Goth has been with us for 30 years. The term “gothic” was used by producer Martin Hannett to describe Joy Division’s sound, and a lot of the musical signifiers of classic goth rock – scything, effects-laden guitar, pounding tribal drums – are audible on Siouxsie and the Banshees‘ 1979 album Join Hands. But the notion of a goth as we understand it today – black and purple clad, dyed hair, a liking for the Sisters of Mercy – really formed in the early 80s. The makeup and increasingly elaborate clothing were a glamorous reaction to post-punk’s dour anti-image, the theatrical air of gloom a rejoinder to the jollity of 80s pop. And yet, it never went away, despite or perhaps because it was largely reviled, mocked or ignored by the music press. Bizarrely, goth’s commercial zenith, when Fields of the Nephilim, the Mission and All About Eve made the singles chart and the global success of the Cure’s Disintegration album meant they could briefly claim to be the biggest band in the world, was in the era of acid house and Madchester.