Floodland

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Campbell, Michael (2012). Popular Music in America:The Beat Goes On. Cengage Learning. ISBN 978-0840029768. Vision Thing has always been overshadowed by the two albums that preceded it in The Sisters of Mercy's body of work. With good reason. Put simply, it's not as good as the other two. Which doesn't make it a bad album. It certainly has it's moments. The monstrous More, with it's 'Depeche Mode meets Billy Idol' vibe and suitably overblown Steinman production, is the highlight. It burrows inside you, pulling and prodding, defying you not to groove along to it's pulsating, irresistible riff. It does suffer from a familiar Eldritch failing, though, that of not knowing when to bring a song to a halt.

In late 1997, the contract with EastWest was terminated, after the company agreed to accept material recorded under the SSV name instead of two albums for which the Sisters of Mercy had contractual obligations. The company agreed to accept the material (techno-like droning featuring mumbling vocals by Andrew Eldritch, without drums) without listening to it first. The recordings were never officially released and circulated only through pirate MP3s. Still play the album. I saw the Sisters on this tour and it was perhaps the last time they sounded consistently good. Have seen them since and they are very hit and miss. A solid album. Speculation about a new release was renewed in November 2016, when Eldritch said he might release a new album if Donald Trump were elected president: "I don't think I could keep quiet if that happened." [20] The band has yet to release any new material, but in 2017 they embarked on a European tour in August and September. [21] [22] The band has performed thirteen new songs during concerts held between 2019 and 2022, such as "There is a Door" and "Show Me (On The Doll)," but has yet to make studio recordings available. [23] Since 2012, some of the shows featured a guest appearance by the Irish singer Lisa Cuthbert who performs her cover version of "This Corrosion" on piano. [24] [25] Influence a b Floodland (CD booklet). The Sisters of Mercy. Merciful Release. 1987. 242246-2. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) Yes. I had a very clear vision for Floodland when I demoed it all in my flat in Hamburg. I can see albums rather than hear them. It’s a very coherent record and that’s what gives it a lot of its power.

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a b Morrison, Patricia (1988). "Patricia Morrison – Sisters of Mercy" (Video). Videowave Music. Archived from the original on 11 August 2016 . Retrieved 23 June 2020. What’s also glaringly obvious is that Floodland is a solo album in all but name. By all accounts, Patricia Morrison’s contributions to the album were minimal while guitar parts were supplied by numerous players including Eddie Martinez, the guitarist for Robert Palmer’s ‘Addicted To Love’ and Eldritch himself. With the singer also working with a variety of keyboards and synths, Eldritch finally assumed the total control he’d been after for some time. Mark Andrews (11 May 2023). "The Sisters of Mercy's Andrew Eldritch thinks 'Fear of the Dark' by Iron Maiden is like a Sisters cover version". louder . Retrieved 24 August 2023. Andrew Eldritch – vocals, composing, keyboards, synthesizers, guitar, bass guitar, drum machine programming It just hits you from the first moment and doesn't let up. Vision Thing, Ribbons, Dr Jeep, More, Detonation Boulevard I'm still word-perfect on (the dog looked pained during today's walk). There's even what passes for a ballad.

I like some of the songs on the first album. I’m just not keen on the production or the style of playing or my singing – particularly my singing. History The Sisters of Mercy logo, version from 1990 featuring original head and star logo adapted from Gray's Anatomy textbook 1858 Early years (1980–1983) Shortly after the last gig Eldritch relocated to Hamburg, where he was soon joined by Hussey. Their intention was to begin working on a follow-up album, tentatively titled Left on Mission and Revenge. Hussey had several written songs for the album, including "Dance on Glass" and "Garden of Delight". Demo versions of both songs featuring Eldritch on vocals have since surfaced, suggesting the band did work on the material in unison. Yeah. Yeah, we might just use one loop from a song and build everything on top of that. Andrew was really creative. I guess the deal was that there had been a band, Sisters Of Mercy, and they broke up. Andrew said, "I'm gonna keep the name." And the rest of them said, "No, we're keeping it." Ribbons, Something Fast, When You Don’t See Me, More, I Was Wrong, I can live with them. The rest just sound unfinished to me, and to be fair, they probably are. When you read what Patricia Morrison and Tony James have to say about the recording process and how bad it was, and about how half the album was rushed together from previous unfinished mixes to complete it on time, it makes sense. Mind you, I’m sure it’s kept old Von in Marlboro cigarettes and trips to Berlin up to this very day so he won’t mind. Laughing all the way to crypt. Having said all that, I’m still going to see them in November though, and The Mission in October. It’s going to be an old Gothic winter.As a statement about the music industry, SSV is reminiscent of the famous 1994 stunt by the K Foundation, when they claimed to have burned a million pounds. Mastered on our world-renowned mastering system and pressed at RTI, this Silver Label LP improves the record's splendid dynamic contrasts, low-end thrust, expansive dimensionality, and moody atmospherics. Steinman's unforgettable sonic contributions finally receive proper due in the form of towering choruses and operatic heft. The group's signature epic "The Corrosion," described by Eldritch as a narrative about "power in the face of misery," sounds downright staggering, with an awe-inspiring performance by the New York Chorale Society and blooming classicism. The group has released three original studio albums: First and Last and Always (1985), Floodland (1987), and Vision Thing (1990). Each album was recorded by a different line-up; singer-songwriter Andrew Eldritch and the drum machine called Doktor Avalanche are the only points of continuity throughout. Eldritch and Avalanche were also involved in the Sisterhood, a side project connected with Eldritch's dispute with former members. The second Sisters of Mercy album, released November 1987. It reached #7 on the UK album charts, and three hit singles were released from it: This Corrosion (September 1987, #7 on UK chart); Dominion (February 1988, #13); and Lucretia My Reflection (June 1988, #20). European Hot 100 Albums" (PDF). Music & Media. Vol.4, no.50. 19 December 1987. p.18. OCLC 29800226– via World Radio History.

I still have all the early old Cult, (including Southern and Death), Mission, All About Eve, Fields Of The Nephilim singles too. Amongst many other ‘goth’ bands of the day. However, I stopped collecting the Sisters singles when I heard More, and only bought this album for the sake of completion. And have not felt any great need to listen to it very often since then. With the benefit of 25 years hindsight, listening to Floodland now is to confirm the feelings that it elicited upon its release in November 1987 – this is an album of mass contradictions. The Sisters of Mercy were always a live band – albeit one with mechanised beats courtesy of drum machine Doktor Avalanche – and a damn fine one at that. Swathed in dry ice, this was a band that dug deep into a vast catalogue whilst gleefully playing obscure or wildly surprising cover versions. Abba’s ‘Gimme Gimme Gimme’ and Dolly Parton’s ‘Jolene’ were all given the Sisters’ gloomy yet thrilling overhauls and garnished with a Martini-dry sense of humour. Set lists would be poured over and analysed by their obsessive fan base and so, much like The Cramps, became one of the most bootlegged bands of the 80s. When Adams and Hussey left the band, they were replaced by the American singer and bass guitarist Patricia Morrison of the Bags and the Gun Club. [12] This became what is generally recognised as the first real Sisters line-up. It began with the Doktor/Eldritch/Marx/Adams incarnation of the band playing a gig in the Riley Smith Hall of the Leeds University Union building in early 1981. Since nobody can remember the exact date, for historic purposes the band and fans have often celebrated the anniversary of the concert of 16 February 1981, in Alcuin College, York which was the band's second gig; [8] however, during this time, the band did cycle through two fourth members: guitarists Tom Ashton and Dave Humphrey. [11] Later in 1981, Ben Gunn was recruited as the Sisters' second guitarist. Eldritch's melancholic baritone, Craig Adams's pulsating bass, Doktor Avalanche's beat and Marx's flowing guitar led the band to early underground success. In 1982, the band recorded the "Body Electric" b/w "Adrenochrome" single for the CNT label. [8]Not directly. I was at a System Of A Down concert recently in Australia. I was watching from the side of the stage, and suddenly they launched into one of our songs – they did half of Marian– as a way of saying hello to me. I thought that was nice. I can’t hear our influence in their music, but stuff like that happens, whether it’s Guns N’ Roses wearing our T-shirts or Metallica standing up and fighting your corner for you. The video for Dominion– shot in a desert location, with you in a white suit – was all very Raiders Of The Lost Ark…”

Mico, Ted (14 November 1987). "After the Flood". Melody Maker. Archived from the original on 7 July 2018 . Retrieved 9 April 2018. This Corrosion" was a composition Eldritch had already once recorded (if not released) with his Sisterhood collaborators. Also, the B-side featured "Torch", the last song from the previous line-up. Then-manager Boyd Steemson maintains the chart success was no surprise for the band.

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a b Sodomsky, Sam (29 October 2023). "The Sister of Mercy: Floodland Album Review". Pitchfork . Retrieved 29 October 2023. Sutherland, Steve (4 June 1988). "Sister Midnight". Melody Maker. p.14. Archived from the original on 23 March 2016 . Retrieved 9 April 2018. Grin and bear it, Eldritch and Adam Pearson clowning around in Leeds in 1997 (Image credit: Getty Images) It sounds like work, and I don’t like work. Work is stuff you do because people pay you to do it – stuff you wouldn’t do otherwise. I’m perfectly happy to make music. I’m not nearly as enamoured with the whole releasing process, having done it a few times. It was dismal.