Sisters of Mercy
Floodland= 180g= MFSL
1 x LP
( 1987 ) - 2013 US Mobile Fidelity numbered reissue on 180g Vinyl LP - Meat Loaf Producer Jim Steinman and New York Choral Society Among Collaborators on Vast-Reaching LP
The Sisters of Mercy emerged from a brief hiatus and lineup overhaul in spectacul
Release date: 22-03-2013 ( Originally released in 1987 )
2013 US Mobile Fidelity numbered reissue on 180g Vinyl LP -
Meat Loaf Producer Jim Steinman and New York Choral Society Among Collaborators on Vast-Reaching LP
The Sisters of Mercy emerged from a brief hiatus and lineup overhaul in spectacularly grand fashion on Floodland, an epic album that stands as the group's commercial breakthrough as well as one of the period's monumental productions. Having witnessed his bandmates leave, singer Andrew Eldritch recruited bassist Patricia Morrison, utilized a groundbreaking drum machine, and hooked up with Meat Loaf collaborator Jim Steinman to attain a glorious, bombastic, and irrepressible marriage of gothic rock and sumptuous balladry.
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.
Throughout, the Sisters of Mercy traverse myriad styles in breaking down goth-rock conventions. As on the band's noisier debut First and Last and Always, brooding emotions, nocturnal episodes, and dim sentiments gloss over the songwriting. Yet there's a colossal amplification of evocative spirituality, delicate accents and anthemic riffs that combine with funky drum-machine beats and visceral tension to yield music that dares listeners not to dance and/or lift their hands skyward.
Rhythms play as large a role as the leader's trademark stentorian vocals, with thundering grooves and crashing percussion illuminating incisive lyrics and industrial-tinted scenery. Whether felt via the dramatic waves of "Lucretia My Reflection," balladic sweep of "1959," or charging protest of "Dominion/Mother Russia," Floodland is a touchstone, topped off by iconic cover art that fits in with today's vampire-obsessed society as well as it did upon release in 1987.
A1 Black Planet
A2 Walk Away
A3 No Time To Cry
A4 A Rock And A Hard Place
A5 Marian (Version)
B1 First And Last And Always
B3 Nine While Nine
B4 Amphetamine Logic
B5 Some Kind Of Stranger
The template for all goth-rock records that followed, Sisters of Mercy's First and Last and Always stands as one of the – if not the most – influential albums of its kind ever released. Distinguished by Andrew Eldritch's ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humor, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favorite record.
Mastered on our world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered edition LP presents First and Last and Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch's haunting singing to the group's jangling guitars and prancing bass lines finally gain genuine definition. Yet what's most improved is the sense of atmosphere: Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.
Ever since it's release, First and Last and Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channeled his discord into somber lyrics and brooding singing. He's framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.'s mysterious underground.
Despite its overall dark character, the record's arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich's baritone, suggest glimmers of hope among the decay. Songs such as the shaking "Possession," dramatic "Some Kind of Stranger," and desperate "Marian" remain models of the gothic and post-punk disciplines more than 25 years after their debut. It's no surprise that, given all of the tension and personality that infuse the album, Sisters of Mercy disbanded just months after its release.
It's unlikely that any goth-rock album has ever sounded this good. This Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.
"The lead track, 'Black Planet,' showcases the new remastering to full effect. The song features an all-encompassing bass rhythm that, with every strike, infects the tune like mustard gas unleashed in a trench. On a poor master, the bass would threaten to suffocate the rest of the arrangement. But Mobile Fidelity keeps it in check with a distinct, sparkling, upper-mid sensitive guitar; the bass merrily sits on the edge of the soundstage."
– Paul Rigby, TONE Audio
Extra info: Numbered -gatefold
Originally released: 1987
This release: 2013