Tuesday, January 13, 2009

The Mission
Sum And Substance


On the back of reissued albums now comes your chance to enjoy a merry amble back to the dawn of indie videotage when promo clips cost nary a tenner and SAS is a jolly enough jape back in time, collecting all the singles from UK goth-riders and their attendant celluloid calamities. Easily deridable for being pop-tarts of the highest order not serious brow-furrowers there are still many fine moments here belie their love of glam and seventies pop and splendid ridiculousness. Serpents Kiss, alongside the eternal Severina still one of the best reasons for Wayne Hussey being on the planet, shows them cavorting about the greensward a la The Faces which may surprise anyone expecting arthouse pretensions to match the mumbo jumbo lyrics. Stay With Me, with La Huss resembling Gordon Ramsay in faintly hysterical mystical pagan fayre the band on ye auld folkie instruments commendably straight-faced, not least in the presence of their leader’s clenched fist to open arm gesticulations to conjure every last drop of emotion and meaning from his empty wordplay. Tower Of Strength shows our four now furry-chinned heroes (obviously part of a spell to fend of The Nephilim) them try their hand at Hawk The Slayer style fantasy flicks, elsewhere there are budget-less road clips (Beyond The Pale), Deliverance with Hussey as Tyla and a great mish-mash where the rapturous festival crowd and band are never in the same clip onto Never Again’s indie-dance with scary clown playing cello and Like A Child Again with Wayne as Waterboy.
Crusade, an early live set from Nottingham Rock City mixing much of the first two albums alas, is uninvolving, synthetic and pretty pitiful when placed alongside Wake or Live In Orange. Wayne is in Jagger at Hyde Park mode but with scant traces of audience noise and the whole sounds more like a ‘liver’ mix of album sessions this is a disappointment, summing up their slick 12” shiny gatefold sleeve with stickers style with slight substance.
Stu Gibson

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