Tower Of Strength - Mission (The)

...Come, Heat and the eponymous Tower of Strength all put the band back in that mid-paced dark rock epic that they did so well, power held in check to produce a big, edgy and brooding rock leviathan.

And if the second album is straightforward rock with a gothic attitude added on, the contributions from the first album, Gods Own Medicine are a different mix. The evolution from Hussey's previous incarnation as part of the clinical, industrial ...
...is clear with these songs. The Dance Goes On is lighter than what was to come and warmer than what went before. Guitars are more swirling and intricate and the words are more clichéd and seem to work to a predetermined dark and romantic image. Like Stay With Me and Love Me To Death, there is a false innocence to the words, a deliberate naivety but it sits well with the music and the bands image at that point in their career.

The third ... more

Mention the word Gothic today in connection with music and names like Evanesence, Marilyn Manson and a whole host of sub-metal acts will be offered up of examples of that genre. The modern version of the Gothic sound has merged somewhat with mainstream music to become a badge or at best a fashion statement, a pigeonhole but nothing more. In the same way that punk has moved on from its original meaning, so gothic has become a shadow of its former self, both have become a conformity within the music scene, rather than the fringe territory that they both occupied, they are now just corporate marketing tools and buzz words used out of context. Goth emerged as the dying hours of the seventies crept away from a melting pot of punk attitude, new wave rock ideas and not a small amount of electronica that was surging forth on to the scene. The first band to dominate and encapsulate this gothic creation where undoubtedly The Sisters of Mercy, a clinical and brooding beast that defined the early days of the scene before imploding due to personality conflicts and the good old creative differences.

As the Sisters of Mercy came to an end guitarist Wayne Hussey and basses Craig Adams put together their own band and The Mission where formed. Fans of the gothic movement seemed to fall in one camp or the other. Sister's fans regarded Hussey as the equivalent of Milton's fallen angel; he, who had once sat at the right hand of gothic icon Andrew Eldritch, was now the enemy. I doubt if the ensuing legal wrangles and music press coverage did any harm to either band and after a while the status quo was restored and both bands got on with the job at hand. Between 1985 and 1996 The Mission released a string of albums, ever evolving from its gothic roots to a more mainstream rock sound and for those that want an introduction to the bands work, this retrospective compilation is a great place to start.

The tracks are presented in no particular order with regards to chronology, the layout seems to be more about balance and flow than any less aesthetic criteria, but the sleeve notes do give all the information you need in matching track to album. All the albums are well represented and show the band in all its guises, from gothic romantics to powerful rock giants, from the extroverted pure energy tunes to the dark love songs and more musically thoughtful creates that intersperse them.

The album opens in the same manner as their second album Children, a period that saw the band leave its formative sound and strike out into a more rock based direction, albeit with the dark trappings that they had become attached to. As the sounds of children's voices fade and a guitar builds in echo drenched and epic fashion, Beyond The Pale hits home, a standard rock drive with an intricate blend of Hussey's 12-string and Simon Hinkler's power chords. Mandolin peppers the background of the song and is probably the influence of producer John Paul Jones, he of Led Zeppelin fame. This album is well represented with four further tracks from that album. Black Mountain Mist showing a mellower side to the band, evocative words hang on a guitar picked melody, the addition of harmonies from All About Eves singer, Julianne Regan being the icing on the cake. Kingdom Come, Heat and the eponymous Tower of Strength all put the band back in that mid-paced dark rock epic that they did so well, power held in check to produce a big, edgy and brooding rock leviathan.

And if the second album is straightforward rock with a gothic attitude added on, the contributions from the first album, Gods Own Medicine are a different mix. The evolution from Hussey's previous incarnation as part of the clinical, industrial dance fuelled sound of the Sisters to the Children album is clear with these songs. The Dance Goes On is lighter than what was to come and warmer than what went before. Guitars are more swirling and intricate and the words are more clichéd and seem to work to a predetermined dark and romantic image. Like Stay With Me and Love Me To Death, there is a false innocence to the words, a deliberate naivety but it sits well with the music and the bands image at that point in their career.

The third album Carved In Sand shows a mix of styles, as the band seemed to either lose direction or become more open to experimenting with styles. Whilst Amelia is a fast acoustic guitar led thrash, Butterfly On A Wheel, whilst a good song seems at odds with what you thought the band were all about. With its distinctly electronic beats and background sounds, it still holds something familiar, particularly in the guitar work but bodes for a different direction for the band. Grapes of Wrath adds to the feeling that change is imminent, a mainly vocal arrangement, nice but that's about all I can say. Only the majestic Deliverance readdresses the balance and restores faith somewhat. A rock anthem if ever there was one and although unknown at the time acted as a swansong for those who hankered after the bands earlier sound. That sound was gone and in two years time so was the band.

Later work is more minimal on the album and in many ways the least memorable of the selections. What is of great value here is the three early songs that predate the first album, not least for the fact that as they were released at a time that predates the CD revolution, they are not the easiest to come by. Blood Brother is a classic of the early days, the trademark interwoven guitar soundscape, the relentless beats and the groove that makes you want to dance in that swirling hands aloft gyration that has not been seen since 1987. The other two tracks are covers, a reworking of Aerosmiths Dream On, a song that is well suited to the band and Like A Hurricane, Neil Young's standard, suitably rocked up and darkened down, blistering white hot guitars give it the mission treatment.

For those who want a snap shot of one of the eighties seminal gothic bands, a band that evolved and created some classic dark rock anthems then this is for you. The passion, romantic imagery and breathtaking word play are all in place, backed up by some of the most emotive rock music of its time. If you thought that Goth was all about having the right tattoos and a working knowledge of Evanesence then this may open up your eyes. For those who were there the first time round it's a brilliant trip down memory lane, either way it's a must.
 

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