I have been writing these short posts about subcultures I have been a part of, or respect on my personal social media for a few weeks now. It’s just something fun to do to practice writing.
I’m going to repost some of the longer entries here.
I still feel a certain way whenever I see the distinctive cover art for the early Sisters Of Mercy singles. I am forever taken back to that twinge of clove cigarette and leather scented subterranean excitement upon coming across one of these gems in the record store. They felt like these beautiful black pillars, shaping what the goth subculture that my generation of outsiders inherited looked like. We were just a decade too young to catch this band in their prime, but so much of the scenes we loved were influenced by those deep and dark bass lines and Andrew Eldritch’s just slightly overwrought baritone.
I know this band means a lot of things to a lot of people. I still remember where and when I heard them for the first time – a candlelit attic room in a farmhouse in New Freedom, Pennsylvania on a frozen night in January. I will always love how they took so much what I loved about punk and turned the lights down on it, adding melodrama and a healthy dose of brooding melancholy. I was an obnoxious punk kid; hyperactive and an opinionated loudmouth, but also hypersensitive and insecure. After the shows, or late at night alone these records were the perfect soundtrack for laying to rest the hundreds of tiny heartbreaks from the day. They still are, even with my youth long behind me.
For a while when I was sixteen, one of my best friends was this burly skinhead kid who would just destroy himself in the pit at whatever show we had been at that night, especially if there were anyone we suspected of being Nazi skins at the show to tussle with. Later, we’d get home, and he’d take his boots off and collapse on the fold out bed in my room, claiming to be too sore to move. “Oh… if you can’t move, you can’t stop me from putting this Sisters Of Mercy tape on…”, I’d laugh in the dark. He would swear he was going to kick my ass in the morning for subjecting him to my gothic rock, but he never did. The tape would run out into the night and we were always friends again in the morning, listening to more knuckleheaded Last Resort and Blitz records to greet the day.
Andrew Eldritch is arguably the most hard headed shithead in all of goth, and that’s saying a lot, not only because he’s always claiming to not be goth (scroll all the way down to see two pictures of him and his bandmates looking very, very goth. He supposedly wrote all the lyrics to their first full length in a few days while on an epic speed bender. When the first incarnation of The Sisters Of Mercy acrimoniously split up, he wrote a throwaway record under the similarly named “Sisterhood” in an attempt to snatch up the recording advance for the unreleased follow up to that first LP and so his bandmates couldn’t use the name. He then reformed the band without them and continued to put out new music until the early 90’s when conflicts with Warner Brothers led him to simply stop recording rather than put out new music that would financially benefit the label at all. I remember reading an article he wrote in the 90’s where he listened to contemporary bands and pointed out where they must have taken influence from him.
The Sisters Of Mercy also played a horribly matched gig with Black Flag that Rollins wrote about in Get In the Van. I have always wondered who booked that show, and just… how that happened. They went on a brief (and very awkwardly received) tour with Public Enemy, and made a rad shirt saying Nazis were not welcome at their shows sometime in the early 90’s.
I’ve been arguing with one of my childhood friends for something like twenty-five years about how good these records are. If he’s reading this, here’s to another twenty-five, buddy.
Like Andrew, I am also maybe just a bit of a hardheaded shithead.