2025 Goth Music Recap
2025 was a great year for the goth subculture, especially in music. Bands both classic and newly emerging contributed to a wave of releases that enriched various genres under the gothic music umbrella. To celebrate and close out this remarkable year of music, I’m sharing some of my personal favorite albums, EPs, and songs that defined my 2025 listening.
Corlyx’s album Purple Pain
This year has truly been Corlyx’s year, with the band performing at venues and festivals across the United Kingdom, United States, and Europe; most notably at Germany’s iconic goth festival, M’era Luna.
(From left) Flow Toulman, Caitlin Stokes, Davide Rocco, and Brandon Ashley.
Photo by Hans-Ruedi Meier.
Released on February 14, Purple Pain can be described as the band’s most experimental album to date, blending a wide range of genres into one cohesive gothic masterpiece. “‘Purple Pain—yes, a nod and a wink to Prince—is a culmination of years experimenting with the gothic genres we adore,’” says vocalist Caitlin Stokes. “‘It’s emotional, sensual, and creative, but it’s also a bit spooky, camp, and fun. Goth can hold all those things at once,’” (Bandcamp, 2025).
Prior to the album’s release, Corlyx unveiled several singles, including “Wasted and Alone,” “Ghost of the West Coast,” “Apocalipsis,” “The Sacrifice,” and “Kill Cave” featuring Suzi Sabotage. “Wasted and Alone” was my first introduction to the band, and upon hearing it, I immediately wished I had discovered them sooner. From that moment on, I was completely hooked. While Corlyx maintains a distinct and recognizable style, each track still feels uniquely its own, making every new listen exciting and leaving the listener wanting more.
Although it’s difficult to choose just one standout track, my favorite from the album is “Death Is the Beginning,” an emotional ode to Stokes’s mother. The song poignantly captures the feelings of loss and mourning through its slow tempo and heavy reverb, immersing the listener in a sense of darkness while searching for light. Purple Pain solidifies Corlyx’s place within modern gothic rock music, proving that experimentation and emotional depth can coexist beautifully.
Haunt Me’s album Watch You Bleed
Earlier this year on February 14, Texas-based band Haunt Me released their second album, Watch You Bleed. The record opens with “Bloodlust,” a track drenched in synth and reverb that creates the perfectly hopeless yet very danceable sound I’ve come to associate with the band. It’s an ideal opener; one that immediately sets the tone for an album centered on vampirism as a metaphor for all-consuming love.
(From left) Hilario Bautista and Darius Davila.
Photo from KUTX (Benavides, 2024).
Before the album’s release, Haunt Me introduced the era with the title track “Watch You Bleed,” which originally came out as a single in 2022. The song laid the groundwork for the themes and sonic direction the band would later expand on in the full album. Listening to it alongside the album now, it’s clear how the single acted as a bridge between Haunt Me’s earlier work and the more conceptually unified sound they’ve achieved on this record.
My favorite track off the album is “Bleed For Me.” It begins with a clever sample of Gary Oldman’s iconic speech from Bram Stoker’s Dracula (1990) before abruptly cutting to a bright, synthesized beat and singer Darius Davila’s deep vocals. My favorite line, “I crossed oceans of time for you, just to prove my love is true,” directly references the film and perfectly captures the album’s themes. Watch You Bleed blends longing and sensuality into a dark, compelling sound.
I strongly recommend giving the album a listen if you haven’t already.
Vandal Moon’s SINGLE “Her Happiness Is Gone”
(From left) Jeremy Einsiedler and Blake Voss.
Photo by Jayson of Secret Playground Photography.
California-based duo Vandal Moon has released three exciting singles this year in anticipation of their upcoming album, Die Happy, set for release on January 23, 2026. The first single released this year, “Her Happiness Is Gone,” immediately established the album’s tone with its robotic instrumental textures and its haunting lyrics from vocalist Blake Voss. Centered on the consuming nature of technology and its control over modern life, Die Happy incorporates strong digital influences, which are further explored in the band’s other recent releases, “Money Dance” and “Highschool Sucks (So Kiss Me).”
Vandal Moon has been one of my favorite bands for quite some time, and my excitement for this album is deeply personal. I had the unique pleasure of working with the band on Die Happy, with my likeness featured on the album cover. I’ve been anticipating this album for years, and seeing Vandal Moon perform live in May alongside Twin Tribes and The Chameleons only reinforced my enthusiasm. They were a standout act, with a commanding stage presence and a live sound that matched, if not surpassed, their recorded work. I was even fortunate enough to hear “Here Happiness Is Gone” performed live prior to its official release. With Die Happy shaping up to be one of Vandal Moon’s most ambitious projects yet, I can only hope they return to the East Coast once the album is out so I can experience the full record live from start to finish.
Julian Ash Sharwarko’s Transition From Harsh Symmetry to Omnihell
Julian Ash Sharwarko.
Photo from Omnihell’s “Leeches.”
On January 3, California-based artist Harsh Symmetry released their final project, On-Screen Death. The EP consists of six tracks: “Stained Glass,” “Fossil Brain,” “Human Memory,” “Virtual Killer,” “Quiet Pill,” and “Black Box (Lost).” My personal favorite from the EP is “Virtual Killer,” a track driven by dark synths and an industrial-style beat that perfectly captures the project’s ominous atmosphere.
Earlier this month, the artist behind Harsh Symmetry, Julian Ash Sharwarko, released a statement announcing that they will no longer be continuing the project and will instead be moving forward with their new project, Omnihell. “Harsh Symmetry is finished,” Sharwarko wrote in an Instagram post. “As an artist, I feel that I’ve reached all that I can with this project. As I’ve grown and continued to create, it has become clear that my new work is beyond the scope of what I’ve established.”
Omnihell released their debut single, “Leeches,” on December 12. My first impression of this track is difficult to put into words. The song feels even darker than Sharwarko’s work with Harsh Symmetry, though it is still too early to fully predict the direction Omnihell will take. Both Harsh Symmetry and Omnihell resist being boxed into a single genre, which is one of the most exciting aspects of Sharwarko’s work. It is clear that they value self-expression above all else, and that commitment makes the future of Omnihell especially compelling. I’m eagerly anticipating what comes next and hope that they eventually make their way to the East Coast so I can finally experience their music live.
DECEITS’ single “All We Are (Are Memories)”
California-based band Deceits released their hit single “All We Are (Are Memories)” earlier this year on May 16.
“All We Are (Are Memories)” explores the feeling of being stranded in a world that no longer makes sense after the sudden loss of someone you love (Deceits, Bandcamp, 2025).
(From left) Francisco "Sisco" Saenz, Kevin “Puppy” Moreno, and Skylar Francise.
Photo by Alejandro Lomeli.
The song captures the tension between longing for comfort and understanding, and the painful awareness that closure may never truly arrive. Vocalist Kevin Moreno wrote the track during a sleepless night marked by severe frustration, sadness, and anxiety (Deceits, Bandcamp, 2025). This context adds weight to the track. The song feels less like a constructed narrative and more like an unfiltered emotional release.
Despite its heavy subject matter, the song’s bright sound creates a striking contrast. The bass and drum patterns give the track a physical momentum that almost compels movement, while the layered guitar and keyboard harmonies soften the edges. This tension between danceable rhythm and emotional despair is what makes the song so compelling to me. It mirrors the way people often move through life masking an unresolved feeling of grief under a calm exterior.
The song’s impact was further extended July 16, the band released a compilation of remixes featuring bands Vacíos Cuerpos, Give My Remains To Broadway, and Casket Cassette. Each remix offers a distinct reinterpretation that highlights the styles of each band that was featured while still keeping the original brilliance of the song. Deceits just released their newest track “Please, Wake Up” November 28. They are now touring Europe at the start of the new year. All this momentum could mean really exciting things for the future of Deceits, and hopefully a new album will be coming out some point in 2026.
Corpus Delicti’s album Liminal
(From left) Frabrice Gouré, Christophe “Chrys” Baudrion, Sébastien Pietrapiana, and Franck Amendola.
Photo by Elliot Pietrapiana.
Iconic French post-punk band Corpus Delicti, formed in the early 1990s, has returned after nearly three decades with their new album Liminal, released November 28 and produced by guitarist Franck Amendola. The album’s first single, “Room 36,” immediately establishes an extremely raw and heavy sound, setting the tone for a record that feels refreshingly honest in its composition.
Liminal comes across as a clear transition into a new era for the band and an opportunity to reshape their identity while still calling back to the sound that defined their earlier work, “The band calls it ‘an album both dark and luminous, urgent and alive,’ adding that it ‘stays true to [their] roots while embracing a modern edge,’” (Bernard, 2025). Compared to Corpus Delicti’s previous releases, Liminal feels notably less theatrical. Instead, the album favors emotional weight over dramatics, which ultimately makes it feel more grounded. Listening to Liminal, I was reminded that Corpus Delicti’s return is not about reliving the past, but about carving out a new sound that honors their history without being defined by it.
NITE’s self-titled album NITE
Texas-based band NITE released their self-titled fifth full-length album, NITE, on November 12. The decision to self-title the album feels fitting; NITE sounds like the most complete and confident version of the band to date. Drawing together the sounds, emotions, and production styles they’ve explored since forming in 2013, NITE functions as both a culmination and a statement of identity.
(From left) Myles Mendes and Kyle Mendes.
Photo by Whitney Hensley.
Following their 2023 “gothic grunge” album BE DESTROYED, NITE remained creatively active, using a series of singles to carefully construct the atmosphere of this release (NITE, Bandcamp, 2025). Beginning with “Price For Heaven” in 2024 and later expanding with their hit single “All Your Pain,” this gradual rollout is noticeable in the cohesion of the record and each track feels intentional.
What stands out most to me is the emotional sincerity running through the album. “All Your Pain” feels like a piece written from a place of genuine hurt. That vulnerability is what makes the track so special, and it’s easy to understand why it resonated so widely online. The album sits at the intersection of darkwave and synthpop, with some post-punk elements sprinkled in there too. The combination of styles makes NITE have a distinctly innovative sound compared to other albums within those genres. The album feels like a breath of fresh air and when I was listening to it for the first time, the first word that came to mind was indeed “fresh.” Tracks like “Have Mercy” and “Price For Heaven” in particular showcase the band’s ability to be dark without feeling stagnant or overly heavy. The album feels fresh
Having seen the band’s momentum build through touring and online attention, this album feels like a turning point. NITE captures a band that knows exactly who they are and isn’t afraid to lean fully into it. For me, it’s an album that grows stronger with repeat listens, revealing new details each time.
Digital Drvgs’s debut album Digital Drvgs
(From left) Alvaro Luqin, Manuel Luquin, and Alex Luquin.
Photo by Alejandro Lomeli.
California-based band Digital Drvgs released their self-titled debut album, Digital Drvgs, on May 23. It immediately struck me as an album built for dark, crowded dance floors. There’s a sharp balance throughout the album between aggression and sexual allure, making it both intense and highly danceable without losing its edge.
The album features two collaborative tracks with Male Tears and Dancing Plague, two bands I’ve grown to really love over the past few years. Their influence adds another layer of familiarity and excitement to the record. These collaborations don’t feel like surface-level features, but rather natural extensions of Digital Drvgs’s sound, reinforcing a sense of community within the contemporary darkwave and goth scene. My personal favorite tracks from the album are “Lagrimas” and “Switchblade,” featuring Male Tears, which perfectly captures the album’s rawness.
Digital Drvgs feels like a reflection of how modern goth and dark electronic music continues to evolve. Digital Drvgs further cemented this momentum with the release of their November single “She’s a Killa,” featuring COLD KISS, which leans even further into their darker, more seductive identity. If this debut is any indication, Digital Drvgs is positioning themselves as a defining presence in the current goth scene, and I’m genuinely excited to see where they take this sound next.
The Spoiled’s single “Ravenous” featuring Corlyx
Giovanni Santolla.
Photo by Niklas Krumwiede.
Italian band The Spoiled has proven to be incredibly prolific, with over fifteen releases this year alone, with no signs of slowing down. What truly sets the band apart from others is their talent for collaboration, seamlessly blending their sound with a wide range of artists while still maintaining a distinct identity. Each collaboration feels fresh and intentional, offering something new rather than repetitive.
Most notably, their recent collaboration with Corlyx, “Ravenous,” released on November 14, stands out as a striking fusion of both bands’ styles, combining dark intensity with a sharp gothic edge. The juxtaposition between Corlyx’s Caitlin Stokes’s atmospheric vocals and The Spoiled’s Giovanni Santolla’s deep, monotone delivery creates a balance that feels both haunting and cohesive. “Ravenous” highlights The Spoiled’s versatility and reinforces their reputation as a band that thrives through creative partnerships.
Lunar Lock’s debut Stay Low For A Reason
(From left) Romain Le Lavandier and Maxence Thulièvre.
Photo by Julius Crapulus.
French band Lunar Lock released their debut album, Stay Low For A Reason, earlier this month on December 5. I actually discovered the band while compiling this list and immediately fell in love with their sound, quickly cementing the album as one of my favorite releases of the year. Lunar Lock is often described as a melancholic cold wave band, but in my view, their debut album reaches far beyond that label. Despite its title, Stay Low For A Reason feels surprisingly hopeful, which is a major reason I find it so compelling.
After doing some further research, I came across a review by Natali Abernathy of Indie Boulevard that perfectly articulated my feelings toward the album. Abernathy writes, “Le Lavandier explains the shift directly in interviews: they grew tired of the gothic image they never consciously chose. The desire to move toward ‘a more mature sound’ may seem like a standard young band rhetoric, but on Stay Low For A Reason this desire materializes in concrete compositional decisions,” (Abernathy, 2025). Stay Low For A Reason stands out not just as a strong debut, but as a confident statement of growth and intention, making Lunar Lock a band well worth watching in the years to come.
Resources
“Purple Pain by Corlyx.” Corlyx, Bandcamp, 2025, corlyx.bandcamp.com/album/purple-pain.
“Watch You Bleed, by Haunt Me.” Haunt Me, Bandcamp, 2025, hauntmeofficial.bandcamp.com/album/watch-you-bleed.
Benavides, Sarah. “Haunt Me Creeps into Studio 1A.” KUTX, 30 May 2024, kutx.org/sessions-interviews/studio1a/haunt-me-creeps-into-studio-1a/.
VANDAL MOON, www.vandalmoon.com/.
“Her Happiness Is Gone by Vandal Moon.” Vandal Moon, Bandcamp, 2025, vandalmoon.bandcamp.com/track/her-happiness-is-gone.
Sharwarko, Julian Ash. “Harsh Symmetry on Instagram.” Instagram, 4 Dec. 2025, www.instagram.com/p/DR2l7qZkrKY/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ.
“On-Screen Death, by Harsh Symmetry.” Harsh Symmetry, Bandcamp, 2025, harshsymmetry.bandcamp.com/album/on-screen-death.
“Leeches by Omnihell.” Omnihell, Bandcamp, 2025, omnihell.bandcamp.com/track/leeches-3.
DECEITS, deceitsband.com/.
“All We Are (Are Memories) by Deceits.” DECEITS, Bandcamp, 2025, deceitsband.bandcamp.com/album/all-we-are-are-memories.
“Liminal by Corpus Delicti.” Corpus Delicti, Bandcamp, 2025, corpus-delicti.bandcamp.com/album/liminal.
Bernard “Corpus Delicti announce new album ‘Liminal’ for November 28 + UK tour in 2026” SIDE-LINE, 31 Oct. 2025, www.side-line.com/corpus-delicti-announce-liminal-nov-28-2025/.
“Nite by Nite.” NITE, Bandcamp, 2025, nite.bandcamp.com/album/nite.
NITE Official Website, wearethenite.com/home.
“Digital Drvgs by Digital Drvgs.” Digital Drvgs, Bandcamp, 2025, digitaldrvgs.bandcamp.com/album/digital-drvgs.
The Spoiled, thespoiled.org/.
“Ravenous (Feat. Corlyx) by the Spoiled, Corlyx.” The Spoiled, Bandcamp, 2025, thespoiled.bandcamp.com/track/ravenous-feat-corlyx.
“Stay Low for a Reason by Lunar Lock.” Lunar Lock,Bandcamp, 2025, lunarlock.bandcamp.com/album/stay-low-for-a-reason.
Abernathy, Natali. “Three Years in the Making, Lunar Lock’s Debut Shows a Band Learning to Question Its Influences.” Indie Boulevard Magazine, 2 Dec. 2025, indieboulevard.com/2025/12/02/three-years-in-the-making-lunar-locks-debut-shows-a-band-learning-to-question-its-influences/.