Last year was the 30th anniversary of the Sisters of Mercy’s 1985 album FIRST AND LAST AND ALWAYS, an occasion which led not only to a vinyl set highlighting that LP but also a similar set highlighting their 1987 album FLOODLAND. This year, the Sisterly love continues with the next album in line: 1990’s VISION THING.
Recorded in Denmark, VISION THING wasn’t an Andrew Eldritch solo project, but it definitely reconfirmed that Eldritch was the man with the Sisters’ plan, as it effectively found him starting from scratch with a brand new band: guitarists Andreas Bruhn and Tim Bricheno and bassist Tony James, late of Generation X and Sigue Sigue Sputnik. The sound might be slightly different, but with Eldritch’s voice, there’s no question that you’re still listening to the Sisters of Mercy, as is borne out on tracks like “More,” “Doctor Jeep,” and the title track.
Kevin Smith effectively created a long-term career for himself when he released his first film, Clerks, which set into motion the so-called View Askewniverse, which subsequently spawned Mallrats, Dogma, Jay & Silent Bob Strike Back, Clerks: The Animated Series, Clerks 2… You get the idea: Smith could’ve just kept doing more and more films within the same world he’d created, never needing to branch out into other cinematic territory. Lately, though, he’s been shifting gears and trying new things on a regular basis, with the latest being Yoga Hosers, starring Johnny Depp, his daughter Lily-Rose Depp, and Smith’s own daughter, Harley Quinn Smith.
Rhino has made it a point to reissue classic albums on 180-gram vinyl on a regular basis. This is the latest to get that treatment. You're welcome.
When it comes to prog-rock concept albums, there are few that are held in quite the same esteem as Yes’s TALES FROM TOPOGRAPHIC OCEANS, a 4-song, 2-LP affair – yes, that’s right: it’s one song per side – featuring lyrics based on Jon Anderson’s interpretation of a footnote in the 1946 book AUTOBIOGRAPHY OF A YOGI, paired with Steve Howe’s musical themes and instrumentation.
It’s time for another David Bowie reissue, and it’s one that blew a lot of people’s minds upon its initial release.
EARTHLING, which originally arrived in record stores in 1997, found Bowie moving in an electronica-influenced direction, taking bits and pieces of the drum and bass scene of the day and transforming them into his own take on industrial music. If you think it was a case of an artist riding the coattails of a current trend, then you clearly don’t know the Thin White Duke very well: this was just a case of Bowie being Bowie, to the point where he actually produced it himself, the first time he’d done so for an album in over two decades. (The last instance had been 1974’s DIAMOND DOGS.)