Floodland

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Sisters Of Mercy guitarist Chris Catalyst leaves the band". Side-line.com. 5 June 2019 . Retrieved 8 November 2019. Wayne wanted to front his own band. I don’t blame anybody for wanting that. And at the time it seemed like a good idea on both sides. Did this record deserve the scorn and derision it received at the time? Nope. But as metal was such a hot commodity then it was unfortunately grouped in with the meatheads who dominated the airwaves with their teased hair and saucy eyeliner. Debates carry on as to the true meanings of the lyrics on this one, god knows there’s little else left to discuss." ( Smells Like Infinite Sadness) Note: The album was originally launched on 13 November 1987. For further releases see discogs/Floodland a b Christgau, Robert (29 November 1988). "Christgau's Consumer Guide: Turkey Shoot". The Village Voice. Archived from the original on 18 June 2017 . Retrieved 26 March 2017– via robertchristgau.com.

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. On paper, Floodland should be a polarizing cautionary tale: an act of hubris that rejects the humble, visionary qualities that endeared a loyal audience to an underground, artsy group of misfits. Instead, it’s the masterpiece that defines them. Andrew Eldritch, the band’s sole remaining member by the time of its release in the fall of 1987, was driving himself nuts poring over demos alone in his adopted home of Hamburg. Driven by a burning desire to prove himself—and to propel his story beyond his old friends and new nemeses—this album had to be a grand gesture. Something undeniable. If I have a criticism it's that the drum machine sound and relentless propulsive beats can get a bit monotonous at times ( Doctor Jeep for example seems to last longer than its 4:41 would suggest and closer I Was Wrong would be even better with less of the drum machine slap and a more organic / acoustic sound. At the end of 1980, the single "Damage Done/Watch/Home of the Hit-men", was recorded and released. [9] On the single Marx played guitar through a practice amplifier and Eldritch was on drums that he had bought from Langford. [8] The duo each wrote and sang on a song: Eldritch on "Damage Done", Marx on "Watch". [9] The band name was influenced by Robert Altman's film McCabe & Mrs. Miller (1971), which featured the Leonard Cohen song "Sisters of Mercy" from his album Songs of Leonard Cohen, "because [calling ourselves] the Captains of Industry wouldn't have been as funny". [10]Wayne Hussey played guitar on that album. How important was his role in shaping the Sisters’ sound? After what was dubbed the "Sisterhood fiasco" by Sounds, [10] Eldritch decided to continue under the name the Sisters of Mercy, feeling as though doing so would improve the name's reputation after the previous fallout. [6] He also thought that it would have been nonsensical to change the name, as he still wrote songs the same way as before. [2] Eldritch, who in 1985 first moved to Bramfeld and then to St. Pauli, began to compose a new album while in Hamburg, under the Warner Elektra Atlantic (WEA) label. [11] The demos for the album were mainly recorded with a Casio CZ-101 synthesiser, acoustic guitars and a new drum machine. At the time, Eldritch was attempting to find a MIDI drum machine of a modest price that featured a "tighter snare drum" sound. [12] Ohanesian, Liz (15 February 2016). "10 Classic Goth Albums for People Who Don't Know Shit About Goth Music". LA Weekly. Archived from the original on 25 June 2020 . Retrieved 22 June 2020. Following the last concerts in December 1993, the Sisters of Mercy went into what Eldritch called a "strike against EastWest". He was alluded to have been preoccupied with legal matters surrounding the band; although Eldritch has never explained the meaning behind this, it has been suggested [ by whom?] by various parties that the issues stemmed from either the short-lived tour with Public Enemy in 1991, or, alternatively, Eldritch's ongoing issues with EastWest Records, as the band still owed them two original studio albums. The video for Dominion– shot in a desert location, with you in a white suit – was all very Raiders Of The Lost Ark…”

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)a b Floodland (cassette card). The Sisters of Mercy. Merciful Release. 1987. MR441C. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) Bonner, Michael (September 2006). "Floodland". Uncut. Archived from the original on 3 October 2020 . Retrieved 13 December 2018.

In the 90s, you wrote for Germany’s Rolling Stone magazine, interviewing David Bowie and Leonard Cohen. Are they heroes of yours? Yes. Although in the current climate, I don’t think that would have made much difference financially. You can’t make money putting out records. 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. Eldritch has later considered producer Steinman to have been more pivotal in securing funding for additional production than the songs themselves. 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.

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Riemann, Hannsjörg (17 September 1992). "Andrew Eldritch". Bravo (in German). p.28. Archived from the original on 12 October 2012 . Retrieved 9 April 2018. Very happy with the pressing, flat/centred and quite punchy throughout. Sounds better than the remastered cd I have (Rhino box). At concerts we always play new songs, and not always the same ones. But I think there’s a big difference between creativity and the aspect you refer to, which, in my unkinder moments, I might regard as simply preening. I’m not much of an extrovert.

Peddie, Ian (2006). The Resisting Muse: Popular Music and Social Protest. Ashgate. ISBN 9780754651147. Floodland was released in 1987 and marked only a slight difference in the band’s sound. To begin with, on this album The Sisters of Mercy consist of two members less. Wayne Hussey and Gary Marx left the band leaving all guitar duties on this album to Andrew Eldrich. To make a long story short, Floodland is basically an Eldrich solo album under The Sisters’ moniker whereas First and Last and Always featured contributions by all members but mostly Wayne Hussey and Gary Marx. What’s more, Floodland was recorded with heavy use of sequencers while First and Last and Always featured a more traditional approach. Nevertheless, the two albums share a lot of similarities instrumentally. The Sisters of Mercy | Awards". AllMusic. Archived from the original on 2 August 2015 . Retrieved 7 January 2022. Various: Manchester North Of England - A Story Of Independent Music Greater Manchester 1977 - 1993 (1) 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."

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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] In the decades since, Eldritch has given up being Michael Stipe or Ozzy Osbourne; sometimes he doesn’t even seem like he wants to be Andrew Eldritch. He regularly writes and performs new material in concert, some of which his fans hail alongside his best work, but has yet to make another album. (“I’ve got other stuff to do, man,” is how he recently justified the decision. “I’ve been watching a lot of anime.”) The album also contains probably the most idiosyncratic song in The Sisters of Mercy cannon in the form of ‘1959’. Stark and almost painfully naked, Eldritch’s lone voice is set in bleak contrast against a melancholy piano. Devoid of irony or point scoring, it’s also Floodland’s most honest moment. In many respects, The Sisterhood’s Gift album – released in 1986 supposedly to prevent Hussey and Adams using the same band – is a dry run for Floodland. Heavily reliant on keyboards and processed beats, it found Eldritch pouring scorn on the former bandmates who’d attempted to cash in on The Sisters of Mercy’s name via singer James Ray when he croons, “What you have lost can never be found/ Words are just dust in deserts of sound/ Everything is lost and your trust lies broken/ And the truth is found.” Elsewhere, opener ‘Jihad’ finds Patricia Morrison intoning the introduction, “Two, five, zero, zero, zero”, supposedly the amount of money The Mission paid in legal fees over the struggle for The Sisterhood name.