E043 - 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 Twilight

With special guest Jerry Ossevoort

In 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 album

• Jim recounts his own discovery story and first impressions

• Jerry came to SOM from a very different starting point: 1950s music

• Airdale’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, England

• Patricia Morrison’s role in the Floodland sessions remains one of rock’s more elegant mysteries

• SOM trading cards and other cult fan artifacts spark memories and conversation

• Jerry shares a concert story involving a flying cigarette from Andrew himself

• The “Dominion” video was filmed in Jordan and gives off major Hellraiser or Indiana Jones vibes

• And yes, they once toured with Public Enemy

We 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 consistency

• Brendan (of The Mourning) even has a tattoo of the band’s Merciful Release label logo, joining Chris from JC&tSK in paying tribute

• We share our own experiences using drum machines and discuss whether Avalanche feels cold and mechanical—or oddly emotional and essential

We 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 decades

• Yet between the cover art, the tone, the themes, and the fanbase… the case for “yes” is hard to ignore

• We explore how Floodland compares to work by Bauhaus, Siouxsie, or The Cure

• Does 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 further

We 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.
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