The classics are key: there's the glittery volcanic eruption of Siouxsie and the Banshees' "Cities in Dust," the polka-dotted rainbow goths in Strawberry Switchblade, The Cure's ridiculously over-the-top answer to Wham! ("Why Can't I Be You?") and Echo & the Bunnymen's "Lips Like Sugar," admitted to the roséwave canon by song title alone. There are the spectacular dalliances by bands that were always goth, just expressed sparingly (The Smashing Pumpkins' "Ava Adore," Low's spot-on This Mortal Coil tribute "Half Light"). Nine Inch Nails reps hard for your reps at the gym — you know, if health goth was actually about music — with "The Hand That Feeds." Current-day artists Zola Jesus and Azar Swan commune with glowstick goth-pop and necro-Robyn robotics, respectively, as Sevdaliza swirls sexy industrial into shadowy trip-hop and the Dominican trio Mula adds some dark dembow loops to the mix. My Chemical Romance, Pale Waves and Billie Eilish are the pop-driven entry points for modern mall goths that nevertheless speak to the funereal camaraderie found in fellow outcasts.