The Mission

The Best Records of 2016 – Part 1

Posted on by edwardlayland

If there is one dead cert in the world of music writing, it’s the end of year list – the golden opportunity to wax lyrical about all the uber cool shit we’ve been listening to through the year that we totally believe every other fucker should also be listening to. I’m just as guilty as the next pensmith; I mean, I’ve already done two – one for Already Heard ( http://alreadyheard.com/post/154430616852/record-of-the-year-2016-staff-lists), another exclusively on thrash metal albums, although in fairness it was a retrospective article analyzing the genre with a top 5 attached (https://hardpresseded.wordpress.com/2016/12/07/thrashback-best-of-2016/)

But lets face it, here in the blogosphere it’s basically a totally subjective list and isn’t really worth shit, unlike the top ten we came up with at AH (http://alreadyheard.com/post/154422480446/already-heards-record-of-the-year-2016) which involves several contributors. So, the final list is a kind of representation of the site’s view of the world of alternative rock, and therefore a pretty useful piece of retrospection. Anyway, my top ten is there, along with the site’s top ten, but I have to say that probably wouldn’t be a definitive list, nor would another one that I might write tomorrow. So what’s the point?

However, there is surely some value in celebrating some of the seriously cool records that have had an impact on me this year. It doesn’t need to be a top ten. They don’t need ranking. It’s enough to say that this is cool as fuck and you could do a lot worse than give it a whirl, you might discover something you love – it’s what Spotify is for, for fuck’s sake. So, here come a bunch of records I’ve been listening to pretty solidly this year and intend to keep spinning well into the future.

David Bowie – ‘Blackstar’ I was deeply moved by the death of David Bowie and wrote about it at length here:https://hardpresseded.wordpress.com/2016/01/12/303/ Listening to Blackstar is inextricably linked to the loss of this musical giant and was always going to be an emotional experience, but having gone back to it again and again since its release, I have to say that it really is quality and holds up well. ‘Lazarus’ is undeniably superb and the artistic merit of the record as a whole is unquestionable. Great record – excellent way to punctuate such an incredible cultural footprint.

I only got round to listening to Michael Kiwanuka – ‘Love & Hate’ a couple of weeks ago, but have had it on very heavy rotation ever since. Damn, what a great, honest record this is. Michael lays bare his conflicting emotions on this sublime collection that neatly combines a kinda classic seventies soul groove with a more contemporary feel and some achingly good guitar work. The title track is unbeatable.

Lisa Hannigan – ‘At Swim’ Great songs, cool vibe, lovely voice, excellent record – I keep going back for more.

Lonely the Brave – Things Will Matter is a good solid sophomore record from the Cambridgeshire boys and continues their climb up industry ladders. There are some quite spectacular moments, like the massive ‘Black Mire’, the excellent ‘Diamond Days’ and ‘Jaws of Hell’ that hint at a very bright future for British alternative rock.

Slowcoaches – ‘Nothing Gives’ came out about a week ago and I had the immense pleasure of five outta fiving it for Already Heard. The most exciting garage punk record in years, it has an energy comparable with The Strokes debut and rocks from beginning to end as it tackles issues like loss and anxiety. Heather Perkins is punk rock personified, making their brand of angry optimism instantly relatable – this band deserve to be massive.

The Cult – ‘Hidden City’ There’s nothing like your favourite band hitting good form again. Ok, it’s not ‘Love’ or ‘Sonic Temple’, but it’s creatively vibrant, still pushing boundaries and features some killer tracks. Ian Astbury‘s raw vocal on ‘Birds of Paradise’ and the killer hook of ‘No Love Lost’ find The Cult at the top of their game.

Another return to form from an eighties icon came on The Mission – Another Fall From Grace. Wayne Hussey took a conscious decision to dust off his twelve string and write an album bridging the gap between Sisters of Mercy and The Mission. According to the front man it was a painfully cathartic experience, but the vocalist can be justifiably proud of his band’s finest record since their peak. Sure, it’s as overblown and pretentious as you might expect, but Mish fans wouldn’t have it any other way. The title track is prime example of Wayne’s songwriting prowess and ‘Tyranny of Secrets’ shows they can still deliver a good old Goth rock banger.

Black Foxxes – ‘I’m Not Well’ is quite simply one of the best records I’ve heard in years. It’s rawness imbues it with power, energy and emotion at a level few bands come close to. Stone cold killer from beginning to end – album of the year by far.

The Mission – Another Fall From Grace Review

Posted on by edwardlayland

the-mission_another-fall-from-grace_front_cover_onlyIt was a brave step by Wayne Hussey to set out to make an album that sounds like 1985, yet it is one that by and large he manages to pull off. ‘Another Fall From Grace’ plays like an echo, an echo of former glories when The Mission were riding on the cusp of a wave towards being the UK’s biggest alternative rock band, or an echo of days gone by, when making epically dramatic tunes was de rigueur in the realm of Goth.

Tentative drum beats signal the opening of title track, ‘Another Fall From Grace’, but it soon takes shape around a rumbling bass line as layers of jangly 12 string guitars weave a tapestry of wonderfully bombastic Goth drama reminiscent of Tower of Strength’. Hussey sounds a little older and wiser, but there’s still a powerful richness to his voice and this deeply layered epic is surely one of the finest tunes this band has ever produced.

They seem to have rediscovered their signature sound and on ‘Met-Amor-Phosis’, featuring Ville Valo, it effortlessly translates into the type of song that would’ve bothered the top twenty back in the day. ‘Blood On The Road’ is in a similar vein, but despite being rockier, it is actually a little lacklustre and doesn’t quite nail it.

Nevertheless, there are plenty of moments when they do totally nail it, whether it’s the brooding drama of the atmospheric ‘Within The Deepest Darkness (Fearful)’, featuring excellent vocal contributions from Martin Gore and Gary Numan, or the instantly likeable ‘Can’t See The Ocean For The Rain’; a quality, largely acoustic number with a wistful air.

However, it’s on ‘Tyranny of Secrets’ that they are firing on all cylinders; there’s a distinct Sisters of Mercy feel to the driving electronica of the opening, but it’s got everything else that we know and love about the Mission besides a surprising element of vitriol to the vocal; great tune.

In fact, this opens a section of the album that is pure class, as the wonderfully overblown ‘Never’s Longer Than Forever’ and the intricate intensity of ‘Bullets and Bayonets’ follow stylishly before the spoken word reflections of ‘Valaam’. This segues neatly into my favourite moment of the album, the emotionally charged ‘Jade’ with its signature guitar lines and a haunting piano melody typically reflective of glories past. The song meanders along in darkly atmospheric fashion until Simon Hinkler finally lets rip with a soaring solo, before an emotional finale where Wayne gives it both barrels. This is the Mission at their finest, talk about recapturing whatever it was that once made them great.

Despite being firmly rooted in the past, it is interesting that on closing track ‘Phantom Pain’, another dark 7 minutes, there are some skittering saxophone touches to add a little extra depth. It is a cool touch and offers a hint that this creative well is far from running dry.

All in all, ‘Another Fall From Grace’ is a deeply satisfying record full of great touches, including a number of subtle backing vocals from long term collaborator Julianne Regan; long time Mission fans will surely be overjoyed that they have managed to recapture the essence of what it was that we fell in love with all those years ago, whilst also looking forwards. Sure, at 12 tracks and over an hour long there’s probably one too many pedestrian paced sweeping epics making it a little OTT, but I’m sure Wayne wouldn’t have it any other way, especially when it is such a strong album both musically and vocally.

9/10

Get the bombastic new album right here: https://the-mission.tmstor.es/

What’s Hot In My House – March

Posted on by edwardlayland

Since the release of The Cult‘s largely awesome ‘Hidden City’ I have been streaming the shit out of it, the album having become my default option for pretty much any and every time of day. Even so, there has still been plenty of room for other aural delights, what with the stack of awesome new music http://www.alreadyheard.com have been making me review; twisting my arm until I give in and put fingers to keyboard. Then there’s all the interesting new releases outside of AH’s remit; 2016 shaping up to be a damn fine year for new music. However, given the subject matter of some of my recent posts I’ve also been doing more than a little memory lane, so check out the diverse selection of listening pleasures that have been riding my personal air waves of late….

The Mission
The Mish are a band I tend to listen to fairly regularly anyway, but one of the most recent things that I have written is a look at their 30 year career with a definitive top 10. As such, in the name of research I went trawling through their catalogue, agonising over what to include, so there’s been days when they were the only band ringing in my ears. Here’s a classic performance on British TV:


https://hardpresseded.wordpress.com/2016/03/14/30-years-of-the-mission/

Aztec Camera
I always had a bit of a soft spot for Roddy Frame when I was a kid, he came up with a handful of really good tunes, which have actually stood the test of time. I was reminded of AC while reading the tome that is ‘How Soon Is Now’, on the mavericks behind 80s indie, and was thus inspired to write about the vibrant Scottish scene which spawned so much of the music that sound tracked the UK during the 1980s, including Aztec Camera. Anyway, I tracked the greatest hits down on Deezer and was pleasantly surprised by the enduring quality of the songs, ‘Working in a Goldmine’ being a personal favourite as its a lesson to any budding songwriter in how to nail a good hook.


https://hardpresseded.wordpress.com/2016/02/23/postcards-from-glasgow/

Noise – Heck and So Pitted
The DIY ethic around the music business right now and the whole indie punk vibe afforded by the internet is leading to some really exciting new music. Seattle’s So Pitted are a recent discovery, their sound being really quite horribly awesome. They have an air of disquiet about their heavy bruising brand of alternative rock, soaked in flurries of feedback, and their debut album, ‘Neo’, makes for a brilliant but disconcerting listen. https://hardpresseded.wordpress.com/2016/02/24/so-pitted-neo-review/


On the opposite side of the Atlantic, but equally noisy, are the chaotic Heck. There is something refreshingly free about the wrecking ball sound of debut album ‘Instructions’ and I’ve had it on heavy rotation since giving it a 5/5 over at AH. http://alreadyheard.com/post/140796180606/album-review-heck-instructions

The Cult
Which brings me back to The Cult. I make no secret of the fact that this is my favourite band and have written about them a lot. Most recently I did a retrospective review of their supremely underrated self-titled album, as I believe that there are a number of seriously good tunes getting seriously overlooked. Check out ‘Gone’ here:


https://hardpresseded.wordpress.com/2016/03/11/the-cult-the-cult/

30 Years of The Mission

Posted on by edwardlayland

MissionThis year, British Goth rockers The Mission are set to celebrate 30 turbulent years in the industry by doing precisely what they do best – touring extensively and reliving former and more recent successes.

Once upon a time the Mish ruled; achieving an enviable level of commercial success with multiple top 40 singles and top ten albums, as well as being one of only a handful of bands to have headlined the Reading festival on more than one occasion. Their first headline slot is testament to the quality of their early releases as it came a little over a year after Wayne Hussey and Craig Adams had said goodbye to the Sisters of Mercy to form first The Sisterhood and subsequently The Mission.

Their debut album, ‘Gods Own Medicine’, and the amalgamation of their early EPs, The First Chapter, had struck a chord and catapulted the band to early success; tracks like ‘Wasteland’, ‘Garden of Delight’ and cover versions of ‘Like a Hurricane’ and ‘Dancing Barefoot’ were indicative of their growing reputation and a lot of hard work on the road, supporting the likes of The Cult, The Psychedelic Furs and a still credible U2, as well as on their own, soon expanded their hard core of fervent fans – ‘The Eskimos’.

The band’s penchant for the theatrical, Hussey’s resonant baritone and Simon Hinkler‘s intricate guitar work, meant that the Celtic rhythms and rich melodies to their particular brand of atmospherically dark pop could do no wrong. In the period from early 86 to the end of 1990, successive releases saw the band grow in stature and confidence, the John Paul Jones produced ‘Children’ peaking at number 2 in the UK, while the first single from ‘Carved in Sand’, ‘Butterfly on a Wheel’, just missed out on the top ten. As Wayne says:

“Our record label were making us a ‘worldwide priority'” … “We were a band on the cusp of being very successful internationally. It was something that we collectively really wanted at that time.”

However, behind the scenes the excesses of the rock ‘n roll lifestyle were beginning to take their toll and the wheels were starting to come off. Internal conflicts and record company input meant that ‘Carved in Sand’ never did quite as well as it deserved, Wayne having been forced to compromise the track listing; in the words of the man himself:

“I have to say that the only true professional regret I have to this day is that I allowed the final track listing for ‘Carved in Sand’ to be chosen by committee rather than the usual practice of yours truly stamping my feet until I got my own way. I think at this point in time we the band and, more regretfully so, myself were more than willing to allow other people to make important decisions for us. We relinquished control and responsibility and unfortunately I think ‘Carved In Sand’, as an album, suffered as a result.”

The subsequent tour was also wrought with difficulties ranging from illness and staggering levels of debauchery to conflict and walk outs, with Hinkler taking his leave mid-tour.

Wayne:“With the release of ‘Carved in Sand’ (which, almost ironically, actually went on to become our biggest selling album) we were set up to go and conquer the world but instead within the space of a few short months in early 1990 after its release we internally combusted and our trajectory was set downward for the first time since our beginning in late 1985. We were never to recover.”

Nevertheless, that five year period to the end of 1990 had produced five albums worth of genre defining material and makes for an impressive achievement. Such prolific production documents the sound of a band that had hit a rich vein and were peaking in more ways than one. Their early catalogue of releases has certainly stood the test of time and is packed with classic tracks that comprise a fine record of Hussey and co’s songwriting talent.

Although the following record ‘Masque’ had its moments and there was the occasional hidden gem in subsequent albums, The Mission’s material post 1991 has offered little to compare to their peak period. The notable exception being 2013’s ‘The Brightest Light’, which saw Hussey reunite with Hinkler and fellow founder, bassist Craig Adams. This was the sound of a band reformed and reinvigorated and although it owes more to hard rock than Goth, it sounds fresh and honest. Hussey’s voice is a little more gravelly with age but no less powerful, and it sounds as if Hinkler had been given the chance to throw off the shackles a little to let rip on the guitar.

The intervening years had also seen a whole batch of re-issues, compilations and live albums, as well as (far too many to mention here) line-up changes, hiatuses and solo projects. Yet every time they hit the road there was always a faithful army helping to recapture the essence that makes the Mission such an enduring prospect; recent shows on the Blood Brothers tour with Fields of the Nephilim proving a resounding success. So this year’s anniversary tour is sure to be greeted with the adulation it will no doubt deserve, can’t help but wonder if there’s another album in the pipeline…..

In the meantime here’s my Mission top 10, which might raise the odd eyebrow amongst the faithful.

10. Amelia
Probably the bravest song Wayne has ever written, yet it is something he is rightly proud of, given the difficult subject matter of child abuse. Lyrically, it is cleverly constructed and the urgency to the instrumentation compliments it perfectly.

9. Severina
It’s theatrical, it’s magical, it’s a superb slice of Goth rock fantasia – “She’s dancing by the light of the moon”

8. Beyond The Pale
‘Children’ saw The Mission take a more measured approach with a strong nod in the direction of the grandiose; as such Beyond the Pale perfectly captures where they were at the time. There’s plenty of substance to this epic song, yet it’s a great example of their pop tropes, boasting a series of killer hooks in the chorus.

7. Swan Song
Of the tracks on ‘Brightest Light’ this is the most Goth influenced and stands tall alongside the early material. There’s some superbly atmospheric guitar work from the underrated Hinkler that builds to a climax on a fine solo, while Wayne delivers the killer hook and intense finale in fine style.

6. ‘Sacrilege’
There’s a wonderful dark energy here as the arrangement ebbs and flows with subtle time changes and chord progressions. It’s a superbly constructed song and is a fine example of Goth rock at its intriguing best.

5. Bird of Paradise
If Wayne had got his way this epic piano ballad would’ve been the closing track to Carved in Sand and a sublime way to close the album. Darkly atmospheric with a beautiful melody and beautiful lyrics, quality.

4. Wasteland
The opening track on their debut album was a killer cut to kick off with and indicative of the leverage that had secured a seven album record deal. One of their most enduring songs; there’s the evocative opening riff, the barren landscape of the verses and the battle cry chorus, all easily translating to the biggest stages; great start to a great album.

3. Like a Hurricane
If you’re gonna cover Neil Young you gotta do it right and here The Mission do not disappoint. There is sufficient tribute to the original, yet they succeed in making it their own. IMHO this is Hussey’s finest vocal performance at the helm of The Mission, where Young’s original is almost plaintive, live versions showcase Wayne’s voice as powerful, rousing and nothing short of brilliant.

2. Butterfly on A Wheel
The Mission always had a gift for melody and this beautifully atmospheric cut is one of their finest moments. It is a wonderfully evocative song featuring genuinely spine tingling moments; the time change after the second chorus and the ever building intensity sublime to say the least.

1. Deliverance
For me, this is the perfect Mission track, including every weapon in the band’s extensive armoury – from the atmospheric opening, through the driving bass, to the hook riddled chorus and hard rocking guitar parts – yet still shrouded in the Goth feel – I can never play this song loud enough.

For tour dates etc check out the official site:http://www.themissionuk.com/wp/

The Cult – The Cult

Posted on by edwardlayland

The_Cult_(ovelha_negra)_coverThe recent success of ‘Hidden City’, the excellent new album by The Cult, has prompted a revisit to their back catalogue for the second in the series of Overlooked or Underrated. Most of The Cult’s work has got the treatment and reviews that it deserved, but their self-titled sixth studio album, also known as the ‘Black Sheep’ album due to the cover art, is the one from their back catalogue that is constantly overlooked, even by the band themselves. Only two songs, ‘Gone’ and ‘Star’ have been featured with any regularity in their live set and only the much maligned ‘Ceremony’ album has been ignored on a similar scale. ‘The Cult’ was released to almost universal indifference back in October 1994, so what went wrong?

The relative failure and black sheep status of the album can be summed up in two words – Grunge and Britpop, which is pretty ironic considering their oft cited influence on grunge. Even so, Billy Duffy and Ian Astbury had never really fit into a scene, though they’d garnered their audience from the Goth rock crowd and had achieved notable success with their own brand of hard rock; total album sales running into the millions. However, with the reshaped musical landscape they basically became a band adrift, their sound not really striking a chord with anyone outside of their own fanbase and their creative direction moving away from more traditional rock influences not being well received by die-hard fans. They weren’t grunge, they definitely weren’t Britpop and now they weren’t even metal anymore, but when you listen back to the album it really does rock and there is a lot of really accomplished work on offer, it just didn’t exactly fit the time. It is telling that Hidden City probably has more in common with this record than any other releases in the Cult’s extensive catalogue, being that both find the band writing meaningful songs that push them out of their musical comfort zone.

The songs on ‘The Cult’ are among the most personal the duo has ever penned, covering issues like Astbury’s experience of sexual abuse, the death of their contemporaries and sobriety. Lyrically speaking, they are at their most sincere and their most offensive, so, maybe, way back in 1994, it was just not the right climate for the record. It seems strange, however, that the band should distance themselves so much from such a brutally honest record – there are several quality tracks here that have never been played live. Ok, it is by no means a perfect album, but there is plenty of quality material and repeated listens reveal it to be a record of depth and intensity with some genuinely killer moments; Bob Rock‘s crisp production as impeccable as ever.

‘Gone’ opens the album to a bass riff and touches of piano, before exploding in uncharacteristically angry fashion, immediately showing a different side to the band. Damn this song burns! Surely rating among their finest, it is the one track still getting regular live outings. The following track, ‘Coming Down’, is much more disposable but it’s got groove and a killer hook to the tambourine fueled chorus. It is in similar vein to ‘Star’, a track left unfinished from the ‘Sonic Temple’ sessions, which also explores an industrial dance groove, a sound they’d flirted with on ‘The Witch’ on ‘Pure Cult’, but never quite managed to fit. Nevertheless, it’s a good tune with a wonderfully rough edged vocal and is the only other song on the album to have graced repeated set lists.

The first half of the album is probably the stronger, the seriously underrated ‘Real Grrrl’ boasting an emotionally charged performance from Astbury, while the guitar lines have more than a taste of early era Cult. Then there’s the brooding ‘Black Sun’ and the slick bass groove to ‘Naturally High’ featuring some lovely understated guitar from Duffy. It is ‘Joy’ however, which ranks as one of The Cult’s most criminally overlooked songs. It has a dark energy in the abrasive riffing and a powerful intensity to the bridge/chorus, while the organ riff lends an air of modern day Doors; killer.

The second half features some of the more throwaway songs, like the straight up rock n roll of ‘Be Free, which doesn’t really fit with the vibe of the record, and the grungy ‘Universal You’, co-written with The Mission‘s Craig Adams to the loud-quiet-loud formula, though not quite nailing it. It’s not that either of these tracks are bad, they just fall a little short and maybe could’ve been saved for b-sides.‘Emperor’s New Horse’ is another that starts out not really firing on all cylinders, but it’s saved by a killer hook and works within the context of the record.

‘Sacred Life’ and ‘The Saints Are Down’ however, count among Astbury/Duffy’s most atmospherically reflective work. The former, is a sincere tribute to souls the world has lost, and is easy on the ear, while the latter is a slow burning ballad with a heavy dose of hard rock intensity. I love tracks like these and at a different time and in a different context they could’ve become Cult classics.

All told ‘The Cult’ is a vastly underrated album, which today would easily be an eight out of ten and even the band themselves should maybe give a second chance. Astbury is on fine vocal form throughout, stretching his voice way beyond the norm, while Duffy`s guitar playing is sublime as he shows off the versatility that gives them so much depth. There is more than enough killer material on this record to keep any fan of quality rock happy; definitely worth another listen.