Subcultures tend to take themselves way too goddamn seriously. Thatās why Type O Negativeās sarcastic take on gothic metal was and is so vital. The quartetābassist, vocalist, and primary creative force Peter Steele; guitarist Kenny Hickey; keyboardist John Silver; and drummer Johnny Kellyāare best known for two things: the bandās often goofy take on goth metal, and Steeleās ironic humor delivered through black porcelain vocals. The bandās biting satire was often mistaken for honest expression; thus, while āIām proud not to be PCā works as a (joking?) thesis statement, they understood absurdity and how to wield it. Unfortunately, Type O Negative only released seven albums, with Steeleās death in 2010 cutting the bandās career short. Life is short, so letās explore the darkness while we can. Happy Halloween.
7. The Origin of the Feces (1992)
Type Oās sophomore effort is their most tongue-in-cheek record. āThe Origin of the Fecesā is a fake live album, complete with canned applause and Steeleās between-song banter to no one. The majority of its material is re-recorded, renamed, and rearranged songs from āSlow, Deep and Hardā (see below)āwhich is to say, inferior versions. The one improvement āThe Originā has over its predecessor is the musicianship, especially original drummer Sal Abruscatoās playing. Itās the heaviest Type O ever got, coming much closer to the thrash of Carnivore (Steeleās previous band), with uneven results. In this way, the record is best viewed through a what-if lens. āThe Originā ends with crickets chirpingāa nice touchāwhich is entirely fitting: this mostly entertaining record lands with little impact relative to the others in the bandās catalog. Even if the joke is the substandard and recycled quality, itās still substandard and recycled all the same.
Play it again: āHey Peteā and the bonus track āParanoidā (not a great sign that the covers are the go-to songs)
Skip it: āKill You Tonight,ā because the reprise is better
6. World Coming Down (1999)
āWorld Coming Downā is (mostly) a return to goth metal following āOctober Rustā (see below), and is the only of the bandās albums with genuine emotion. Steele suffered some tough losses in his life between āOctoberā and āWorld,ā so naturally he wrote about death: āEveryone I love is dead / Goddammit!ā This is their heaviest record lyrically, with self-loathing and addiction being throughlines. To match the weighty subject matter and haunting melodies, Steele and Silver coat the record in a thick comatose haze, especially Hickeyās excellent playing. āWorldā would be ranked higher had they not decided to include (and end!) the record with a sarcastically fun but glaringly inappropriate Beatles medley. Itās more out of place than Lauren Boebert at a Mensa gathering. Thatās the bandās only real fault: a pathological need to shoehorn a joke into everything.
Play it again: āEveryone I Love Is Deadā and āCreepy Green Lightā
Skip it: āDay Tripper (Medley),ā which shoulda been a B-side
5. Life Is Killing Me (2003)
Type Oās penultimate record finds them facetiously playing with arena goth rock. āLife Is Killing Meā is the bandās overtly mainstream album, filled with earworm choruses, satisfying melodies, neat riffing, and soaring leads. Itās the sort of crass commercialism that Disney can get behind. Meanwhile, Steeleās sense of irony has fully returned following āWorld,ā as he pairs big dumb rock songs with gleefully resentful lyricism: āEven though I still miss your lips / Youāre about as real as your tits.ā Steels also takes time to explore some Weird Al-esque silliness: āAppointment made, waited three hours / Did not realize you had such power / Iād rather see a mortician.ā The takeaway, though, is this: āLife isā is the best display of the bandās superb pop songwriting.
Play it again: āI Donāt Wanna Be Meā and ā(We Were) Electrocuteā
Skip it: āIYDKMIGTHTKY (Gimme That)ā
4. Dead Again (2007)
Their seventh and final album is a sample platter of their career up to this point, whichāthanks to Steeleās untimely deathāturned out to be the entirety of it. āDead Againā has the thrashy riffage of āThe Origin,ā the goth metal of āSlow,ā the beautifully melodic balladeering of āOctober,ā and the arena rock ambitions of āLife Is,ā with many of its songs employing some combination of those. As such, itās the most logical entry point into their catalog. (In other words, start here if youāre lazy.) Being the bandās heaviest record since āThe Origin,ā itās also a helluva lotta fun. While the lyrics feature multiple winks at the end (āI canāt believe I died last night / Iām fucking dead againā), the spritely music suggests a rejuvenation: Hickey never played with more purpose, while Steele overacts vocally throughout the record, chewing scenery at every opportunity. āDeadā isnāt their most consistent work, but itās a strong note to (unintentionally) end on.
Play it again: the title track, āThe Profit of Doom,ā and āHalloween in Heavenā
Skip it: āThese Three Things,ā a bit too self-indulgent and too self-serious
3. October Rust (1996)
As the title hints at, Type Oās fourth full-length is their bleakest. Itās also their most poetic. Steeleās sarcastically touching writing suggests decay is everywhere he looks: nature (āWinterās breath of filthy snow / Befrosted paths to the unknownā), love (āAll of the flowers I gave her / She burned themā), and Christmas (āThe stockings are hung, but who cares? / Preserved for those no longer thereā). He didnāt discard his biting wit, however. Here he is discussing a threesome: āThey keep me warm on cold nights / We must be quite a sight / In our meat triangle.ā Musically, āOctober Rustā is the bandās gentlest offering, composed largely of goth rock ballads with lovely melodies and pillowy arrangements. Itās their prettiest, and least metal, album for sure. The bandās debut (see below) ended with the line āSuicide is self-expression,ā and āOctoberā provides the soundtrack for it: perfect-temperature bathwater to lay in and open a vein.
Play it again: āRed Water (Christmas Mourning)ā and āMy Girlfriendās Girlfriendā
Skip it: āHaunted,ā a bit too self-indulgent for its own good (Might be a pattern hereā¦)
2. Slow, Deep and Hard (1991)
Type O Negative came out fully formed and didnāt do any of that hand-holding shit on their debut LP. This is the bandās satire at its blackestātopics include racial hatred, the angry ex-boyfriend hurling misogynistic invective, and suicide being a kind of artāand features Steeleās career-best biting, sarcastic delivery. His exaggerated performance allows him to sell the albumās best joke, ending āSlowā with the lines āYou think Iām insane, but I have no regrets / One more time wonāt matter, no question / Suicide is self-expression.ā Musically, āSlow, Deep and Hardā contains genuine hooks here, as well as several cool riffs, but Steeleās compositional skills werenāt fully developed yet. Thatās OK, though, because āSlowā is still an excellent first effort. To wit: some of this material is so strong, the band would reuse it for their follow-up.
Play it again: āUnsuccessfully Coping with the Natural Beauty of Infidelityā
Skip it: āGlass Walls of Limboā
1. Bloody Kisses (1993)
Type Oās third and best album is both a classic of gothic metal and its best parody. Steeleās writing and singing is so tongue-in-cheek that there musta been a hole in his face after recording. His smug-drenched condescension, combined with the band expertly providing space for him to perform, is a thing of beauty. āBloody Kissesā is a CD-capacity sarcastic song cycle, and also probably the funniest gothic metal record ever. The song lengths and the overlong fadeouts seem sarcastic. Even the sarcasm feels sarcastic. So when Steele sneers, āWe donāt care what you think,ā itās both a fuck-you to any criticism of goths and to goths themselves. His succinct crotch kick to the absurdity of fake identity posturing within and without goth cultureāāYou wanna go out ācause itās raining and blowing / You canāt go out ācause your roots are showingāāremains incisive, funny, and relevant 30 years later.
Play it again: āBlack No. 1 (Little Miss Scare-All)ā and āWe Hate Everyoneā
Skip it: āBlood & Fireā and āCanāt Lose Youā

With this statutory classic, you and your partner take a flirty spin on student-teacher affairs and hint that while you are both of age, that is a mere coincidence in this relationship.
Nothing says āI know exactly how much mayonnaise he takes on his sandwichā like a pair of hot pink bunny ears. This adorable sex boss and sex object costume will show party-goers that he has a very high opinion of himself, and that your relationship is predicated on both of you maintaining that fantasy.
This sexy career ensemble will show everyone that one of you gets paid more even in your pretend jobs! As an added bonus, he gets to hold a clipboard while you get to hold your pain and resentment deep inside until it bubbles over one day years later and he acts totally blindsided to it.
Itās not always the man who holds a weird and sexually charged position of power! The power dynamic in this relationship is slightly different, in case anybody was wondering. Dress him up in a dog collar that you totally owned prior to Halloween, and hint with an egregious lack of subtlety that he has a thing for mean ladies and being called a loser.
Nothing illuminates mutual respect like dressing up as an inanimate object that rests motionless on his shoulder.
Now weāre talkingāyou get to live out your dream of dressing up like an adult baby and pretend this was a last-minute choice.
Dress up as Superman and his girl-next-door sidekick and announce to the world: āI am here strictly for the purpose of his character development. Also, he made me watch this movie six times.ā
This one is for the boyfriends that were introduced to feminism against their will this year and now somehow know how to take a Boomerang.
Honestly, we are not even sure if one of you holds the power here or if neither of you is free from the shackles of this relationship. Either way, dressing up as this sexy duo will show everyone that you two are ātwin flames,ā and also that you are both off your medication.
Instead of trying to reinvent the wheel, why not go with the power imbalances inherent to the church? Women cannot ascend the higher ranks of the church, nor can they assert any real influence on this particular partnership.
Somebody thought this was a good idea, and we have a feeling it was not the person wearing a pillowcase with a face hole.
Why not just an on-the-nose depiction of how you feel about being with each other?
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