Mesh – The Truth Doesn’t Matter (Digital/CD/Vinyl Album – Dependent Records)
Time flies, and it has already been ten years since Mesh released their previous album, “Looking Skyward”. The band, led by Mark Hockings and Richard Silverthorn, returns after two earlier singles with “The Truth Doesn’t Matter”, an album featuring no fewer than 16 tracks, available in a deluxe edition with additional material—primarily alternative edits. As the title suggests, it deals with lies spreading through the current zeitgeist.
Musically, Mesh remains true to the successful formula they introduced more than 30 years ago. It is a highly distinctive form of Electro-Pop that can sound somewhat dark and sometimes even aggressive, thanks to the addition of an EBM-style bass line, yet the melodic choruses—perfect for singing along at the top of your lungs—are carefully crafted. The melodic aspect is also strengthened by the guitar, which often sounds unobtrusive in the overall mix, yet is an essential element of Mesh’s sound and passionate approach. On top of that, there is the unique voice of Mark Hockings, who has lost none of his original charisma and power. Once again, Mesh has delivered several brilliant songs with the necessary care, power, and talent. The already well-known “Exile” remains a gem, but the album contains several others, ranging from heavier tracks to softer, dreamier songs that simply sound beautiful and sensitive. The album also includes several short instrumental interludes that do not add much real value, but there is still plenty of beauty to discover on this new work.
Mesh is back with another brilliant record, as they have delivered many times before. Without a doubt, a new masterpiece. (Rating:9).
Listen to “Exile”:
Read the news on ‘The Truth Doesn’t Matter’.
About Mesh
Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. The creative split developed early: Silverthorn composes most of the music, while Hockings writes the lyrics and handles lead vocals. The trio first signed to Swedish label Memento Materia and issued the EP “Fragile” in 1994, followed by the debut album “In This Place Forever” in 1996 and the compilation “Fragmente” in 1998.
Their second full-length, “The Point at Which It Falls Apart“, arrived in 1999 and was later revisited as a 25th-anniversary hardcover artbook edition. In 2000, the band worked with German producer Mark ‘Oh on the single “Waves”, which entered the German charts, before moving to Sony for “Who Watches Over Me?” in 2002.
A run of albums on Dependent Records followed: “We Collide” in 2006, co-produced with Gareth Jones; “A Perfect Solution” in 2009, later reworked as the 2011 remix album “An Alternative Solution”; “Automation Baby” in 2013; and “Looking Skyward” in 2016. The band have also issued live recordings such as “On This Tour Forever”, the orchestral “Live at Neues Gewandhaus Leipzig”, and the “Touring Skyward – A Tour Movie” set.
Frontman Mark Hockings later launched the Blackcarburning project, releasing the debut album “Watching Sleepers“. Today Mesh operate mainly as the Hockings and Silverthorn duo in the studio, expanding to a four-piece live line-up with drummer Sean Suleman and keyboardist and backing vocalist Vaughn George. “The Truth Doesn’t Matter”, released on 27 March 2026 via Dependent Records, is their first studio album since “Looking Skyward” in 2016.
I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. Unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can - and we refuse to add annoying advertising. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
