The Sisters of Mercy
Anaconda / Phantom

THE REVIEW

Reality sees its debut in 1982 with "Body Electric," a dark dish mixed with synth pop, but surely a style too sweet and predictable for the caliber of the Sisters. The following year they try with two singles; one of these will become one of the manifestos of the gothic scene, namely "Alice."

Absolutely not to be forgotten is the other, "Anaconda." An intriguing title, as are the styles now produced in great quantity by the combo. Eldritch's dark voice is full of pathos, while the guitar, with a sound different from the Bauhaus, gives an urgent touch of originality to the whole.

Special attention is deserved by Craig Adams' bass; "Anaconda" is the perfect example to understand the incisiveness of this instrument. His style stems from the strictly post-punk school, that straight line pressed on the rhythm so dear to Hook and Wobble.

Here there are not only photocopies and stale melodies. A triumphant panorama opens up that will last at least for ten years.

"Anaconda" is introduced by a section of electronic drums that immediately makes your ears prick up. The voice seems to explode but is constantly submerged by the scope of the bass, generating a real cauldron of sound.

The fast lines of the guitar do their part well, especially with the greater space that the six strings manage to find on the B side, "Phantom." A kind of timid and sleepy dub that struggles to outline its design. Only in the fourth minute do we understand that it is an instrumental, thanks to the alienating state of suspense, an eternal limbo.

After this release, there will be "Temple Of Love" and many other great things.