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Event Horizon 1998
January 14 |
The opening gig in the States was (reportedly) not sold out, and rescheduled from the infamous Studio 54 in December. The most notable thing about it was the terrible sound -- almost everybody complained about low vocals, some didn't hear them at all. No surprise here: Roseland ballroom is famous for bad sound, and the fact that Andrew couldn't sing loudly due to his illness didn't help, either. To further the technical problems theme, Mike's guitar broke during Train/Detonation Boulevard. Another notable feature was the audience -- predominantly gothic, and, as one reviewer put it, "too cool to applaud". Or do anything more demanding than standing still, at least until the old favorites half. New technologies gain momentum: reportedly, the gig was broadcasted live via Internet, courtesy of unspecified person. No word on where it was available or who listened though. Many people noted that they didn't even suspect Andrew is in struggling through the show with heavy cold and problems with inner ear until next show in Washington got cancelled due to the illness. This page features a Rolling Stone review, graciously provided by its author after I helped him with research. It's interesting to note its difference from fan reviews -- especially the emphasis on goth thing and associating the band with it. Don't bother pointing the author that Patricia didn't sing on Floodland -- he's already informed. Hopefully, the Rolling Stone version have this corrected. Support act: Orange 9mm. |
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Setlist
This setlist might be (and most likely really is) incorrect. If you have access to the real thing, please take some of your time to check it and send in corrections/confirmations.
Thanks to Nik (neptune@skyweb.net) |
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Reviews
Written by Chris Nemier (Bacchus118@AOL.com)
for The Sisters of Mercy Tours site
I got home from the N.Y. show a couple days ago, and while
I didn't think it was quite the same as their show in
Philadelphia this
past June, it certainly is one of the best concerts I've been witness to.
Myself and three friends arrived at the venue around 7 to find that
the doors were already opened and people were being let into the venue.
After a quick detour to the merchandise table (where I picked up a 1998
tour shirt with dates on the back, and fucking nice it is too, thanks very
much) it was onward to get as close to the stage as we possibly could,
which ended up being front row, right in front of one of the speakers,
and about 3 feet away from Adam when he got onstage.
We stood around, smoked, and watched some of the goths wander around
(and had a laugh at some of their attire, too). 8:00 finally rolled around,
and opening band Orange 9mm started the night off... horribly. Boring hardcore/rap
that made even Body Count look accomplished. The highlight of their set
was the mic the singer was using fucking up and him not being able to sing
half the song. After what seemed like an eternity, they were finally gone.
About a half hour later, the intro music (Tangerine Dream, I think)
kicked in and no one really was sure what it was until the overhead lights
went off. The fog machine started up, as did the lights, and suddenly they
were there, kicking the set off with the new and improved "First and
Last and Always". Adam looked about the same, Mike had his hair cut
shorter, and Andrew... well, he looked like a cross between the Eldritch
of 1991 (leather pants, boots), an extra from Magnum, P.I. (that lovely
orange shirt), sporting George Clooney's hair, only bleached. For all the
world, he reminded me of a pumpkin (an Eld-O-Lantern? Hmm...), but he
was still Andrew, and he's got enough money to do whatever the hell he
wants.
It was an amazing set, the only glitch being Mike's guitar going out
in the middle of "Train/Detonation Boulevard" and of course,
the Eldritch comments were fully in place, without quite the level of bitchiness
found in PA, with a couple exceptions. (saying "For fuck's sake, cheer
up" to a bunch of goths, and before going into "This Corrosion"
saying " I see a smile in the front row, and that makes it all worth
it"). "Suzanne", "Romeo Down" and "Will I
Dream" all sounded phenomenal, with "Romeo Down" being my
personal favorite. But of course, the highlight of the night (for me, anyway)
was the show-concluding "This Corrosion".
The only other things I want to add before I take off is that if anyone
knows who the guy with the video camera was and what he was filming the
concert for to let me know, and if anyone managed to bootleg any of the
shows on the tour or anything, to get in touch with me.
Written by Kevin Raub (KevinRaub@aol.com)
for AOL's Rolling Stone Online
Anyone who thought goth was dead (or at least confined to Midwestern high
school outcasts), was not at the Roseland Ballroom for the Sisters of Mercy's
first show in New York in seven years. A sea of black turned out to pay homage
to Mother Superior himself, Andrew Eldritch, who was leaner and slightly less
intimidating than in his "This Corrosion" days. Indeed, the voice of the
Sister's has traded in his top-to-bottom jet black ensemble for a neatly
cropped, bleach-blond close cut and a loose-fitting red button-down. As it
turned out, he was the only one besides a few women in sacrificial virgin
white that strayed from the dark wardrobe requirements. Even a guy wearing a
"Break the Trend. Smile Back." T-shirt donned the evening's required attire.
Buttressing the gloominess, a barely-visible Sisters lineup, which includes
Eldritch as the only original member and a drum machine, began the night's
festivities behind an incessant wall of smoke. "First and Last and Always,"
from the Sister's debut album of the same name, somehow emerged from the
shadows. Plagued by a vocal monitor that was as inaudible as the band was
invisible, the Sister's already unvaried song repertoire was made virtually
indistinguishable. It wasn't until the rambunctious "Amphetamine Logic" (five
songs in), that Eldritch's vocal even reared its ugly head above the music. In
fact, Doktor Avalanche (the Sister's pet name for the drum machine) proved to
be about the only reliable source of intelligible sound throughout the
evening.
Though there were highlights amidst the din (a hell-raising "Dominion/Mother
Russia" and an as usual anthemic "This Corrosion" come to mind, but minus the
haunting background vocals of former guitarist Patricia Morrison), both lacked
the power and eeriness of the recorded versions. Eldritch's demonesque voice
has held firm in the 11 years since the Sister's semi-breakthrough album
"Floodland," but on this night, it could have used a slight case of
overproduction.
After passing on Sister classics like "Lucretia My Reflection" and "More" in
the main set (although they very well could have been hidden behind that wall
of smoke somewhere), the Sister's returned and Eldritch finally stepped up to
the mike for an out-of-character yet ridiculously good rendition of Pink
Floyd's "Comfortably Numb." Although muddled most of the evening, it was the
first time his message came through, a message his following no doubt swears
by: Goth never dies, it simply fades to black sometimes.
My thanks go to Kevin himself for sending me the review.
This review appeared in AOL's Rolling Stone Online. It should
also appear in the Rolling
Stone WWW site. There are no plans to use it in the print Rolling
Stone magazine (online and print versions have separate contents).
Written by Jason (vitus@ix.netcom.com)
for Dominion mailing list
My two pennies:
New York version of First and Last and Always was the best I've ever
heard, without a doubt. The lead guitar riff was the original, but not
distorted. The rhythm guitar was very heavily distorted, vox were on high
reverb, lights and smoke working overtime. A positive orgasm of an opening
song. Ribbons was somewhat calmer, but AE came across as the nasty bastard
that he is. (first outfit: black leather pants, black engineer's boots,
and the black/yellow Chinese jacket.)
Train was another highlight of the
set. From my spot in the front left, I could feel the Doktor's bass and
drums ripping right into my chest.
Giving Ground was a low spot, AE's vocals lost under the Doktor and
one verse cut from the song. On the Wire/Teachers was also a bit of a letdown,
suffering mainly from a bad mix. No surprise that the first time the crowd
showed any signs of life was for Dominion. A couple of surges towards the
stage, lots of bouncing up and down, singing along, but not many people
doing the actions. (second outfit: minus the jacket, add some kind of red
shirt unbuttoned all the way, with little sparkles on the fabric.)
Anaconda'97
brought on another mass sing along, and the backing vocals have gotten
much better. I think his mic was turned down. ;) Flood II was a smoke clouded
coolly lit monster of a song. All the high notes hit, Varjak on acoustic
not having to look at AE for cues, and a few more hands in the air. Temple
of Love? Nothing outstanding about it, particularly with half of it cut.
Time to replace it from the lineup. Comfortably Numb/Some Kind of Stranger
was another one done up in style. The guitar solo was top notch, as were
AE's moans and screams. This Corrosion was probably the high point for
the crowd's energy. Lots of dancing about, singing along, fists in the
air fun.
Pointed barbs:
Overall, it was a good show. The new songs, particularly Summer, War
on Drugs, and Romeo Down are excellent. The band seemed comfortable on
stage, except when Varjak's guitar broke (during Come Together or Train,
I think.) and he stood still looking at Andrew. That blemish aside, things
went smoothly throughout the shortened set, and it looks like it will be
another good tour of North America for the Sisters.
Side note: there was some guy walking around in the barrier, and on
the wings of the stage with a hand held video camera. Any thoughts/suggestions
as to what might be in the works?
Written by Nik (neptune@skyweb.net)
for Dominion mailing list
Doors opened at 7 or so, by 8:10 pm Orange 9mm (poor-man's Rage Against
the Machine) was on stage warming up the place, all 50 of us. By 9 pm the
place was packed and at 9:30 enter the Sisters.
The sound was really good although Von could have been louder. Perfect
performance, perfect vocals (even the high notes in Numb). The whole show
seemed very rehearsed. Not that this is bad, it almost seemed the band
was showcasing. By the third track the mix was really good. The lights
were great, especially for Come Together, Ribbons, Summer and Flood.
Highlights on the show:
the new songs. Suzanne is fantastic, Summer and War on Drugs have gotten
better, especially War on Drugs when it starts picking up tempo up to the
ending.
Romeo Down is vintage Sisters, a little Flood II, a little Afterhours,
and was the a little bit of the bass from tools sober sneaking in there.
The only questionable track is Will I Dream. It sounded a little too much
like a Vision thing out-take, maybe it will come together on the album.
Numb/SKOS and Suzanne were worth the $27.50.
Highlight outside the show: the homeless fella with the sign, "Need
money! for beer, pot and hooker".
> The only other things I want to add before I take off is that
Back by the sound board was another video camera along with a Sony(?)
stereo mic. I also noticed two DAT machines in the rack of audio equipment.
As for recording from the audience I don't know about it, I got frisked
pretty good going in, and I every purse got a good look through.
Von quotes of the night: "It's so much better when I can hear it"
(after Come Together) and "Cheer the fuck up will ya".
Low lights, limp, dead crowd. No wonder we didn't get Jolene.
Written by Marla Linder (mlinder@GT.com)
for Dominion mailing list
I saw the Sisters of Mercy in June'97 at Brixton in
London. When I got
stateside, I wrote a note to this list stating a high degree of
disappointment. I panned them.
On January 30, I saw them again at the (soldout) Roseland show in NYC
and today I have flattering things to write.
I went to the show expecting to hate it (sorry), but I had the time
of my life (thank you). My three friends and I were unable to stand still
during the show. We were right up front, but drastically stage right --
the sound and view was great, and we even found a little elbow room.
So - some relevant points -
I cannot state strongly enough that this was quality fun music.
It may have little to do with the Sisters of Mercy as we know them, but
that's ok - let's evolve with them.
We have a great legacy - SGWBM, FALAA, Floodland and VT - and we can
listen to the recordings forever.
I hope this tour will bring in the die-hards and introduce them to a
new evolution of the Sisters. As you see them on this tour, remember that
you don't have to know a song to enjoy it.
Open your feet to the beat.
And show your appreciation, damn it.
I will be satisfied if I never hear Temple, Corrosion or Flood again
live - if that will secure production of more.
Andrew - I applaud you.
Written by Alex Smith (Alex_Smith@timemagazine.com)
for The Sisters of Mercy Tours site
The triumphant return of the Sisters of Mercy (their first NYC appearance
since July 24, 1991 with Public Enemy at Radio City Music Hall, I believe),
should have been a more momentous occasion. The original site for this
event was slated to be Studio 54 (where they also played in '91, then dubbed
"new Ritz") but was later moved to the reprehensible Roseland
Ballroom (sometimes derisively referred to as "Pose-land"). The
end result was a little underwhelming and depressing.
A great percentage of the blame can go to Roseland itself, with its
ill-conceived layout and appalling sound system. To be quite honest, I've
NEVER had a good time at Roseland, and have vowed on numerous occasions never to return. But, this was the Sisters.
Everyone else will undoubtedly write to this site with setlist info,
so I'll leave that bit out. Personally, I would love to hear more material
from "First and Last and Always"-era Sisters (my favorite incarnation
of the band), notably "Walk Away," "Black Planet" and
"Marian," but that, apparently, is a tall order. I'm sure some
obsessed little gothling will e-mail me with some vitriolic reason for
this, but the fact remains; it'd be nice to hear'em. "Adrenochrome"
would be cool too, but I'm not holding my breath.
Another annoying factor, as might've been expected, was the huge goth
contingent of the crowd, with a surprising amount of teenagers (where are
they coming from? the band hasn't had an album out since the early 90's!).
Andrew himself laments this point, as his onstage contempt is positively
palpable. Though never accused of being a cheery fellow, Andrew seems to
hold a great deal of malice towards his American audience, which was also
well in evidence at the
Philly "Dark Harvest"
show this past
summer. I can understand his spite towards this crowd (some dressed up
in ridiculously pompous Elizabethan finery), but at the same time, he's
not doing much to move away from the aesthetic that attracts them. I'd
love to see Andrew and Co. drop the dry ice shtick and just strut on out
and play the music.
Gripes aside, the new stuff (what we could make-out) sounds vibrant
and punchy, which is a good thing. Here's hoping they'll streamline the
bugs out of the system and come back to NYC again (at a more suitable venue)
to show us how it's properly done.
Oh, and love the Motörhead t-shirt.
Written by Damageisit@aol.com
for The Sisters of Mercy Tours site
Had no idea Andy was a bit under the weather until I heard the
Washington
gig was cancelled. I have seen the Sisters four times now and clearly where
they play has as much to do with their performance as any other influence.
I felt the venue was actually a good size for a band like the Sisters but
the acoustics were poor. Hearing his vocals was not easy, even the songs
I knew well. Overall I had a great time, because I know that they were/are
a clever and amusing entertainment service.
The crowd however were a complete
nightmare. The usual quota of funeral going lookalikes were there. I even
contemplated going dressed in white jeans, white shirt, knowing I would
stand out. However I also had plans to go to a swish nightclub later on
so knowing it would effect my plans with possible chance encounters I chose
blue and black instead (and a bobble hat).
Where do all these sad teenagers
come from? Would they ever understand the lyrics? Yes, First and Last and
Always contains depressing themes but there is so much more to it than
that. Find inspiration in his words not black clothes and apparent miserable
lives.
Looking forward to the new records.
Written by Keith Johnson (johnson@swnetworks.com)
for The Sisters of Mercy Tours site
First let me say, that regardless of what my opinion of the show was,
I will always be a fan of the Sisters. I absolutely love listening to them.
However, Friday night was one of the most disappointing concerts of
my life. And I don't know who to blame. Myself and my friend were standing
about ten feet in front of the sound board for the entire show. And not
once, NOT ONCE did we hear the vocals. The mix was absolutely horrendous.
I could not believe how bad it was. And I felt so bad for Andrew and Co
because I have to believe that they weren't aware of the problem.
I am not exaggerating when I say I could not hear the vocals at all. It was
like the mix was backwards. Mostly I heard the drum machine, then the bass
then some guitar and then only what sounded like deep mumblings. Totally
incomprehensible. Unbelievable. I just couldn't believe how amateurish it
was. And for $28.50 US as well.
When I came into work this morning,
I spoke to some other friends who went to the show (swnetworks is an entertainment
news network) and they said the same thing: (1) horrible show, (2) couldn't
hear the vocals.
Written by queenofgotham@mindspring.com
for Dominion mailing list
> However, friday night was one of the most disappointing concerts
of my life.
I have to disagree about the concert being a disappointment. Yeah, the
sound was poor, especially in the back half of the Ballroom. I meandered
around the room, was near the sound board at one point and decided it had
to sound better somewhere else. I ended up off the corner at stage right,
just at the edge of the ballroom floor. The volume level was definitely
too low all around, but from my vantage point, not only could I hear Andrew,
but I could really see him as well. That was an unexpected treat,
in more ways than one.
I never would have guessed he was under the weather from the sound of
his voice (aside from his comment regarding the medication he was on).
I thought he sounded at least as good as on the recordings, sometimes even
stronger
I was somewhat peeved by the number of people who seemed more interested
in talking amongst themselves than listening to the band (but being a classically
trained musician, I have rather stringent ideas about that in general!),
but it seemed to me that the crowd did their share of singing and being
appreciative. Maybe it was just the section around me. It did seem that
he spent more time over in our corner of the stage than on the other side,
which was where the VIPs had their own holding tank on a side stage.
As I really never anticipated seeing the Sisters perform live, I really
appreciated the concert, having previously been on the wrong continent
at the wrong time. And while I thought $28.50 for standing room was highway
robbery before the show, I thought it was worth every penny afterwards.
I can't wait to see the results of all that camera action - one mounted
by the sound board and two guys being very subtle about on-stage filming.
They frequently disappeared into the smoke in which Andrew cloaked
himself.
Written by Fizzig13@aol.com
for Dominion mailing list
Andrew was in rare form, but the audience didn't seem to want to move.
Being front & center, it was apparent the symbiosis that should have
existed between band and audience was not in operation, through no fault
of Von's. Still, credit where it's due, not everyone in the audience was
an extra from "Day of the Dead".
Incidentally, the guy behind me in the crowd was broadcasting the show
across the 'net via live audio. No idea how many people were listening
to it that way, but I'm sure someone was able to catch it.
Written by Robin (Xiphoid@banet.net)
for Dominion mailing list
The crowd was pretty unenthusiastic, but I don't know about way in
the back (people usually talk a lot back there). At least there wasn't
any moshing and smashing. It was a treat to actually be able to watch and
enjoy the show without worrying that my ribs would crack on the barricade
and then the barricade would break causing 1,000 people to fall on me (I
was surrounded by large friendly men from Atlanta). I agree that the smoke
was a little overdone though.
Written by mariwarner@aol.com
for The Sisters of Mercy Tours site
I love SOM, but that concert was a rip off, the worst sound I have ever
heard at any concert. I was looking forward to hearing Andrews sing, I mean
really sing, soul churning SOM songs but ended up listening to noise.
I will still see them again and again until I get it right.
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Links
Addict zine has an article
at http://www.addict.com/MNOTW/lofi/980208/980208_3027.shtml
about LA fans who attended the NYC gig (thanks to Darius 'Mototarka' Krasauskas
(dariusk@soften.ktu.lt) for
pointing to the article).
AOL's Spin Online features a review and a picture of the event, both
written/taken by Arleen Colone
(Prttysldr@aol.com). Or at least
it did in early 1998.
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