Goth is a contentious space. With its wide array of clashing musical preferences and genres, its equally diverse crossovers within fashion, and its tenacious (perhaps even stubborn) refusal to compromise in the face of more positive world perspectives, it’s a constant source of wonder that it hasn’t imploded in a shower of (black) leather-and-lace infighting. If anything, it defies conventional wisdom and keeps coming back, like a Power Rangers villain in slightly better makeup. And maybe it’s this ongoing evolution, or maybe it’s just a physiological reaction to the greater morass of unthinking optimism colouring the world, but either way, goth is here to stay, no matter what form it takes. The brainchild of Swedish musician Joakim Knutsson, Die Oberherren, is a prime example of this: got...