In the ever-evolving landscape of post-punk and gothic rock, few mysteries persist quite like the recording silence of The Sisters of Mercy. Since the release of their third album “Vision Thing” in 1990, Andrew Eldritch and company have maintained an active touring schedule while steadfastly refusing to record new studio material. This 34-year album drought has become legendary among fans, sparking endless speculation, frustration, and fascination in equal measure.
The Last Notes of “Vision Thing”
Released in October 1990, “Vision Thing” represented a significant shift for The Sisters of Mercy. The album leaned more heavily into hard rock territory than its predecessors, featuring tracks like the title song and “More” that demonstrated a muscular, American-influenced sound. It was recorded during a period of lineup changes, with Patricia Morrison departing and bassist Tony James (formerly of Generation X) joining the fold alongside guitarist Andreas Bruhn.
While not as universally acclaimed as their earlier works “First and Last and Always” (1985) and “Floodland” (1987), “Vision Thing” still performed respectably in charts worldwide and contained several songs that have become staples in the band’s live performances. Few would have predicted at the time that these would be the last studio recordings released by the band for more than three decades.
The East West Records Dispute
One of the most widely cited reasons for the recording hiatus involves Eldritch’s notorious dispute with the band’s former label, East West Records (a subsidiary of Warner). Following the release of “Vision Thing,” relations between the artist and label reportedly deteriorated significantly.
In numerous interviews, Eldritch has expressed his disdain for the music industry in general and his former label in particular. The dispute allegedly culminated in what many fans refer to as Eldritch’s “strike” – a refusal to record new material for the label while still being contractually bound to them.
Though the specifics remain somewhat murky, Eldritch has suggested that he eventually fulfilled his contractual obligations through the release of the “Under the Gun” single in 1993 and the compilation album “A Slight Case of Overbombing” in 1993. However, by this point, the band’s momentum in the studio had been decidedly halted.
The SSV Explanation
Eldritch himself has offered a somewhat cryptic explanation for the lack of new recordings that has come to be known among fans as the “SSV” justification – referring to “Sex, Drugs and Rock ‘n’ Roll.” According to Eldritch in various interviews, the band’s ongoing refusal to release new material is because:
- “S” – They don’t get enough sex to warrant making a record
- “S” – They don’t take enough drugs to need the money a new album would generate
- “V” – Nobody buys records anymore, so there’s no valid business reason
Whether this explanation should be taken at face value or as Eldritch’s typically sardonic way of deflecting a question he’s been asked countless times remains open to interpretation.
New Music, Just Not on Record
Interestingly, The Sisters of Mercy haven’t completely stopped creating new music – they’ve simply refused to record it in a studio setting. Over the past three decades, the band has introduced several new songs into their live repertoire, including tracks like “We Are the Same, Susanne,” “Summer,” and “Crash and Burn.”
These songs, recorded only via unofficial bootlegs and live recordings, have achieved a near-mythical status among dedicated fans. The quality of these new compositions has only heightened the sense of frustration that they may never receive proper studio treatment.
The Touring Machine Rolls On
Despite the recording drought, The Sisters of Mercy have remained active as a touring entity. With Eldritch as the only constant member, accompanied by the ever-present drum machine (affectionately named “Doktor Avalanche”) and rotating guitarists, the band continues to perform regularly across Europe and occasionally in North America and other territories.
This ongoing live presence has maintained the band’s relevance and cult status, with new generations of fans discovering their music and attending their notoriously smoke-filled, strobe-heavy performances. The continued demand for tickets demonstrates that even without new recorded material, the band’s legacy remains powerful.
The Fan Perspective
For long-time fans, the lack of new studio recordings has become both a source of frustration and a curious point of pride. There’s something uniquely Sisters of Mercy about steadfastly refusing to play by the music industry’s rules, even if it means denying fans the new music they desperately crave.
Online forums and fan communities regularly debate whether new recordings will ever materialize. Some have given up hope entirely, while others maintain that Eldritch, known for his contrarian nature, might surprise everyone when least expected.
Will the Silence Ever Break?
As we approach the 35th anniversary of “Vision Thing,” the question remains: will The Sisters of Mercy ever release another studio album? Eldritch, now in his mid-60s, has given no indication that his stance has softened. In fact, in more recent interviews, he has suggested that he sees little value in the traditional album format in the current music landscape.
Yet the band continues to write new material for live performances, suggesting that the creative spark hasn’t been extinguished. Perhaps in an era of digital singles and independent releases, Eldritch might eventually find a distribution method that aligns with his famously particular standards and anti-industry stance.
For now, however, “Vision Thing” remains the last chapter in The Sisters of Mercy’s official discography – a fascinating musical cliffhanger that has now persisted for over three decades. The band’s refusal to release new recordings while continuing to perform live stands as one of rock music’s most interesting paradoxes, and perhaps the most perfect embodiment of Andrew Eldritch’s defiant approach to his art and career.
Whether seen as principled resistance or missed opportunity, the 34-year silence since “Vision Thing” has become an indelible part of The Sisters of Mercy’s legend – a drought that, in its own way, has become as much a part of the band’s identity as the music itself.