Customer Reviews

Floodland

5 star:		(70)
4 star:		(14)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

Goths can't rock, so the misconception goes - their musical abilities extend only as far as writing fey songs about damaged girls named Isabelle and Lucretia, with spidery, moaning guitars, cackling laughter and lots of cheeky echo effects. Well, Floodland has songs dedicated to both Isabelle and Lucretia (one even named after the latter), plenty of echo, and Andrew Eldritch even indulges in a cackle halfway through track four. And whenever the Sisters tour (which is increasingly rare these days), a gaggle of dodgy darklings always creep from their hiding places and graveyards to swoon to their concerts. You'd think, based on this, that this was yet another awful album from a subgenre best left to fade away in the distant mists of time.

Well, you'd be wrong. That awful album you're thinking of is probably something by Bauhaus. Floodland, on the other hand, is a very good album. By this point, Eldritch was left as the only member of The Sisters of Mercy, and in fact that helped him far more than not. Now it was down to him and a drum machine named Doktor Avalanche, by far the most awesome drum machine that ever laid down a funky beat, to carry on the Sisters name. Floodland is the first and best album that resulted from this earth-shaking collaboration.

The popular misconception goes on to posit that so-called "goth rock" is tortuously slow, dour, humourless stuff. And very few songs on Floodland run for less than five minutes. Calling them slow, however, is buffoonery incarnate, for practically the entire album booms with Doktor Avalanche's thunderous grooves, which invite even the most sedentary posteriors to get up and dance. Furthermore, Eldritch proves himself to be no slouch at guitar playing. The guitars are immensely helped by the excellent production - far from sounding fey and spidery, they sound vibrant, exotic, sensuous, oddly spiritual (a quality only enhanced by the use of the New York Choral Society on "Dominion/Mother Russia" and "This Corrosion"). And then, there's Eldritch's voice, itself one of the great visceral thrills of rock music. Even when a song isn't great, even when the lyrics are impenetrable ("and the fifty-two daughters of the revolution turn the gold to chrome"? what?), it's exciting just to hear that rumbling, sepulchral (but oddly cultured) singing.

Maybe we didn't need all eleven minutes of "This Corrosion." But it has a chorus so infectious, and Eldritch roars so wonderfully in the last verse, that the length stops being an issue and one can even forgive some of the lyrics ("kill the king when love is the law"? what are you talking about?). Similarly, "Dominion/Mother Russia" and "Lucretia My Reflection" ride their choruses (chori?) and Eldritch's singing to the status of classics of sorts. And indeed, there's something weirdly exultant about the outro to the former, which goes "Mother Russia/Mother Russia/Mother Russia rain down down down...", and the gradual buildup of the latter, however silly the title might be. Among this, "1959" is a song which would have been sunk under its own weight had anyone else tried to sing it, but which comes off as a dignified, stately bit of chamber music thanks to, again, Eldritch's soulful vocal. It's "Flood II" that steals the show, though - using the sweeping guitar line, it builds up to great crescendos and becomes, well, as good a rock anthem as the best of them. If those dodgy darklings ever air guitar, they do it to this song. And who can blame them? I certainly can't imagine anyone who wouldn't pump their fist in the air to it. "Driven Like the Snow" comes next; it's a lot more subdued than most of what preceded it, but it's actually one of the album's best offerings. The chilly bass line and Eldritch's low rumble make it one of the most evocative and wintry songs I've ever heard - one need only hear "And the cars lost in the drift are there" to see them quite clearly. Following this is the foreboding, dreamlike and almost as good "Never Land (fragment)." This is where the album was meant to have ended, and it's a good place. However, two "bonus tracks" follow - "Torch" and "Colours." They're actually quite good, though not the album's best.

This album has been largely ignored, and rather unfairly at that, due to that "goth" label. If the label means screaming, posturing, cheap melodrama, dime-store angst, and loutish aggression, as it has come to mean thanks to the tireless efforts of second-rate hacks from all over the world, then it does not apply to the Sisters at all. Floodland is good music, plain and simple. There's some unintentional humour to be had from its more self-conscious moments, certainly (as Eldritch with his love of godawful seventies shirts well knew), but overall it's rather an impressive achievement. What else needs be said?

'Floodland' is an alternative rock classic, undoubtedly. Andrew Eldritch came back after a difficult three-year hiatus which included the "corrosion" of his band and the Sisterhood project (which was his way of preventing the bandmates from using a name that too closely resembled his Sisters Of Mercy; they later became The Mission UK). Left with a drum machine and new bass player, Patricia Morrison, Eldritch made what is probably their most popular and well-received album. 'Floodland' is a very well-produced work that mixes the pomp and bombast of 70s rock, and the Sisters' more familiar goth-alternative sound. To achieve this mix, Eldritch used Jim Steinman, of Meat Loaf fame, to produce the album. 'This Corrosion' roars on for nearly eleven minutes with a huge forty-piece choir, chugging synths and guitars, and a very upbeat dance rhythm. While the result does sound dated today, it is still an absolute production marvel. 'Lucretia My Reflection' is driven by a forceful, repetitive bassline that sounds doomy as their previous work, but still manages to stick in your head. There is even a sad piano ballad, in the form of '1959' to balance the album out.

This reissue of 'Floodland' only proves how well-produced the original album was. The remaster doesn't add a world of change to the old cd issue other than a slight volume boost and maybe a bit more low-end. The packaging is first-rate, however, with an attractive digipak and a booklet filled with pictures and an essay about the album, along with complete lyrics. The four bonus tracks (two of which were added to the original cd pressing of the album) are very welcome, especially the epic twelve-minute full-length of 'Neverland'. Overall, if one is considering repurchasing this because of the remaster, the price is a bit steep for a remaster that only slightly improves the over fifteen-year-old cd. The packaging and bonus tracks might be an incentive to repurchase this, however. This reissue is for fans only; those unacquainted with the group would be better of picking up the cheaper domestic pressing.

Floodland...there is only one! If you haven't heard it, if you haven't felt the power of Dominion/Mother Russia, or This Corrosion, where have you been! Floodland will rush in, powerful, unstoppable, "like a million voices", like a dumdum bullet. Experience from the masters a sound countless bands have tried to copy, but not even the Sisters could duplicate. If you like pure power, captivating rhythm, raw emotion, tune in, turn it up...loud, and hold on. I wish there were more Floodlands, more Corrosion, like the wind ripping through your hair, like blasting down a country road on your biggest, badest, loudest Harley, like "a healing hand" in the dark of the night, but no, there is only one Floodland...enter here!
Jimbo111

Ahhhh. Breathe in, breathe out, and bow before the majesty of _Floodland_. There has never been an album quite like this one, and there most likely never will be again. Overblown? Unapologetically. Pretentious? Possibly. Brilliant? Inescapably. If the prog-rockers can get away with it, then so can the goths. (Uh oh...I may just have inserted myself into an argument over whether the Sisters are legitimately goth or not. Dear goths and goth-haters: I respectfully abstain from this debate.)

There's not a bad song here, and tracks 3-5 alone are worth the purchase price.

I'd pay a lot for a remixed, amped-up version of this album. The sonics here do sound a bit flat by today's standards: play "This Corrosion" (the signature track) next to, say, "Faint" by Linkin Park, and you'll probably see what I mean. Which is a shame, since from a melodic and lyrical perspective, Andrew Eldritch at his best makes Linkin Park look like a bunch of sixth graders.

Oh well. The Sisters are touring again this year, and those shows will sell out effortlessly despite the fact that Eldritch has released only one other album of new material since _Floodland_, and it's largely due to this 1990 release. Ignore the tedious "is it or isn't it goth" debate. Labels are boring. This album is not.

I don't know where to begin but this album is just totally phenomenal. A friend of mine burned "Flood II" on a compilation of goth and industrial music for me, and I was completely taken away by Andrew Eldritch's haunting vocals. Andrew reminds me a lot of Ronny from Clan of Xymox, a recent discovery of mine. "Floodland" is definitely a must have goth album. The melancholic lyrics and gorgeous melodies is breathtaking. I was surprised how well this album holds up today, especially the production. The production on this album isn't overly produced, raw, and best of all doesn't sound dated. As far as the songs themselves goes, all the songs are classics. Of course I am quite partial to "Flood II". As much as I dislike Jim Steinman, he did a really excellent job with "This Corrosion". He managed to avoid having Andrew Eldritch sound like Meatloaf. And for a song that goes over ten minutes, I don't get bored listening to it. "1959" is a haunting ballad which always sends chills down my spine whenever I listen to it. I absolutely love the catchiness of "Lucretia My Reflection". I love the deep basslines in the song. The bonus tracks were awesome. Normally, bonus tracks on most albums are filler tracks but not in this case. This entire album is flawless. There isn't one song on this album I didn't like. I definitely rank "Floodland" as one of my personal favorite records of all time. This is what goth music should sound like.

This is "THE" Alternitive rock record from the mid 80's. relaxed smokey beat with deep solemm lyrics.....

I consider this to be the best album produced by Sisters of Mercy. It reatures a lot of songs popular in the club scene and is a must own for any fan!

Back when I was in college this CD played a big part in my underground/goth/alternative life and then over the years, I kind of strayed away from that scene, but I just pulled this CD out again to convert it to my new iPod and as it was playing back, I just realized how completely amazing it still sounds. This is one of the genre that hasn't lost any of it's power and certainly doesn't seem dated in any way. Starts out powerful and then just builds exponentially, so that by the time they hit Lucretia My Reflection, I dare anyone listening to remain sitting still. It's a real crossover from dark goth to almost a goth-electric or dark wave sound. Very upobeat, powerful and dare I say, even danceable.

I wish it were dark and raining outside. I'm in the mood to go stand on top of a stone church in a thunderstorm listening to this on full volume.

Floodland is a very lovely album, period. I simply love it. The album's gorgeous opening track, "Dominion/Mother Russia" begins with a very catchy and evocative drum beat and guitar lines. The sax that comes in around the middle of the song could have ruined it, but pulls back just in time. "Flood 1" has similar energy, the beat pounds heavily and slow, perfectly matching Eldritch's hypnotic chant and is offset by the high keyboard notes that provide the song's melody. "Lucretia My Reflection" at first chugs along like the others, but steps up the tempo a notch then rocks the guitars and synth. "1959" is a slow, pretty piano driven composition that unfortunately is the mournful low point of the album. It just isn't as catchy or fun as the rest and is the track I am most likely to skip. "This Corrosion" is an ambitious work incorporating a soaring choir and some catchy hand-clap beats and keyboard work that sounds great but does start to drag on toward the end. After all, you can only repeat "Hey now, hey now now, sing this Corrosion to me," so many times before it starts to lose whatever meaning it suggests to the listener. It should definitely be heard, though a lot of people won't like it in the long run because of the length and slightly cheesy direction of the song. At this point I should say that Floodland is the sort of album that at times feels over-thought and over-produced. The term "Self indulgent" probably describes it best. But (and it is a large BUT) the great songs are really, truly great. "Flood I" and "Flood II" are both moody works that perfectly exemplify what I love about the 80's experimental 'underground.' The terrific "Driven like the Snow" is subdued and brilliant, quiet and sad, and cold but beautiful; kinda like winter. This music is great for driving through orange-lit nighttime city streets and always reminds me of the gray England sky. This kind of slow, heavy-yet-not-loud pop/goth/post-punk rock envisions darkened clouds bursting forth with cold rain, or, in the case of "Driven Like the Snow," (my favorite song) riding through an empty country lane at midnight in the dead of winter; silent but for the barely audible fall of snow while thinking about something forever lost. A lovely, delightful album for those who are into that sort of thing. And many aren't, I know, but I like it a bunch. Five stars.

Perhaps the least necessary of the The Sisters remaster discs reissued in late 2006 following the epic Sisters Bite The Silver Bullet Tour, Floodland is a top notch rock album that defies genre labels. (WEA reissued this on their own, as the band no longer has any label presence and exist only as a live outfit since the 90s).

Shows up on Top Goth albums, and All Time Gothestest Albums lists, but this is a rock album with dark and grand trappings, including choirs (Dominion and This Corrosion), a piano ballad (1959), clever and enigmatic lyrics, and even had a few cool videos. The 'goth' labels don't necessarily apply, this is a rock album with a mix of styles, the classic Eldritch vocals, and a big sound achieved only with keyboards. Jim Steinman produces the over-the-top This Corrossion, the album's core anthem, but it's mostly a pure Eldritch affair front-to-back, with Patricia Morrison providing the windowdressing (and contributing to the goth look and image of the album and 'band'.) A relatively short affair by today's standards, it's a vinyl-planned album with two distinct 'sides'. Album still doesn't get a lot of mainstream mention these days in the states on nonsense 'lists', but certainly belongs.

The remaster sounds good, but does not add a whole lot to the original, which was very well produced to begin with. The volume is up, the low end and the bass are up and more thumping, but there isn't much more to notice here. The bonus tracks are really two, because Torch and Colours have been on the Floodland CD for years. Emma is familiar to most folks through the live versions and bootlegs, though this is the first official release on CD for this darker cover of the Hot Chocolate song. The 'newest' bit here is the extended version of Neverland, which will attract die-hards into purchasing this otherwise pricier remaster. Overall, it's a nice job, a digipac design with relatively non-offensive remaster liner notes along with the layour of the original LP notes. Since The Sisters don't release...anything, anymore, this is probably worth it for fans. Not the most necessary remaster sound-wise, but just nice to see some kind of Sisters product available. For now.