9 Must-Hear Tracks from the South Asian Goth Scene

Goth, a subculture born from the UK’s post-punk embers of the 1970s and 80s, has long been a bastion for the misunderstood.

It is a world of dark romanticism, of melancholic anthems and a fashion aesthetic that embraces the macabre.

But while the popular image of a goth is often a pale-faced figure in black, a new and exciting evolution of the subculture is taking place among South Asian artists.

Some are infusing the traditional sounds of goth with their own cultural heritage, creating a unique and powerful form of self-expression.

These musicians are challenging the Western-centric view of goth, weaving in tribalistic influences and cultural touchstones to forge a sound that is entirely their own.

From the ethereal to the aggressive, they are pushing the boundaries of the genre and proving that goth is a global phenomenon with a diverse and ever-expanding soundscape.

Subsong Of The Night

Step into a time machine and be transported to an underground club in the 1980s with Gurpreet Singh Matharoo’s ‘Subsong Of The Night’.

The track is a modern take on Indian post-punk, with a driving rhythm and a gritty, raw energy that is impossible to ignore.

A powerful electric guitar solo cuts through the track, blending the worlds of goth and rock in a way that is both nostalgic and refreshingly new.

Saaya

Gender-fluid artist Willow Scarlet’s ‘Saaya’ is a sultry and hypnotic track that draws you in from the very first note.

The song’s polyrhythmic beats and energising drum loops create a mesmerising soundscape, while the subtle inclusion of the sitar adds a distinctly Desi flavour.

‘Saaya’ is a perfect example of how South Asian artists are reshaping the goth genre, creating music that is both dark and deeply rooted in their cultural identity.

Beyond their music, Scarlet, also known as Bhumi, is a vocal advocate for Desi goth artists and creators, helping to build a supportive and thriving community.

Nasha

Prepare for an auditory assault with ‘Nasha’ by the LA-based post-punk band, Aurat.

The track begins with a slow, creeping intensity before erupting into a frenzy of synth-bass and powerful, repetitive vocals from Pakistani-American frontwoman Azeka Kamal.

By incorporating Urdu lyrics into their music, Aurat offers a linguistically rich and culturally nuanced experience for a global audience, proving that language is no barrier to the power of goth.

Stained

Shikhee D’iorna, the Bangladeshi-heritage musician behind Android Lust, has been creating dark, introspective music since 1995.

Her track ‘Stained’ is a perfect introduction to her unique sound, blending atmospheric echoes with gritty electronic beats.

Drawing on a wide range of influences, from electropop to darkwave, Android Lust creates post-industrial dance tracks with an electro-rock edge that are both enigmatic and deeply compelling.

Misery’s Lair

India’s first Assamese Dark Synth rock band, Arogya, delivers a visceral and powerful listening experience.

‘Misery’s Lair’ is a head-banging anthem that tells a tragic tale of love and loss, set to a backdrop of high-octane instrumentals.

The band’s sound is a potent mix of metal, folk, and dark electronic elements.

Their live performances are a visual spectacle, with elaborate costumes and makeup inspired by KISS and Japanese visual-kei, as well as Northeastern tribal patterns.

Kali

Indian darkwave artist Echo Eudora’s ‘Kali’ is a defiant and intoxicatingly ambient track.

The song is an anthem of empowerment, with lyrics like “My Brown Skin Has The Blood Of Gods In It” and “This Is My Identity//F**k Your Fascist ‘Democracy'” delivered with a dreamy yet hard-hitting production.

‘Kali’ is a powerful statement of identity and a testament to the artist’s ability to channel frustration and reverence into a captivating and catchy song.

Angels Don’t Live In Hell

Delhi-based artist Astha, known by her stage name Hellish, creates a soundscape that is both somber and alluring.

‘Angels Don’t Live In Hell’ is a siren-esque and airy track that showcases her unique blend of dark pop, shoegaze, and hyperpop.

Her vocal fry, reminiscent of early Lana Del Rey and Melanie Martinez, adds to the song’s haunting and ethereal quality, leaving a lasting and murky impression.

Invocation Of Pakhangba

Manipur-based Shamanic art metal band Serpents Of Pakhangba offer a truly multi-sensory experience with their track, ‘Invocation Of Pakhangba’.

The song is a powerful homage to the ancient Meitei serpent deity, Pakhangba.

It features a symphony of controlled chaos, with sizzling electric guitar solos, airy Toudri flute tunes, and guttural vocal belts.

The band’s discography is a journey into Meitei mythos and is not for the faint of heart.

Delicate Surrender

For those who crave the nostalgic sounds of the eighties, Long Distances’ ‘Delicate Surrender’ is the perfect track.

Hailing from India, the band channels contemporary anxieties into a reverb-laden soundscape that is both melancholic and danceable.

Drawing parallels with iconic bands like The Cure and The Wallows, ‘Delicate Surrender’ finds the sweet spot between post-punk and indie rock.

The South Asian goth scene is a vibrant and exciting space where artists are redefining the boundaries of the genre.

By blending their cultural heritage with the dark and melancholic sounds of goth, they are creating music that is both unique and universally appealing.

As the scene continues to grow and evolve, it is clear that South Asian goth is a powerful and important new voice in the global music landscape.