Tag Archives: this corrosion

Lockdown: April

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April used the time on lockdown like she’d always done: she read and studied, listened to music, drank wine in the evenings. She sensed the slight edginess in the rest of the house but just shut it out, retreated behind her thoughts, and bunkered down with books, a bottle, and Bowie. That first one, six months in the ICU, had been the hardest but even then she felt like she’d coped okay… and that was before she’d added alcohol to her distractions. They frowned on that when you were fourteen. This one was only four days old, routine community contact trace, would probably be over tomorrow.

There were tests coming up at the end of term so she read back through her notes on the set texts. It was probably adding to the tension the others were feeling, particularly the scientists who rarely passed up an opportunity to point out the imbalance in workload between their courses and April’s. She was prepared to cede the point to Cora and Aps but not Leah. Surely Psychology didn’t count? Pseudo science at best. Leah had spent an hour after that comment trying to explore what had happened in her upbringing that might explain her suspicion of trying to understand the workings of the human mind. It hadn’t convinced April any more of the scientific basis of the discipline. She was content to tell her that spending six months in solitary in your formative teenage years was enough time inside of your own head to not need anyone else to try and explain it to you. She mostly believed it.

The tests didn’t bother her. They never did, she’d always excelled at them. All of them except the ones that had been carried out on her. Those ones she seemed to have consistently failed or how else to explain why they’d kept coming back to carry out more? She looked at the faded red lines across the inside of her arm, faint fractured traces of her time in containment. She knew they’d been looking for a vaccine. They never quite came out and said it but she heard enough snatches of conversation between consultants and doctors and nurses to piece it together. Her parents knew more than they were letting on, too. They just kept telling her that there was nothing to worry about, they just wanted more tests because they thought she was special, thought she might help them figure out more about the mutations. April had never asked them much about it after she was released – sorry, reintegrated – because she’d stopped believing they would tell her anything she hadn’t worked out for herself. She didn’t even blame them but when she was older she did wonder exactly what they had known.

They’d talked a lot about her scars in the few months after coming out. Once a week with a dermatologist and twice a week with a therapist. We need to heal your psychological scars as well as your physical ones. Maybe that’s why she was a bit dismissive of Leah’s academic calling. Too much time having her thoughts and feelings prodded and pulled by well meaning strangers. Why don’t you use these crayons to express how isolation felt to you? Have you tried writing a story to explore that? You can change how you’re feeling, April, tell me, what do you believe about yourself? She’d preferred the dermatology. Lie back and let them apply some balms directly to the surface of her skin. None of this scratching around under it.

There had been one therapist, when she was about seventeen, that had stuck at it longer than the others. She was never quite sure whether her parents moved her on to someone new or if, privately, they waved a little white counselling flag and gave up. She won’t talk about how she feels. You can’t administer talking therapy if someone won’t talk about how they feel. The persistent guy was called Dr Lau. Anthony. She liked him despite herself. He’d said to her early on that she was probably going to get fed up with him repeating the same questions, making the same points, regular as a metronome. She hadn’t known what that was and when he’d told her she’d said it sounded a bit like a drum machine; she’d just gotten into the Sisters and told him about the one they used, Doktor Avalanche. It’s settled then, I will be your drum machine and you may call me Doctor Avalanche. She couldn’t really take him seriously when he called himself that but when she thought about it now she wondered if that had been his point. He had gotten her to talk.

What else makes you happy? That was one of his sessions. It was shortly after she’d told him about the Sisters, with probably a more detailed account of Wayne Hussey’s exit than he’d necessarily wanted for clinical purposes, and this was his follow up. Even then she was savvy enough, guarded enough, to recognise what this was. He’d patiently taken notes as she’d enthused about the early singles, listened intently to her make the case for them as punk band, really, not a goth one. It was all in the spirit of the thing, that was her point. She could feel herself speaking, in the moment, and there was nothing self-conscious about it, no division between thought and word, no accompanying bone dry commentary from internal April. And she knew that was what he wanted because she knew he thought that would be the source of her truth. That would be the route to all the insecurities and anxieties and issues that they all thought must be there from the six months locked up on her own. For a moment she had felt out of control but only for a moment. She composed herself and reeled off a pre-prepared list of things that she always said made her happy: her parents, her friends, school, shopping. Avalanche just nodded and made some more notes.

It hadn’t all been a lie. Not in retrospect at least. If she was speaking to him now and if she was honest with him now then she would still say ‘friends’. She hadn’t expected to enjoy sharing a house as much as she had and she couldn’t imagine not seeing Cora, Aps, and Leah every day now. What else would she tell him? Holding a sip of purple-black Shiraz in the roof of your mouth, letting the cherry and tobacco flavours seep into your tongue and down your throat. Reading the description of blank, silent snow drifting into the warm office of William Stoner in John William’s novel. She knew all her therapists would have a field day with that one. So you enjoy the metaphorical encroachment of winter into a place of comfort and security? The ridiculously grandiose choral introduction to This Corrosion; so huge and confident. Wagner and Jim Steinman’s beautiful bastard offspring. Dancing. That made her happy. Particularly on her own. Imagining she could see herself suspended as a sequence of snapshots, frozen through a fog of dry ice by the pulses of a strobe. Listening to the others talk, sitting just on the periphery and observing their lightness, their ease, their grace. She was sure that’s not how they saw themselves necessarily but that was what she saw. Their joy. That made her happy.

All of that stuff’s external, isn’t it? Things you observe or consume or experience. Avalanche would have said something like that. What about you? Inside you. What makes you happy from in there? That was where he’d been going with that line of questioning, that line of attack as she would have seen it then, and that was why she’d put the shutters up again.

She wasn’t sure she knew the answer, even now. She wasn’t entirely sure there was one.

Hey now, hey now now

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2. This Corrosion – Sisters of Mercy                                                         When: 1987

If there’s ever a competition to find the worst goth in the history of the UK then I will put my name forwards. I guess this could form the basis of my application.

My first forays into building my own record collection began, in earnest, from the age of around 15. I had a few bits of vinyl from late primary school – notably Abba’s “Super Trouper” LP – and had once traded a T-Rex 7” that had belonged to my dad with my Uncle Steve for… wait for it… Joe Dolce’s “Shaddap You Face”. In my defence I was 9. It’s still not a great defence. However, the arrival of adolescence signaled a renewed interest in music.

Initially it’s fair to say that much of my taste was borrowed, mostly from my parents. Quite a bit of this has stayed with me – Fleetwood Mac’s Rumours, Queen, Neil Diamond, Cat Stevens, Meatloaf, Motown, early Rod Stewart – but it’s fair to say that none of it felt like it was really mine. In most cases it literally wasn’t mine – held on a set of old C60 cassettes that my dad insisted on using despite the fact that you couldn’t fit an album on one side. For a very, very long time I didn’t realise that Pink Floyd’s “The Wall” was a double album; the only up side of this was it made my first listen of “Comfortably Numb” even more jaw dropping. It’s also fair to say that, in the mid to late 80s, this was a collection of artists that was nobody’s idea of “cool”. Such vagaries aside, of course, I can now confidently state the case for any of them – although Meatloaf is a stretch (but a pertinent one given the song at hand, more of which later).

Ah, “cool”. A concept long past my understanding but one that would have greatly preoccupied my teenage self. At that time it probably would have meant owning a Lacoste cardigan, in some suitably pastel shade, and persuading Caroline from the Number 20 bus to see Top Gun with me. Cool, and Caroline, proved elusive. However, irrespective of what this slippery concept fully entailed, the notion that music, or specifically bands, could be a marker for how you presented yourself to the world seemed to be part of it. If adolescence is the time when you begin to build your own identity, and particularly the way in which that identity is shown to the world, then music was very definitely a set of bricks I wanted to use.

So if you’re thinking that we’re headed, inexorably, towards a declaration that my first, independent view of what was cool happened to be goth then you’d be right.

“This Corrosion” was the first single released by the second (arguably third) version of The Sisters Of Mercy. Rising to prominence – or more appropriately emerging from a heavy fug of dry ice – in Leeds during the early 80s the Sisters had basically imploded come 1985. Singer Andrew Eldritch, beginning a pattern that was to repeat through the band’s life, fell out with then guitarist Wayne Hussey and bassist Craig Adams. The latter two formed a new band called The Sisterhood but were thwarted in establishing their new outfit by Eldritch; concerned that the name was too similar to The Sisters Of Mercy he quickly put out a single under The Sisterhood name in order to legally claim it. Allegedly, though never substantiated, it ended in the civil courts with Eldritch suing his former brothers-in-black for £25,000, and winning. When he then put out the album Gift under The Sisterhood name the opening track, “Jihad“, begins with a female voice intoning two, five, zero, zero, zero. History may judge all of this petty but, regardless, one consequence of the ignominy and acrimony surrounding the split and resulting spat over band names was “This Corrosion”.

Hussey and Adams formed The Mission whilst Eldritch, having seen off the perceived threat to the Sisters’ name, picked up his old band moniker and pressed ahead, taking his music away from the guitar orientation of debut album “First And Last And Always”. The first fruit of the new direction was “This Corrosion”, an eleven minute electro-rock track, featuring a 40 piece choir, produced by Jim Steinman (of “Bat Out Of Hell” fame, hence the earlier Meatloaf reference). You don’t really hear a guitar until a solo break, almost four minutes in.

The song directly relates to the break up of Sisters mark 1. According to Eldritch the lyrics are largely a parody – aimed squarely at Hussey – and are deliberately not intended to mean anything; just to sound “cool”. In that, and to my 15 year old self, he very much succeeded. I had no idea what “kill the king when love is the law” or “give me siren, child, and do you hear me call” meant but they sounded amazing. Particularly in the context of a song that, musically, absolutely pummels the senses.

I’m not totally convinced that all of the lyrics are as much a pastiche as Eldritch claims. There are some fairly direct nods to his former band mates: “selling the don’t belong”, “do you have a word for giving away, got a song for me?”, and the final section could be read as Eldritch’s farewell address to them:

I got nothing to say I ain’t said before

I bled all I can, I won’t bleed no more

I don’t need no one to understand

Why the blood run hold

The hired hand

On heart

Hand of God

Floodland and driven apart

Run cold

Turn

Burn

Like a healing hand

Even if, to keep Eldritch at his word, that section is pure mockery, only intended to call Hussey on the (as perceived by Eldritch) meaningless nature of his lyrics, it’s still one of my favourite 30 seconds of recorded music ever. And it’s definitively the coolest.

What’s interesting, in retrospect, about my love of this song is how it bridged what I’d inherited musically and what I went on to seek out. As alluded earlier one of the records my dad passed on to me was Meatloaf’s “Bat Out Of Hell”; an utterly ridiculous, overblown pastiche of 50s American rock and roll. I think it’s fantastic. Bat is as much Jim Steinman’s record as ‘Loaf’s and his production job on “This Corrosion” – New York Choral Society, Wagner, £50,000 budget – followed the basic template he made plain in the title of a song on “Bat Out Of Hell 2”: “Everything Louder Than Everything Else”. Steinman’s orchestration and bombast made it easy to like the Sisters. At the very least you listen to the choir open the track and think: what the hell is that ? Well, you certainly did in a year that boasted Rick Astley’s “Never Gonna Give You Up” as its biggest record.

The song opened up “alternative” music for me, via Bauhaus and Siouxsie – goth opening up indie. It also, strangely, opened up folk music for me, via All About Eve who became associated with the late 80s goth scene (somewhat erroneously but that’s a story for another time). Unknowingly at the time it also primed me for Berlin era Bowie, undoubtedly an influence (musically and stylistically) on Eldritch.

Most importantly it was perhaps the first time I marked out some musical territory that didn’t belong to my parents, wasn’t inherited: was a free choice about my own tastes and how I saw myself. The fact that I was choosing to see myself as a very pale, very thin man, dressed all in black leather, picking his way through a post apocalyptic wasteland, with only a similarly clad female dominatrix for company perhaps says much about the plight of an average 15 year old boy growing up in Plymouth in the late 1980s.

And so here’s why I lay claim to being the UK’s worst goth. Whilst, in my head I stalked the West Country in a long dark trench coat, quoting Poe and Coleridge, my jet black hair lustrous beneath the full moon, in reality my only concession to being an actual goth was to buy a black shirt. A shirt which survived precisely one of my mother’s boiling washes before being forever rendered a washed out grey.

In my heart though I’d changed.