043 - Floodland by The Sisters of Mercy: Choral Doom and Drum Machines in the Twilight

Floodland by The Sisters of Mercy: Choral Doom and Drum Machines in the TwilightWith special guest Jerry OssevoortIn this episode, we wade through the sonic fog of Floodland, the 1987 landmark from The Sisters of Mercy. With personal stories, deep dives, and a few laughs, we unravel the gothic myths, machines, and melodrama behind one of the most iconic albums of the era.We open by sharing our first brushes with The Sisters of Mercy:Jimmy first heard “This Corrosion” but didn’t love it—so he never explored the rest of the albumJim recounts his own discovery story and first impressionsJerry came to SOM from a very different starting point: 1950s musicAirdale’s track “Space Is Falling” comes up, with a reference to SOM that caught our attention📌 And yes, the band’s name comes from a Leonard Cohen song featured in the 1980 film The Gun Runner—a literary touchstone that fits Eldritch’s brooding, poetic aesthetic.We revisit the band’s early days and explore the Floodland era mythos:The Sisters formed in 1980 in Leeds, EnglandPatricia Morrison’s role in the Floodland sessions remains one of rock’s more elegant mysteriesSOM trading cards and other cult fan artifacts spark memories and conversationJerry shares a concert story involving a flying cigarette from Andrew himselfThe “Dominion” video was filmed in Jordan and gives off major Hellraiser or Indiana Jones vibesAnd yes, they once toured with Public EnemyWe also talk about the striking contrast between Andrew Eldritch’s singing voice and his regular speaking voice—both equally iconic, in very different ways.Dr. Avalanche isn’t just a drum machine—it’s a character in the band’s lore.From early hardware to upgraded samplers, this unblinking rhythm section keeps time with eerie consistencyBrendan (of The Mourning) even has a tattoo of the band’s Merciful Release label logo, joining Chris from JC&tSK in paying tributeWe share our own experiences using drum machines and discuss whether Avalanche feels cold and mechanical—or oddly emotional and essentialWe discuss how Andrew Eldritch brought in producer Jim Steinman to co-write and co-produce “This Corrosion.” That move helped secure a £50,000 advance, and the result was one of the most over-the-top, anthemic tracks in goth history.Jimmy admits that “This Corrosion” didn’t click with him at all when he first heard it—and that kept him from giving the rest of the album a fair shot for years.We also explore the possible meaning behind “Lucretia My Reflection,” often read as a tribute—or critique—of Patricia Morrison.Here comes the eternal question: Is Floodland a goth album?Eldritch has famously rejected the goth label for decadesYet between the cover art, the tone, the themes, and the fanbase… the case for “yes” is hard to ignoreWe explore how Floodland compares to work by Bauhaus, Siouxsie, or The CureDoes the album define goth, transcend it, or parody it?We break down the songs that make Floodland such an enduring and unusual experience:“Dominion/Mother Russia” opens with a Cold War flourish“Flood I” introduces the spiritual, apocalyptic tones that echo throughout“Lucretia My Reflection” is taut, cryptic, and endlessly cool“1959” closes the core album with stark minimalism“This Corrosion” is either high drama or pure camp—or both“Flood II,” “Driven Like the Snow,” and “Neverland” deepen the mood furtherWe also touch on bonus tracks “Torch” and “Colours,” added on the remastered version of Floodland, and give a nod to follow-up album Vision Thing. Despite the acclaim, Floodland marked the beginning of the end for SOM's studio albums.🖤 Thanks for listening to Post-Punk Heartstrings.Subscribe for more tales of eyeliner, machines, and majestic melancholy.