Tag: Siouxsie and the Banshees

Recording of Siouxsie and the Banshees fifth album started in May, 1982. Long hours in the studio fueled by a flurry of love, drugs and alcohol sees the band record the experimental A Kiss In The Dreamhouse. The dark and foreboding sound of “Cascade” opens the album with various sound effects swirling in the background, Siouxsie singing “Echoing the revolver/Emptying into my mouth”. “Obsession” is more stripped down but no less dark – a spooky atmosphere surrounds it, this contrasts with the recorder opening and shimmering guitar sound of “Green Fingers”.

Serious topics are explored on “Circle” – the circle of abuse and pain spins around and around. Based on the book, the pounding drums of “Painted Bird” drive home the story of bizarre animal abuse. The band even manages to sing about S+M, dominance and death on the single “Melt!” The dark sounds do provide brighter moments. The percussive sound of “She’s A Carnival”, complete with organ outro, and the (maybe) gothic dance craze described on “Slowdive” add a dash of fun. A Kiss In The Dreamhouse is a rollicking bit of dark theatre that still entices 40+ years later.

8/10

In 1981, Siouxsie and the Banshees reconvened to once again work with producer Nigel Gray on what became the band’s fourth album, Juju. The band further developed their mix of post punk, art rock, industrial, and goth into and intriguing mix of songs. “Spellbound” got a new lease on life in 2022 when it was used on the TV show, Stranger Things. The top 20 single sees intricate guitar playing and influential guitar tone from John McGeoch.  Drummer Budgie powers the song underneath and replicates the sound of falling down the stairs one of the band’s finest songs.

Second single “Arabian Knights” sees the band continuing to fire on all cylinders. Scathing lyrics from Siouxsie about middle eastern culture and it’s treatment of women, once again powered by Budgie and a bass swing from Steven Severin. “Into The Light” is gloomier yet also contains arguably Siouxsie’s best vocal performance on the album while “Monitor” sees guitar bristle, introducing a bit of an industrial element to the sound.

On side two, “Sin In My Heart” starts as a bit of a dirge before picking up steam before the first verse starts, drums pounding, the track then sees the band in full rock flight. Most tracks on the album have a darkness to them, whether the song is about stepping into death’s light or on “Night Shift” about the Yorkshire Ripper serial killer, yet it never turns into a slog.  Juju has been hailed as a classic in some circles and highly influential on future alternative rock bands, many specifically citing the guitar work of John McGeoch.  Another must hear album from this inventive band.

9/10

After releasing Join Hands in 1979, it’s safe to say Siouxsie and the Banshees were in disarray.  Both guitarist John McKay and drummer Kenny Morris left the band on the day the album was released. Siouxsie and Steven Severin would then regroup and bring in new drummer Budgie who became a mainstay along with guitarist John McGeoch for their first release of the 80s,  Kaleidoscope.

The first single was a sarcastic take on the drama the band had endured.  “Happy House” is one of their best tracks – gloomy with pop sensibilities that went into the UK top 20.  Here, Siouxsie deadpans that that happy house is “such fun” and that “it never rains”. A bass riff played through electronics powers “Tenant” that dispenses any of tongue in cheek joy that precedes it, it’s the happy house at night when the squatters move in.  Downbeat with glitchy beats, “Lunar Camel” could have come out in the last 10 years and been hailed as innovative.

“Hybrid” puts the drumbeat front and centre, with a ringing guitar and wailing horn. While there is a lot going on musically, the song is always locked down and the quieter moments are quite lovely.  Second single “Christine” is another highlight. Lyrics by Severin, the song chronicles the split personality of Christine Sizemore over an acoustic guitar strum and chugging bassline.  It’s just one of many tracks that create an atmosphere all their own on a highly influential album. Kaleidoscope would see Siouxsie and the Banshees continue to move well past their punk origins into helping form the underground music world of the 1980s.

9/10

The second album from Siouxsie and the Banshees was released less than a year about their spectacular debut. Join Hands has a distinctly different sound, one that is more haunting and introduces gothic tones that would later become popular.  “Poppy Day” opens the album with the ringing of bells and a brief snippet of a Canadian poem by John McCrae about Flanders Field. “Regal Zone” takes the war theme to Iran, with Siouxsie Sioux singing with a staccato voice and a sax interlude courtesy of guitarist John McKay.

Where the album really shines is on “Icon”.  The only track included on the Seven Year Itch live album released in 2003. It’s a spine tingling vocal with a guitar riff and pounding drums that slam in just before the first verse.   The only track released as a single, “Playground Twist” pulls in more bells, thundering drums and buzzsaw guitar. The dark chaotic song takes on a child bullying theme and lyrics of “hanging, hanging, hanging” before ending with children’s voices.

Siouxsie and the Banshees historic first gig was opening up for the Sex Pistols at the 100 club in September 1976. The only song played was an extended version of “The Lord’s Prayer”, that track is recreated as the last song on Join Hands.  At 14 minutes it brings in lyrics from Bob Dylan, The Beatles and Muhammad Ali.  To hear it live must have been mesmerizing but here, it needs some severe editing to make it more than just a noisy scattershot of sometimes interesting shouts. In all, Join Hands can be a hard, grim listen. 

6/10