Review Summary: The Sisters get heavy
1990’s Vision Thing tends to be seen as the odd one out in the Sisters of Mercy’s studio album trifecta. In some regards, it comes off as almost antithetical to their previous works in terms of presentation. We’re still obviously dealing with the group’s signature goth rock (sorry, Andrew) but the production trades out echoing reverb for a dry mix that emphasizes gritty instrumentation. Elements of industrial, heavy metal, and even sleaze rock also pop up throughout, giving the album about as much in common with Danzig or The Cult as 1987’s Floodland.
Speaking of which, this album shares commonality with that one in how the lineup was completely switched out barring bandleader Andrew Eldritch. True to the premise, the guitars are more aggressive than they’ve ever been as songs like the opening title track, “Detonation Boulevard,” and “Doctor Jeep” are driven by propulsive riffs seemingly intended to be more headbanging than danceable. It fortunately doesn’t clash with the other instruments too much, providing some heavy backbones to the crystalline keyboards while the drum machine matches its punches and the vocals lend themselves to more snarls amidst the lower deadpan croons.
On the flip side, there’s enough DNA in the more brooding numbers to still feel in line with the band’s past works. “Ribbons” in particular wouldn’t have been out of place on Floodland with abstract rhythm and layered soundscapes that hit the disorientation of a “Flood I.” Their softer side is also shown off quite nicely as “Something Fast” is a momentum-halting ballad ala “1959” that succeeds thanks to an engaging chorus while “I Was Wrong” closes the album on an almost jubilant note with bright acoustics.
“When You Don’t See Me” is among the album’s most interesting tracks in how it combines these varying elements to make what could be spun as a straight up heavy metal anthem. On top of production credited to the legendary Chris Tsangarides, the riffs feel like they could’ve come from a Dio song with a sturdy rhythm to match. Part of me wonders if the vocal range might be a little too low pitched, but the almost understated delivery is in character with the atmosphere at hand. I’ve always been curious to hear what a fully committed metal cover of it would end up sounding like.
“More” also stands out as the album’s centerpiece and may be my personal favorite Sisters of Mercy song. It could be seen as a “This Corrosion” repeat due to a similarly long eight-ish minute length and producer Jim Steinman’s signature extravaganza. However, its drawn out nature is rooted more in escalating tension than dissociation through the ebb and flow of heavy guitars, hypnotic piano, and pulsating electronics. The vocals also provide a sense of urgency as Eldritch gradually unravels against Maggie Reilly’s insistent choral backing.
As somebody who considers the Sisters of Mercy’s three studio albums to all be exceptionally high quality, Vision Thing deserves more love than it gets. The album’s harder angle gives it a unique flavor, making for some of the band’s most energetic performances and never outshining their established penchant for infectious songwriting. It’s still a hair shy of going full goth metal but seems to gesture toward it in a way that I’ve always found intriguing. While I don’t think it’s the best Sisters of Mercy album, it may be the one I revisit the most often.
