Morrissey's introspective lyrics and Johnny Marr's jangling guitar melodies, tracks like "How Soon Is Now?" and "There Is a Light That Never Goes Out" have become anthems for the disenchanted. All the goth clubs played The Smiths on heavy rotation back in the day, and I think lots of goth songs borrow Marr’s guitar sound... or try to at least. :)

Their melancholic sound and masterful songwriting continue to resonate with fans of the genre to this day.

In terms of fashion, gothic bands incorporated influences from 19th-century Gothic literature along with horror films and, to a lesser extent, the BDSM culture. Gothic fashions within the subculture range from deathrock, punk, androgynous, Victorian, to Renaissance and medieval-style attire, or combinations of the above, most often with black clothing, makeup and hair. Crimped hair was popular among gothic fans in the 1980s.

The Batcave Club, London: A venue that kickstarted the 1980s goth movement.

The Batcave was a club-night that circulated around London’s Soho from 1982-86, paying homage to all things goth and hosting a range of arthouse films, cabaret extravaganzas and live music nights. Cobwebs lined the ceilings, black bin-liners decorated the walls and to enter, you had to walk through a (real) coffin with the bottom taken out; its interior could only be described as spooky.

A range of elements made up goth culture; fashion, literature, film, music…The Batcave became iconic because it aided the progression of this movement, rather than copying a mainstream trend that already existed. Maybe it was incidental and merely in the right place at the right time and it remains difficult to pinpoint exactly where or when a sub-culture begins, but many accounts suggest that Batcave really was the start of a movement. It forged identities; it provided a sense of belonging and community for those that associated themselves with the sub-culture. It did this because it originated as a space before anything else, a space that left room for goths to breed and influenced how it developed into the vast umbrella it is today.

Throughout all of my research, there were two names that repeatedly came up, whether it was directly looking for info on The Batcave, or about goth culture in general. The top hit was Siouxsie Sioux with Bauhaus coming in at a close second. Surprisingly Olli Wisdom and Jon Klein, co-founders of The Batcave, are barely discussed at all; proving it was the organic nature of The Batcave that bred its popularity and status as opposed to any pre-meditated organising. So why are these two names so prominent to ’80s culture, specifically that surrounding the genre of goth? And why can’t anyone talk about the Batcave without mentioning either one?

Nick Cave, Robert Smith, Nik Fiend, Foetus… The Batcave was a popular destination for many recognisable icons, but the reason why Siouxsie Sioux is one of the most discussed is that she is known as ‘The Godmother of Goth’. All writings of sub-cultures are penned in retrospect so it’s difficult to find exact dates or names of those that first triggered a goth fashion movement, but I can give an educated guess that Siouxie was in close runnings for first place. It’s Siouxsie’s iconic fashion statements that are still gothic signifiers around the world today; fishnets (commonly worn head-to-toe), theatrical eye make-up, massive black hair, fetish-gear… fashion is one of the largest contributors to the sub-culture.

Fashion at The Batcave championed a do-it-yourself attitude, embracing self-expression and individuality; in the ’80s goth fashion hadn’t reached mainstream yet so couldn’t easily be found on the high-street - and what could be found in shops was expensive. The fact that you could make your own outfit at home for barely any money at all, and be as authentically goth as someone that had paid above-and-beyond for a similar outfit, is a really forward-thinking concept. To be a part of any sub-culture you need a uniform, and that can lead to class becoming a relative factor in who can be in the clique. Eradicating financial standing or class opened up an inclusive community where you could be an individual too; it’s no wonder Batcave has been left on a pedestal.

So, after exhaustive and extensive online research, plus my own recollections, memories and records bought at the time, here is my personal compilation of what I consider to be the 200 best and most important tracks from the original 80s and 90s goth/dark wave era.

I've included all the original mixes; 7", 12" and full-length album versions, no later remixes you often see appear on more recent compilations - basically the best and original versions of each song. Many tracks are the original 12" extended mixes, which makes for a truly authentic collection of the records played in the goth dance clubs at the time such as the legendary Batcave and Kit Kat in London and the Limelight in New York City.

As a very SPECIAL BONUS I have included two excellent audiobooks as m4b files to tie in with this compilation:

The Art of Darkness - The History of Goth - John Robb (2023)

Goth - A History - Lol Tolhurst (2023)

13 of the Greatest and Most Famous Goth Rock Bands:

40 Years of Goth: Essential Albums from the Subculture’s Beginnings:




Pt.1     Pt.2 


Pt.1     Pt.2 


Track list


01 The Cure - A Forest (Original 1980 12" Extended Single Version) 5:55

02 Bauhaus - Bela Lugosi's Dead (Original 1979 Beck Studios 12" Single Version) 9:33

03 Cocteau Twins - Aikea-Guinea 3:58

04 The Sisters of Mercy - Alice 3:32

05 The Cure - All Cats Are Grey 5:27

06 Peter Murphy - All Night Long 5:44

07 Bauhaus - All We Ever Wanted Was Everything 3:50

08 Dead Can Dance - Anywhere Out of the World 5:06

09 Siouxsie and the Banshees - Arabian Knights 3:09

10 Dead Can Dance - The Arcane 3:47

11 Tubeway Army - Are "Friends" Electric? 5:21

12 Skinny Puppy - Assimilate 6:57

13 The Cure - At Night 5:53

14 Joy Division - Atmosphere 4:09

15 The Bolshoi - Away 4:55


16 Sex Gang Children - Beasts 4:13

17 Cocteau Twins - Beatrix 3:12

18 Echo & the Bunnymen - Bedbugs and Ballyhoo (12" Club Remix) 6:10

19 Depeche Mode - Behind the Wheel (7" Remix) 4:02

20 Depeche Mode - Black Celebration 4:53

21 The Sisters of Mercy - Black Planet 4:26

22 Cocteau Twins - Blood Bitch 4:34

23 New Order - Blue Monday (Original 1983 12" Single Version) 7:28

24 Echo & the Bunnymen - Bring on the Dancing Horses 3:55

25 The Cure - Charlotte Sometimes 4:13

26 Dead Can Dance - Children of the Sun 7:33

27 Tones on Tail - Christian Says 3:42

28 Siouxsie and the Banshees - Christine 2:59

29 Siouxsie and the Banshees - Cities in Dust (Original 1985 7" Single Version) 4:08

30 The Cure - Closedown 4:18

31 The Cure - Cold 4:26

32 Peter Murphy - Cuts You Up 5:27


33 The Lords of the New Church - Dance with Me (12" Extended Version) 5:51

34 Bauhaus - Dark Entries 3:53

35 Balaam and the Angel - The Darklands 3:35

36 Clan of Xymox - A Day (12" Remix) 9:11

37 Siouxsie and the Banshees - Dazzle 5:31

38 Joy Division - Dead Souls 4:52

39 Siouxsie and the Banshees - Dear Prudence 3:48

40 Joy Division - Decades 6:11

41 The Mission - Deliverance (12" Sorcerer's Mix) 8:39

42 Gene Loves Jezebel - Desire (Come and Get It) (12" US Club Mix) 6:18

43 Sex Gang Children - Dieche (12" Remix) 6:59

44 The Cure - Disintegration 8:20


45 The Sisters of Mercy - Dominion / Mother Russia 7:05

46 Cocteau Twins - Donimo 6:23

47 Tubeway Army - Down in the Park 4:24

48 The Cure - The Drowning Man 4:49

49 Ministry - Effigy (I'm Not An) (12" Remix) 5:24

50 New Order - Elegia (Full Length Version) 17:30

51 Depeche Mode - Enjoy the Silence (Original 1990 7" Single Version) 4:16

52 Ministry - (Every Day Is) Halloween (Original 1984 12" Single Version) 6:36

53 Visage - Fade to Grey (Original 1981 12" John Luongo Dance Mix) 6:43

54 The Cure - Faith 6:41

55 Julee Cruise - Falling 5:24


56 The Cure - Fascination Street 5:16

57 The Cure - The Figurehead 6:15

58 Depeche Mode - Fly on the Windscreen (Original 1985 7" B-side Version) 5:00

59 The Cure - From the Edge of the Deep Green Sea 7:45

60 Japan - Ghosts (Original 1982 7" Single Version) 4:02

61 Tones on Tail - Go! (Club Mix) 4:27

62 Gene Loves Jezebel - Gorgeous 3:45

63 The 69 Eyes - Gothic Girl 4:22

64 Camouflage - The Great Commandment (1988 US 12" Mix) 6:12

65 The Damned - Grimly Fiendish (12" Spic 'n' Span Mix) 5:23

66 Depeche Mode - Halo 4:30

67 The Cure - The Hanging Garden 4:34

68 Siouxsie and the Banshees - Happy House 3:50

69 The Danse Society - Heaven Is Waiting 3:44

70 Dali's Car - His Box 4:39

71 The Cure - The Holy Hour 4:25


72 The Cure - Homesick 7:07

73 The Smiths - How Soon Is Now? (Original 1984 Rough Trade 12" Single Version) 6:47

74 Johnny Cash - Hurt 3:36

75 Flesh for Lulu - I Go Crazy 3:51

76 The Smiths - I Know It's Over 5:47

77 Modern English - I Melt with You (Original 1982 7" Stereo Single Mix) 3:48

78 Screamin' Jay Hawkins - I Put a Spell on You 2:24

79 Alien Sex Fiend - I Walk the Line 4:51

80 X-Mal Deutschland - Incubus Succubus II 4:47

81 Peter Murphy - Indigo Eyes 5:55

82 Siouxsie and the Banshees - Into the Light 4:15

83 The Damned - Is It a Dream (12" Wild West End Mix) 8:13

84 Joy Division - Isolation 2:53

85 Siouxsie and the Banshees - Israel 4:54

86 Cocteau Twins - Ivo 3:53

87 This Mortal Coil - Kangaroo 3:29


88 Bauhaus - Kick in the Eye (Single Remix) 3:36

89 Echo & the Bunnymen - The Killing Moon 5:48

90 London After Midnight - Kiss 6:22

91 Specimen - Kiss Kiss Bang Bang 4:19

92 The Smiths - Last Night I Dreamt That Somebody Loved Me 5:06

93 Depeche Mode - Leave in Silence (12" Longer) 6:29

94 The Cure - A Letter to Elise 5:14

95 Magazine - The Light Pours Out of Me 4:38

96 Depeche Mode - Little 15 4:14

97 Cocteau Twins - Lorelei 3:42

98 Killing Joke - Love Like Blood (12" Version) 6:49

99 Joy Division - Love Will Tear Us Apart (Original 1980 Factory Records 7" Single Version) 3:24

100 The Sisters of Mercy - Lucretia My Reflection (Original 1987 12" Extended Remix) 9:51

101 The Cure - Lullaby (Extended Remix) 7:45


102 Depeche Mode - Master and Servant (12" Slavery Whip Mix) 9:38

103 Sex Gang Children - Maurita Mayer 9:36

104 Siouxsie and the Banshees - Melt! 3:47

105 Nick Cave and the Bad Seeds - The Mercy Seat (Original 1988 12" Single Version) 7:17

106 The Creatures - Miss the Girl 2:34

107 Siouxsie and the Banshees - Monitor 5:35

108 Fields of the Nephilim - Moonchild (First Seal) 5:40

109 Gene Loves Jezebel - The Motion of Love (12" Jezebel Mix) 7:02

110 Clan of Xymox - Muscoviet Mosquito 4:31

111 Cocteau Twins - Musette and Drums 4:38

112 Depeche Mode - Never Let Me Down Again (12" Split Mix) 9:35

113 Joy Division - New Dawn Fades 4:47


114 The Cure - A Night Like This 4:16

115 Siouxsie and the Banshees - Night Shift 6:04

116 Clan of Xymox - No Human Can Drown 3:25

117 Echo & the Bunnymen - Nocturnal Me 4:57

118 Red Lorry Yellow Lorry - Nothing Wrong 2:40

119 Alien Sex Fiend - Now I'm Feeling Zombified 9:16

120 The Cure - One Hundred Years 6:41

121 The Lords of the New Church - Open Your Eyes 3:28

122 Theatre of Hate - Original Sin 3:32

123 The Cure - Other Voices 4:23

124 Virgin Prunes - Pagan Lovesong 3:28

125 Cocteau Twins - Pandora (for Cindy) 5:35

126 Bauhaus - The Passion of Lovers 3:53

127 Cocteau Twins - Pearly-Dewdrops' Drops 4:11

128 Siouxsie and the Banshees - Peek-a-Boo 3:11

129 Depeche Mode - Personal Jesus (Holier Than Thou Approach 12" Single Mix) 5:49


130 The Cure - Pictures of You 7:28

131 Echo & the Bunnymen - The Pictures on My Wall (Original 1979 Zoo Records 7" Single Version) 2:51

132 Depeche Mode - Pimpf (Single Version) 4:33

133 The Cure - Plainsong 5:17

134 The Cure - Play for Today 3:40

135 Siouxsie and the Banshees - Playground Twist 3:01

136 Depeche Mode - Policy of Truth 5:14

137 Fields of the Nephilim - Power 4:42

138 The Cure - Primary 3:39

139 Killing Joke - Pssyche 5:05

140 Fields of the Nephilim - Psychonaut 4:02

141 X-Mal Deutschland - Qual (12'' Remix) 6:39

142 The Cult - Rain 3:57

143 Nick Cave and the Bad Seeds - Red Right Hand 6:10

144 The Smiths - Reel Around the Fountain 5:57

145 The Birthday Party - Release the Bats 2:31


146 The Church - Reptile (Original 1988 7" Single Version) 4:54

147 Killing Joke - Requiem 3:41

148 Specimen - Returning from a Journey 4:08

149 Ministry - Revenge (You Did It Again) (Remix) 6:17

150 Christian Death - Romeo's Distress 3:16

151 London After Midnight - Sacrifice 7:33

152 The Cure - The Same Deep Water as You 9:22

153 The Cure - Secrets 3:20

154 Soft Cell - Sex Dwarf 5:11

155 Sexbeat - Sexbeat 3:37

156 The Damned - The Shadow of Love (12" Pressure Mix) 5:36

157 Skeletal Family - She Cries Alone 5:17

158 The Cult - She Sells Sanctuary 4:13

159 Bauhaus - She's in Parties 5:46

160 Joy Division - She's Lost Control (Original 1980 12" Single Version) 4:47


161 Strawberry Switchblade - Since Yesterday (12" Extended Mix) 6:29

162 This Mortal Coil - Sixteen Days / Gathering Dust 9:09

163 Siouxsie and the Banshees - Slowdive 4:17

164 The March Violets - Snake Dance (12" Extended Version) 6:16

165 Love and Rockets - So Alive 4:14

166 This Mortal Coil - Song to the Siren 3:31

167 Cocteau Twins - The Spangle Maker 4:40

168 Siouxsie and the Banshees - Spellbound (Original 1981 12" Extended Single Version) 4:39

169 Siouxsie and the Banshees - The Staircase (Mystery) 3:14

170 Bauhaus - Stigmata Martyr 3:46

171 The Cure - A Strange Day 5:04

172 Depeche Mode - Strangelove (12" Maxi Mix) 6:32

173 Clan of Xymox - Stranger 7:41

174 The Smiths - Suffer Little Children 5:31


175 Cocteau Twins - Sugar Hiccup 3:40

176 The Bolshoi - Sunday Morning 6:35

177 Siouxsie and the Banshees - Swimming Horses 4:05

178 Red Lorry Yellow Lorry - Talk About the Weather 4:04

179 The Sisters of Mercy - Temple of Love (Original 1983 12" Extended Single Version) 7:41

180 Play Dead - The Tenant 5:38

181 UK Decay - Testament 3:06

182 The Smiths - There Is a Light That Never Goes Out 4:02

183 The Sisters of Mercy - This Corrosion 10:16

184 The Smiths - This Night Has Opened My Eyes 3:41

185 Joy Division - Transmission 3:34

186 Strawberry Switchblade - Trees and Flowers (12" Extended Mix) 6:43

187 Killing Joke - Turn to Red b/w Turn to Red (Dub) 10:27


188 Joy Division - Twenty Four Hours 4:26

189 The Cure - Untitled 6:33

190 Depeche Mode - Waiting for the Night 6:07

191 The March Violets - Walk Into the Sun 4:51

192 The Mission - Wasteland (12" Anniversary Mix) 7:38

193 Cocteau Twins - Wax and Wane 4:02

194 The Danse Society - We're So Happy 5:08

195 The Smiths - Well I Wonder 4:00

196 Strawberry Switchblade - Who Knows What Love Is? 3:49

197 Ministry - Work for Love (12" Extended Version) b/w Work for Love (12" Dub Version) 12:38

198 Depeche Mode - World in My Eyes 4:26

199 Pink Turns Blue - Your Master Is Calling 7:43

200 The Smiths - Asleep 4:12




  1. Any compilation with "Bela Lugosi's Dead" is a great one :)

  2. Thank you very much, K: once again - and reliably - an outstanding compilation of deep knowledge and excellent quality. With BB's own "Great Goth Almighty" from 10 May, this makes the month of love and merrymaking a gothic one. Best (in black), TC

  3. Buena compilación, muchas gracias

  4. I hate this. I hate everything. I hate life.

    But I do love wearing black and skulking. I was a bad goth. Hard to keep me from smiling and being friendly and nice. I tried. Sorry.