Tag Archives: goth music

The Mission UK Bring Goth and Roll to the Showbox (Photo Gallery)

The Mission UK.
The Mission UK.
The Mission UK.
The Mission UK.
The Mission UK.
The Mission UK.

Truly's Robert Roth. (Photo: Tony Kay)

Truly, warming up the crowd at the Showbox Market. (Photo: Tony Kay)

(Photo: Tony Kay)

Wayne Hussey of the Mission UK sells the drama. (Photo: Tony Kay)

Craig Adams and Sam Kelly of The Mission UK. (Photo: Tony Kay)

(Photo: Tony Kay)

(Photo: Tony Kay)

Wayne Hussey and Simon Hinkler of The Mission UK. (Photo: Tony Kay)

Formed from the ashes of The Sisters of Mercy, The Mission UK threw a bright paisley scarf around goth music in the 1980s, infusing goth’s lacquered darkness with arena-sized guitar riffs and melodramatic flourish. Critics slagged ’em as bombastic, but their epic escapist music packed stadiums in Europe and made them cult idols among the black-eyeliner set stateside.

The advent of the 1990s saw The Mission’s grandiose, swoonily-romantic rock epics fall out of favor, but judging from their set earlier this week, it was the world’s loss. The band thundered into the Showbox Sunday night as though they’d never fallen off the radar, bashing out a spirited set that weighed heavily on old classics while showcasing some great new material in the bargain.

Frontman Wayne Hussey has taken several incarnations of The Mission UK on the road over the last decade, but this particular tour reunited Hussey with original members Simon Hinkler and Craig Adams for the first time in over twenty years. Hinkler’s guitar textures and Adams’ restless pulse of a bass always contributed immeasurably to the band’s sound, and it was great to hear them back in full flower. Hussey, meantime, sang old and new tracks alike with a drama-drenched baritone reassuringly untouched by time, while new drummer Sam Kelly kept the momentum up with a pile-driving backbeat.

At their heart, The Mission UK have always been a melodramatic, exotic version of a Big Rock Band, so it was no surprise that covers of classic rock tracks like Neil Young’s “Like a Hurricane” and Dylan’s “All Along the Watchtower” sat comfortably beside Mission anthems like “Deliverance” and “Tower of Strength.” They may not be filling arenas like they used to, but The Mission UK still played it like they meant it, and a sampling of tracks from their recent release, The Brightest Light, showed that they’re still wedding bluster, energy,  and atmosphere famously.

The headliners, as it turns out, weren’t the only recently-reunited band playing the Showbox that night.  After almost a decade apart, Seattle power trio Truly have been gigging again with frequency over the last year or so, and they opened the evening with a solid set of tracks mostly cherry-picked from their underrated full-length records,  Fast Stories from Kid Coma and Feeling You Up. Their melange of psychedelia, narcotic Jim Morrison imagery, and grunge-era stomp sounds more pulverizing and forward-thinking than ever today, and contrasted with the headliners nicely.

The Cult Sells Sanctuary (and Riffs) at the Neptune Tonight

The Cult thunder into the Neptune Theater tonight, and they will rock. It’s a given, what with Billy Duffy’s Hammer-of-Thor guitar riffs and Ian Astbury’s larger-than-life rock star charisma leading the way.

But what stands out most in my mind about ‘em–way more than the nostalgia attached to their longevity (nearly thirty years in action, if you’re keeping track)–is their status as trailblazers. Don’t laugh: As far as I’m concerned, you can partially thank the veteran outfit for the way hard rock sounds today.

Back when The Cult started out in the early 1980s as part of Britain’s goth scene, their devotion to the Almighty Riff in all its chugging glory alienated them from their eyeliner’ed and black-hair-dyed brethren. And when frontman Astbury had the cojones to embrace his inner hippie for the band’s 1985 breakthrough album Love, the band caught major shit from the British rock press. Fans, conversely, begged to differ: The soaring brilliance of the record’s flagship single “She Sells Sanctuary” propelled Love to the English Top Ten and inspired rabid idolatry on the stateside college charts.

Just when the world started to get comfortable with a pack of goth hippies, though, The Cult stripped down and cranked up, morphing into a loud, lean hard-rock band with 1987’s Rick Rubin-helmed Electric. The shift inspired even more incredulity at the time, despite the fact that Astbury’s penchant for flower-power lyrical detours stayed consistent. But the mammoth awesomeness of the resulting mix put The Cult on the top of the charts for the last half of the decade.

The Cult fell out of favor in the Clinton Years, toiling through a series of ho-hum records and an extended split just when other musicians started taking cues from Love and Electric. Bands like Queens of the Stone Age and Pantera proffered a style of hard rock that eased up on the wheedly guitar solos, injected traditional heavy metal with doses of psychedelia and goth, and employed singers who could sing at a lower register than metal’s customary police-siren wail. It’s easy to take such a sonic template for granted today, but The Cult were one of the few bands this side of Danzig to toy with it years before it became common musical language.

A lot of The Cult’s set tonight is sure to pull from their most famous ’80s efforts, but the fact that they’re touring behind a respectable new long-player, Choice of Weapon, counts as a bonus. The record strikes a nice sweet spot between Love’s psych-punk leanings and Electric’s animal crunch, vividly showcasing Astbury’s grandiose vocalizing and Duffy’s epic guitar work. Even so, it’s the band’s old goth-metal chestnuts that’ll be packing the house this evening. The Cult are still selling sanctuary, and plenty of people–yours truly included–are still ready to buy it.