Floodland

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Scanlon, Ann (5 March 1988). "Cars, Camels and Cecil B. DeMille". Sounds. Archived from the original on 12 March 2012 . Retrieved 9 April 2018.

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. The Sisters of Mercy ceased recording activity in the early 1990s, when they went on strike against East West Records, who they accused of incompetence and withholding royalties, and had pressured the group to release at least two more studio albums; instead, the label released the album Go Figure under the moniker SSV in 1997. Although the Sisters of Mercy were eventually released from their contract with East West, they have never been signed to another label nor released any new material. They have continued to perform new songs live. Mike Canoe: I came into this album cold in Jan. '91, never having heard of their album Floodland or anything about even the Sisters of Mercy themselves. But when I heard More blasting over the sound system at a Tower Records, I thought to myself, "Yeah, I need to have that." After Vision Thing, you entered into a lengthy dispute with your record label, Time Warner, that effectively ended your recording career. It also took me a while to realise that the Sisters of Mercy are basically Andrew Eldritch and whoever he wanted to work with at the time. The only other consistent "band member" is the aforementioned drum machine, Doktor Avalanche. Eldritch does a great job of gathering the right people to get the sound he wants, even if the "people" are sometimes drum machines and sequencers. In the Wikipedia entry from the album, bassist Tony James is quoted as saying it took about "20 minutes" to record his bass parts. I only previously knew Tony James from Generation X and 80s oddities Sigue Sigue Sputnik, so that seems to fit.

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Matrix / Runout (Runout side A, variant 4, stamped, "XXX UK" etched ): R/S Alsdorf 242232-1-A XXX UK 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] Lefevre, Olivier (September 1983). Merci Les Soeurs. Archived from the original on 11 August 2016. Peu de nos contemporains possèdent une véritable dimension, les Banshees, les Psychedelic Furs. Les autres ne sont pas honnêtes. ( Few of our contemporaries have got a true dimension. The Banshees, the Psychedelic Furs. The other bands are not honest.) {{ cite book}}: |work= ignored ( help)

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. 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. Justice, Cedric; etal. (21 March 2013). "13 Best Goth Albums of All Time". Spectrum Culture. Archived from the original on 23 August 2020 . Retrieved 22 June 2020. Regarding the title Floodland, Eldritch realised that, after writing all the songs for the album, the theme of water came up multiple times throughout. He attributed the theme's recurrence to the amount of water within Hamburg, where he was writing these songs. [18] Michael Bonner of Uncut viewed Eldritch as casting himself in a role where he is a "jaded observer, watching cynically as he and the world slouch towards Armageddon," adding that the songs are bonded together by "images of the apocalypse that straddle the gap between the personal and the political." [25]

Scanlon, Mary; Scanlon, Ann (19 December 1987). "Bridge over Troubled Water". Sounds. pp.9–10. Archived from the original on 23 March 2016 . Retrieved 9 April 2018. The band lineup on 'Floodland' was nominally Andrew Eldritch and Patricia Morrison. The songs were written by Eldritch alone, and Morrison is not credited on the sleeve artwork, except in the 'thank you' list (under her real name, [Patricia] Anne Rainone). Morrison's musical contribution has been disputed, but she was vital to the band's image during this period. 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. He was only in the band for a year. We’ve been going for 30 years. Draw your own conclusions from that. Grin and bear it, Eldritch and Adam Pearson clowning around in Leeds in 1997 (Image credit: Getty Images)