Siouxsie and the Banshees "Voices on the Air (The Peel Sessions)" (2006)

Voices on the Air (The Peel Sessions) (compilation)

release date: Oct. 23, 2006

format: cd

[album rate: 4 / 5] [3,88]

producer: diverse

label: Polydor / Universal / BBC - nationality: England, UK

Track highlights: (1. session, 29/11/79): 1. "Love in a Void" (anden liveoptræden '79) - 2. "Mirage" - 3. "Metal Postcard (Mittageisen)" - (2. session, 6/2/78): 5. "Hong Kong Garden" - 6. "Overground" - 7. "Carcass" - 8. "Helter / Skelter" - (3. session, 9/4/79): 10. "Playground Twist" - 11. "Regal Zone" - (4. session, 10/2/81): 13. "Halloween" - 14. "Voodoo Dolly" - 16. "Into the Light" - (5. session, 21/1/86): 17. "Candyman" - 19. "Lands End"

Compilation album by Siouxsie and the Banshees from Polydor / Universal who just keep finding material to issue with a band they didn't see as commercial enough while active on the label. Here, however, it's not another best of, which looks like many others but a collective work of all the band's appearances on John Peel's BBC Radio 1 show over the years from 1977 to 1986. The John Peel Sessions is a legendary radio show existing from 1967 until Peel's death in 2004, and it includes more than 4,000 recordings by more than 2,000 artists. The album here comprises a total of 19 tracks spread over five appearances, where the only two regulars from all five recordings are vocalist Siouxsie Sioux and bassist Steven Severin. The first three sessions, Nov. 29, 1977 (tracks #1-4), Feb. 6, 1978 (tracks #5-8), and Apr. 9, 1979 (tracks #9-12) respectively, sees John McKay on guitar and Kenny Morris on drums. The fourth session recorded 10/2-1981 (tracks #13-16) is with John McGeogh on guitar and Budgie on drums, and the fifth and final session Jan. 21, 1986 (tracks #17-19) is with John Valentine Carruthers on guitar.

It's mainly the band's earlier period you'll find documented here - with only three tracks are taken from the band's seventh album, Tinderbox (1986), the remaining 16 tracks (apart from one track by The Creatures) may be found in studio versions on the band's first four albums.

Voices on the Air (The Peel Sessions) is obviously a collector's item, as the recordings have not previously been broadcast together. The band's first Peel Session was independently released as an ep in '87 (on cd in '89), the second session released in '89 - both are collected on a compilation from '91.

The album is fine musical historic release, virtually showcasing the band before any label had a contract ready, and with the BBC's limited sound studio with a single sound track available, it's really the documentation of pure rawness, white noise, and electric energy flowing from one of the most notable British bands who instantly managed the progression from punk rock and into the wider scene of post-punk.

The album is dedicated BBC radio presenter John Peel (1939-2004) and producer John Walters (1938-2001, who was producer on many Peel Sessions, but not on the tracks on the album mentioned here).

From the band's BBC performances, there also exists a later rather extensive 3 CD + 1 DVD box set (with around 85 tracks), Siouxsie and the Banshees at the BBC released in 2009, which in addition to the five Peel Sessions also includes other radio-broadcast concerts and television appearances.

Recommended connoisseurs.

[ 👍allmusic.com 4 / 5 stars ]

Siouxsie and the Banshees "Downside Up" (2004)

Downside Up (compilation)

release date: Nov. 19, 2004

format: digital box set

[album rate: 4 / 5]

producer: various

label: Polydor / Wonderland / Universal - nationality: England, UK

A compilation by Siouxsie and the Banshees as a 4-disc box set, which is described on the sticker on the front cover:

"B-Sides & Rarities Box Set

55 tracks on 4 CDS All digitally remastered
34 tracks on CD for the first time!

Includes a 76 page booklet with an introduction by Siouxsie

Annotations by all 3 members of the band for each track

Full lyrics for all tracks
982 182-3"

55 tracks and 3 hours and 50 minutes of total running time - which should ensure a sensation of being covered with rare takes etc. And it is a rather comprehensive release, which luckily includes fine comments from Siouxsie, Severin, and Budgie as additional material for each track.

Collector's item.

The Creatures "Hái!" (2003)

Hái!

release date: Oct. 20, 2003

format: digital

[album rate: 3,5 / 5] [3,62]

producer: The Creatures

label: Instinct / Sioux Records - nationality: England, UK

Track highlights: 1. "Say Yes!" - 4. "Godzilla!" - 5. "Imagoró" - 6. "Tourniquet"

4th and final studio album by the duo The Creatures - consisting of Siouxsie Sioux and her husband Budgie (aka Peter Clarke) following 4½ years after the acclaimed Anima Animus (1999). Siouxsie and the Banshees, in which both played, disbanded in 1996, but in 2002 the group reconvened for an abbreviated world tour, which resulted in the live album The Seven Year Itch - Live (May 2003), the final concert being played in Tokyo, after which Siouxsie and Budgie took the opportunity to stick around to record studio improvisations with taiko drummer Leonard Eto of the Japanese instrumental group Kodō, with whom Budgie had long wanted to play. Later in France, sequences from the recordings were mixed with Sioux's vocals, and a number of tracks were selected for the album here. Hai! exists in a variety of versions and may often be found as a double album - in vinyl edition with the same tracks as here on single CD, or as a 2CD version, where the album's second disc is dedicated instrumental versions of the standard album, but it's also released with the standard CD and a DVD of the full-length Tokyo improv with Budgie and Eto. The album was also reissued in 2004 with three bonus tracks.

Musically, the album is possibly the band's most experimental, where familiar styles are hard to pinpoint. In a way it follows the recipe from the band's debut album Feast (1983) by being created in the encounter with another culture, and by trying to include this encounter in the music - and at the same time it's also a return to a more organic sound without the use of electronic instruments. Here, traditional pop structures are layered on top of Budgie and Eto's percussion / drums session, where a Japanese tradition clearly shines through. The focus is not on radio-friendly hits, but rather with respect for tradition and musical improvisation as a focal point. Nevertheless, they have succeeded in creating nine distinctly different compositions, each with their own individual expression and temperament.

The album garnered positive reviews despite the fact that it landed at number #157 on the UK albums chart. The track "Godzilla!" was released as the only single from the album a week before the actual album release.

Much to normal procedure regarding album releases by The Creatures, this one is filled with complex compositions as a very original release that sounds like nothing else and still manages to present music as something other than the usual radio-friendly muzak - reminding us of other radio-friendly tones. It is music on its own terms and something that demands the presence of a listener. My first few listens were special experiences, where the music contained good elements but felt distant. After several examinations, the ears and brain may have adjusted to the specialty - the original blend, and the music became present and almost intrusively intense. It's hard to pick the best tracks, because the album is great as a whole more than anything else.

In 2004, Siouxsie Sioux undertook an acclaimed solo tour - accompanied by Budgie and guitarist Knox Chandler of The Banshees - featuring tracks from both The Creatures and Siouxsie and the Banshees' back catalogue, which was released on film DVD under the title Dreamshow (2005). In 2007, Sioux announced that she and Budgie (Peter Clarke) had separated, which also meant an end to The Creature's career, and the same year Sioux released her (so far) only solo album, Mantaray.

Siouxsie and the Banshees "The Seven Year Itch - Live" (2003) (live)

The Seven Year Itch - Live (live)

release date: May 19, 2003

format: cd

[album rate: 3,5 / 5] [3,68]

producer: Siouxsie and the Banshees

label: Sanctuary Records / Wonderland - nationality: England, UK

Track highlights: 2. Jigsaw Feeling" - 3. "Metal Postcard" - 5. "Lullaby" - 6. "Lands End" - 9. "Night Shift" - 10. "Voodoo Dolly" - 13. "Monitor"

2nd live album by Siouxsie and the Banshees is a release, which comes eight years after the band's final studio album The Rapture (1995) and seven years following their final live performance - and hence the title.

Shortly following the '95 album, the band were released from its contract with Polydor, although, they still completed a planned live tour with yet another new guitarist. Jon Klein was replaced by Knox Chandler (of Psychedelic Furs) and the following year, the band officially disbanded. Sioux and Budgie continued briefly as a married couple and with their common duo The Creatures. In Apr. 2002, the two teamed up with bassist Steven Severin and Knox Chandler to organize a short live tour, which however, aside from a few concerts at home, also brought the band to the US and Japan. They named the tour "The Seven Year Itch Tour" - with reference to the fact that it had now been seven years since they last played together, and also inspired by Billy Wilder's famous film.

The selected tracks are neither the obvious hits nor the previously more critically acclaimed compositions, but instead rather a collection of lesser known tracks originating from singles' B-sides and fan favourites from the their many live performances over the years. All in all, it's stylistically kept in the band's mid-eighties tone with focus on bass, drums, guitar, and Sioux's vocal, and the tracks are also mainly from the early years, although both Tinderbox (1986) and Peepshow (1988) are represented.

The album garnered great reviews and instead of being followed by selected singles, the album was released in several formats - including VHS and DVD.

It's definitely worth a listen, but is mostly fan material - and here we don't hint at the kind of success the band experienced with commercial alt. dance songs at the end of their career, but fans from an early stage.

Immediately after the end of the 2002 Japan tour, Siouxsie and Budgie stayed in Tokyo and recorded some improvised tracks, which were later mixed in France for a series of new compositions intended for the fourth and final studio album Hái! (Oct. 2003) by The Creatures. Siouxsie and the Banshees didn't continue as a band - The Seven Year Itch - Live is a stand-alone tour and album, but subsequently several compilation albums have been issued by Polydor / Universal. In 2004, the label released the 4 CD box set Downside Up, in 2005 the album Gold, as a 2 CD release - an album which in fact is identical to The Best of Siouxsie & The Banshees from 2002, only presented with new cover and title. In 2006 the label issued Voices on the Air (The Peel Sessions), which collects five appearances on the BBC 1 in dedication to John Peel, who died in 2004 - by far the best compilation with the band so far. In 2009, the label then issued a 4-disc box set, Siouxsie and the Banshees at the BBC, and you'll find another three or four releases by Polydor / Universal.

The Seven Year Itch - Live is a really fine supplement to the band's best live album Nocturne (1988).

[ allmusic.com 4,5 / 5, The Guardian, Uncut 4 / 5 stars ]

Siouxsie and the Banshees "The Best of Siouxsie and the Banshees" (2002)

The Best of Siouxsie and the Banshees (compilation)

release date: Nov. 12, 2002

format: digital

[album rate: 3,5 / 5]

producer: diverse

label: Polydor / Wonderland - nationality: England, UK

2 CD best of album by Siouxsie and the Banshees released six years after the disbandment is basically the first release with the attempt to collect the band's best tracks. It's quite obvious a pure record company's idea without intentions of trying to document what the band has really contributed with in a music historical perspective. And the selection of 'the best' compositions hasn't included advice, wishes, guidance from the band members. When you take a closer look at what may have been the trigger for Polydor / Universal 'suddenly' manufacturing an idea to release this album at this very instant, it's striking that former band members Sioux, Severin, and Budgie together with guitarist Knox Chandler met in April 2002 to discuss the preparation of a reunion tour, which they called the "Seven Year Itch tour", which took place in the Summer of 2002, and handpicked tracks from this tour ended up on the live album Seven Year Itch - Live (2003). And yes, the (former) record company then found a way to perhaps ride on the new interest for the band and to earn a little extra profit from that...

The Best of... consists of two CDs, where CD 1, with its 15 tracks mainly originate from the band's later years, and it has a total running length of approx. 57 minutes. CD 2, with 9 tracks, all of which are various extended editions or peculiar mixes, has a total running length of just under 65 minutes.

Let me cut to the conclusion: this is by no means the best of a band who has successfully changed style from album to album over almost two decades, starting out as a post-punk band with strong ties to punk, then becoming one of the most significant style-creating bands of the establishment of both gothic rock and later darkwave styles. Later on, they have progressed again as a distinct kind of pop and alt. dance group, and it's pretty much only this last chapter you'll find being exposed on this very release. The selected tracks are fine - as it's difficult to list fifteen tracks with a band, who have made so many fine songs, without it being automatically a successful selection, however, at the same time it is a somewhat strange experience listening through an album that starts with the band's commercial breakthrough - the cover "Dear Prudence", which, despite its qualities, in no way rightfully represents the band's original contribution to music history. Admittedly, a few well-known tracks from their early period have been included, but the jump from alt. dance tracks back to dark electric gothic rock, and then ending as it started with their most recent period, seems like the strangest journey.

Two fine compilations were released during the band's lifetime: Once Upon a Time / The Singles from '81, which nicely documents the band's earliest music, and then Twice Upon a Time - The Singles from '92, which admittedly doesn't include tracks from the band's final album - but together these are a much better choice than The Best Of.

Not recommended.

[ allmusic.com 3 / 5 stars ]

The Creatures "Anima Animus" (1999)

Anima Animus

release date: Feb. 15, 1999

format: cd

[album rate: 3,5 / 5] [3,66]

producer: The Creatures

label: Sioux Records / PIAS - nationality: England, UK

Track highlights: 1. "2nd Floor" (video) - 2. "Disconnected" - 4. "Take Mine" - 5. "Say" - 7. "Prettiest Thing" (live) - 8. "Exterminating Angel" (live) - 9. "Another Planet"

3rd studio album by The Creatures (Siouxsie Sioux and Budgie) released a little more than 9 years following the sophomore Boomerang (Nov. 1989) is issued on the newly established Sioux Records. The album appears to have been more or less ready to be recorded in '96, but after Siouxsie and the Banshees were released from their contract with Polydor, that also had meant a farewell for The Creatures on the label, and the duo were therefore effectively without a record deal and established in '98 the company Sioux Records only for their own releases.

A lot has clearly happened since the duo's most recent album, and although the duo experimented with electronic beats early on, Anima Animus marks a clear transition from a mainly organic sound to more pure electronic-founded music. There are still ties to a strong rhythm section with percussion as the basic structure and the sound of the marimba, but there has also been room for the inclusion of electric guitar - here handled by Psychedelic Fur's tour guitarist Knox Chandler, who also happened to play on the live tour after the album The Rapture (1995) by Siouxsie and the Banshees, just as he's also found on the same band's live album The Seven Year Itch - Live (2003). Despite the use of a vast variety of instrumentation, it's still unmistakable characteristics of The Creatures' musical universe. There is an austerity and simplicity about the compositions - they often contain progressive structures and patterns, and percussion and drums can indicate quite complex patterns, but the overall experience is that of a flow of simplicity. Perhaps because the rhythm section alone takes up a major part of the overall picture, and then there is always room for Sioux's original vocal, which lift and create a harmonic link.

The album came out to positive reviews, but simply missed a larger audience - perhaps also as a result of the band no longer being cared for by the interests of a major record company. The three singles, tracks #1, #5 and #7 were released without charting higher than No. #72 ("Say").

Anima Animus is a quite fine album where Budgie once again is left room to demonstrate his skills as an percussionist equilibrist and where Sioux also impresses with one of her finest vocal performances. PJ Harvey, for example, has included the album on her top-10 list of the best albums of '99.

The album is no less than the very best in the discography of The Creatures.

[ allmusic.com 3 / 5, The Times, Uncut 4 / 5 stars ]

Siouxsie and the Banshees "The Rapture" (1995)

The Rapture

release date: Jan. 16, 1995

format: cd (2014 remaster)

[album rate: 4 / 5] [3,77]

producer: John Cale; Siouxsie & The Banshees

label: Polydor Records - nationality: England, UK

Track highlights: 1. "O Baby" (5 / 5) - 2. "Tearing Apart" - 3. "Stargazer" - 4. "Fall From Grace" - 5. "Not Forgotten" - 7. "The Lonely One" - 9. "Forever" - 11. "The Double Life"

11th studio album by Siouxsie & The Banshees (as the band is stylised here) released close to four years after Superstition (Jun. '91) is here with the same line-up with Siouxsie Sioux, Steven Severin, Budgie, Martin McCarrick, and Jon Klein. On the band's predecessor, they tempted with a synthpop / new wave producer in the shape of Stephen Hague, but here they have been even more daring by choosing the 'old' art rock icon, John Cale, here credited production of five of the album's total of twelve tracks. Since the breezy but absolutely fine Superstition, the band has released a single for the "Batman Returns" movie and for the singles compilation Twice Upon a Time - The Singles - both released in '92.

The Rapture was partially recorded already in '93 exclusively by the band, but it was then decided to hire Cale to record the remaining five tracks and to head the production of these in the spring of '94. Sonically, th is new collection is its own, as usual - and perhaps Polydor and the band themselves feared that by using Hague again, the new album could sound as a repetition, and in retrospect with the band's shifting expression from one album to another, the choice of Cale perhaps justified that by ensuring a new expression. Although, Cale practically only is credited less than half of the songs on the album by producing five tracks (tracks #1, #2, and #7-9), the album is promoted and billed as a John Cale-production. The band itself is credited production of the remaining seven tracks, but this is hardly ever mentioned when referring to The Rapture. In any case, the sound is darker compared to Peepshow (1988) and especially when comparing to Superstition yet without being exactly darkwave as on Tinderbox (1986). It's the kind of sound that also echoes Cale's own art rock releases with focus on rhythm instrumentation where the guitar has been put further in the back. In that way, the album is more in line with a well-known rock tradition - or perhaps closer to the mix of experimental Banshees productions and something more traditional.

Prior to the release, which added The Rapture to the band's long list of critically acclaimed releases, the song "O Baby" was issued for single release Dec. '94 peaking as number #34 on the domestic scene and as number #21 on the US Modern Rock singles list, after which the album followed to a new low and somewhat disappointing 33rd spot on the UK albums chart. Feb. '95, "Stargazer" followed as only the second but final single, and after that underperformed with a position as number #64, Polydor decided to end its contract with a band that had been on the label for all of the band's active years - meaning since Jun. '78, and thus for almost 17 years. On the following tour, guitarist Jon Klein was replaced by Knox Chandler, and about a year later as of Apr. '96, the core members of the band, Sioux, Severin, and Budgie, chose to disband Siouxsie and the Banshees. After this, Sioux and Budgie continued their joint music project, The Creatures, which in '99 released its third album, the critically acclaimed Anima Animus.

The Rapture is another fine collection, which sees the band introducing a new set of aspects. You'll both find tendencies towards synthpop and the more dance-friendly sound we meet on Superstition and also a darker and simpler sound structure tying thin threads with Tinderbox, and the again more complex structures point in the direction of Through the Looking Glass (1987). A new element, is a more traditional rock structure, and still everything is held together as a meaningful whole, which in essence is Siouxsie and the Banshees.

The 2014 remaster adds three bonus tracks to the track list: a mix of "O Baby", a demo, and a later track with new guitarist Chandler.

Recommended.

[ allmusic.com, Select 4 / 5, Vox 3,5 / 5 stars ]

Morrissey & Siouxsie "Interlude" (1994) (single)

Interlude, single

release date: Aug. 8, 1994

format: digital

[single rate: 3,5 / 5] [3,42]

producer: Boz Boorer

label: Parlophone - nationality: England, UK

Tracklist: 1. "Interlude" - 2. "Interlude (Extended)" - 3. "Interlude (Instrumental"

Single release by Morrissey and Siouxsie Sioux released under the name 'Morrissey & Siouxsie' as a standalone duo project. The song is a cover a song with lyrics by Hal Shaper and music by George Delerue for a 1968 British film of the same name directed by Kevin Billington. The song for the film was originally performed by Timi Yuro.

Morrissey had reportedly made several attempts in arranging a duet project with Sioux, and finally she accepted the song here after Morrissey's many suggestions for possible cover songs.

The song is a chamber pop-styled ballad and it was met by some appraisal landing at number #25 on the UK singles chart. The song is quite nicely arranged and performed, but is still mostly a collector's item without the most evident qualities.

Siouxsie and the Banshees "Twice Upon a Time - The Singles" (1992)

Twice Upon a Time - The Singles (compilation)

release date: Oct. 1992

format: digital

[album rate: 4 / 5]

producer: diverse

label: Polydor Records - nationality: England, UK

2nd compilation with Siouxsie & The Banshees (as they are stylised here) is a direct continuation of Once Upon a Time / The Singles from 1981. The band has refrained from releasing actual best of albums, so far sticking to the release of compilations of their singles. And the form also completely follows the thread seen with the first compilation by listing the singles in chronological order. The '81 compilation was released after just four studio albums and therefore it contained only ten tracks with a total running length of just under 33 minutes. Since then, the band has released another six studio albums, and at the same time they have gone from issuing typically two singles per album, to selecting three songs, which means this compiles a total of eighteen tracks starting with "Fireworks" from the album A Kiss in the Dreamhouse from '82 and ending with "Face to Face", a track, which in addition to being released as a single, also is found on the Batman Returns (dir. by Tim Burton) soundtrack from '92. Twice Upon a Time... thus has a total running length of just under 76 minutes. With this, the band quite nicely documents its progression from dark gothic rock, post-punk, and darkwave to a much more danceable and mainstream expression, which nevertheless manages to tie nicely with the sound of their earlier heydays. Siouxsie and the Banshees are and has always been a band who sounds unmistakably original and who has never come to a stand still or simply chosen the easy solutions. Only minor flaw with the album is that they [label management?] chose the remix version of the single "Fear (Of the Unknown)".

The album here is a super-fine introduction to the band's multifaceted progression, but it cannot stand alone - SATB has simply made too many strong songs for that. Only after the band's disbandment an actual best of album was released, which cannot be recommended, and if you (for some reason) don't want to listen to all the band's studio albums, you will get a good picture by listening to Once Upon a Time / The Singles from '81 and this very album.

Highly recommended.

[ allmusic.com 4,5 / 5, Select 4 / 5 stars ]

Siouxsie and the Banshees "Superstition" (1991)

Superstition

release date: Jun. 10, 1991

format: cd

[album rate: 4 / 5] [3,84]

producer: Stephen Hague

label: Polydor Records - nationality: England, UK

Track highlights: 1. "Kiss Them for Me" (5 / 5) - 2. "Fear (Of the Unknown)" (remix) - 3. "Cry" - 4. "Drifter" - 5. "Little Sister" - 6. "Shadowtime" (4 / 5) - 9. "Silver Waterfalls" - 11. "The Ghost in You"

10th studio album by Siouxsie & The Banshees (as the band is stylised here) is released nearly three full years after Peepshow (Sep. 1988) and that's with a new experienced producer - something the band otherwise has been a bit reluctant about, since Mike Hedges and the band have been close collaborators on this job since '83 [Tinderbox from '86 is exclusively produced by the band]. Hague has established his name over several years in the '80s as a successful producer for especially British synthpop artists such as Pet Shop Boys, Orchestral Maneuvers in the Dark, New Order, Erasure, and was most recently as co-producer on Robbie Robertson's Storyville-album (1991) (recorded earlier this year, but released on a later occasion). Mike Hedges and the band was especially known for a special darkwave tone with ties to post-punk, and here it's obvious that the band with Hague as producer has taken the full step into another stylistic universe.

Stylistically, you won't find many similarities with Pet Shop Boys, New Order, or any other of the aforementioned artists on Superstition, but the album clearly appears as a purer art pop and especially as an alt. dance outing. The band's line-up for once remains the quintet consisting of Siouxsie Sioux, Steven Severin, Budgie, Martin McCarrick, and Jon Klein as the one we met three years earlier, although, the hiatus in between album releases has given the band members the opportunity to work on other projects. After their last live tour, Steven Severin made the soundtrack Visions of Ecstacy (1989) (for a short film), Siouxsie and Budgie released their critically acclaimed second album as The Creatures, Boomerang (1989), an album they also found time to promote via a following tour, and in May '91 the two married. Martin McCarrick featured on both releases and also found time to resume his work as studio musician on various albums, including Marc Almond's Jacques (1989), This Mortail Coil's final album Blood (1991). Jon Klein was occupied as film director on "Doctor Jeep" (1990), a promotional video for Sisters of Mercy, and together with Barry Andrews (of XTC / Shriekback), Matthew Seligman, and Kevin Wilkinson (of Waterboys), he formed the project, Illuminati.

Much as usual, the new album garnered positive reviews, although Allmusic, among others, weren't exactly enthusiastic, and the album marked a so far worst performance with a 25th position on the national charts. Although, the first single "Kiss Them for Me" may only have peaked at number #32 nationally, it simply topped the US Alternative Airplay chart, just as "Peek-a-boo" from Peepshow had done - and the song also reached an 8th place on the Dance Club Songs list - also in the US.

The two songs "Shadowtime" and "Fear (Of the Unknown)" were respectively chosen as the second and third singles from the album without achieving notable positions on a national scene, but they also performed better than fine on the other side of the Atlantic with positions as no. #13 and #12 on the Alternative Airplay list - so the Americans had caught sight and ears of the band (Superstition, ranked at no. #65, is the highest ranked album from the band on the Billboard 200).

Imho, the album may not be one of the band's absolute best, but they've made so many really good albums that less will do, and it's still the band's best since Hyaena (1984). Again, The Banshees deserve great credit for being highly innovative and at the same time anchored in an unmistakable tone, which is theirs and their only.

Highly recommended.

[ 👎allmusic.com 3 / 5, Q Magazine, Select 4 / 5 stars ]

The Creatures "Boomerang" (1989)

Boomerang

release date: Nov. 6, 1989

format: digital

[album rate: 3,5 / 5] [3,44]

producer: Mike Hedges, The Creatures

label: Polydor / Wonderland - nationality: England, UK

Track highlights: 1. "Standing There" - 3. "Pity" - 4. "Killing Time" - 7. "Pluto Drive" - 10. "Fury Eyes" (single remix version) - 13. "Simoom"

2nd studio album by The Creatures following nearly 6½ years after the debut Feast (May '83) and 1 year after the most recent album Peepshow by Siouxsie and the Banshess, and they are all three albums with producer Mike Hedges as co-producer. The Creatures still only consist of Siouxsie Sioux and Budgie.

Musically, Boomerang continues in the footsteps of Feast with a mix of world music, mainly spun around the style of exotica with the use of various percussion instruments. The album doesn't have the same focus on the incorporation of natural sounds as found on the debut, but in place of an inspiration of sounds originating in Hawaii, the music here is based on Iberian-inspired music with elements from flamenco and Spanish jazz, and the album is also partly recorded in Andalucia.

As the debut, this was generally met by positive reviews, but without the band winning any further popularity. The tracks #1 and #10 were selected for singles releases, although, unable to match the previous positions on the singles chart. However, the track "Killing Time" was later 'adopted' and often played by Siouxsie and the Banshees at live concerts, as well as Jeff Buckley succesfully made a live cover of the song.

Boomerang has more of an art pop feel to it and it reaches more towards recognisable mainstream music structures without impressing altogether. Still, the album rises above the purely curious and wins after multiple spins, where several tracks appear as more solid and sonically simple compositions than found on Feast.

After this, The Creatures continued as a project, but it was nine years before the duo released their next follow-up, Anima Animus (Feb. 1999).

[ allmusic.com 4,5 / 5, NME, Record Mirror 4 / 5 stars ]

Siouxsie and the Banshees "Peepshow" (1988)

2014 remaster

Peepshow

release date: Sep. 5, 1988

format: cd (2014 remaster)

[album rate: 3,5 / 5] [3,62]

producer: Siouxsie and the Banshees, Mike Hedges

label: Polydor Records - nationality: England, UK

Track highlights: 1. "Peek-a-boo" - 2. "The Killing Jar" (4 / 5) - 5. "Burn-Up" - 9. "The Last Beat of My Heart" (4 / 5) - 10. "Rhapsody" - *13. "The Last Beat of My Heart (Live)"

*Bonus track on 2014 remaster

9th studio album by Siouxsie and the Banshees following some 18 months after the covers album Through the Looking Glass (Mar. 1987) and is like that a Hedges / Banshees production. Shortly after the release of the predecessor, for a period the band was reduced to a trio, but it didn't take long before they expanded again. For the recordings here, the band has grown to a quintet, which now count the three permanent members: vocalist Siouxsie Sioux, bassist Steven Severin, and drummer Budgie. To that core two new members have entered: guitarist Jon Klein and multi-instrumentalist Martin McCarrick (on cello, keyboards, accordion), with the latter also contributing on the '87 album without yet being included as band member. On that, he played cello, keyboards and managed the string arrangements.

Musically, a lot has happened since their last two albums - or you could say that the band has carried new styles with them from the covers album, which appears more homogenous in a style that includes darkwave as a direct link to the band's gothic rock and post-punk past, while Peepshow here seems more detached from the darker side - for the first time showing the band embracing pure art pop with synthpop electronics. The guitar is still found as omnipresent background, but it's now usually other instruments that control the tracks and dominate the soundscape. Compared to previous albums, which have almost all had a relatively simple sound, this has here become more complex with strings and keyboards slipping refinedly in and out of a strict structure, which also stands in contrast to the bombastic wall of sound you met on Hyaena (1984). It seems clear that McCarrick has been allowed to add new structures to help draw the sound on yet another original outing from a band who just sticks to its hallmark of keep innovating without losing its distinctive traits.

As usual, the album was met by positive reviews - nationally, by even very positive reactions without landing a top-10 position on the British albums chart. The album peaked a little further down at a respectable number #20, although it became the band's worst charting album, and the critically acclaimed first single "Peek-a-boo" landed at number #16 in the UK but cruised in at number #1 on the US Alternative Airplay list. "The Killing Jar" and finally "The Last Beat of My Heart" followed as selected single releases without resulting in more than a 41st and 44th place on the singles chart, nationally, however, the second single ("The Killing Jar") also landed a second spot on the American Alternative Airplay list.

The album is not an immediate favourite, but it certainly has its qualities as a quite strong and independent release, which with its meticulous production sounds more like music released after the turn of the Millennium. The band also manages to stick to its musical distinctiveness with recognisable drums, bass, and vocals, and at the same time carry the music into a more modern output.

Recommended.

[ allmusic.com, Record Mirror 4,5 / 5, 👎Q Magazine 5 / 5 stars ]

original cover

Siouxsie and the Banshees "Through the Looking Glass" (1987)

2014 cover

Through the Looking Glass

release date: Mar. 2, 1987

format: cd (2014 remaster)

[album rate: 3,5 / 5] [3,58]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

Track highlights: 1. "This Town Ain't Big Enough for Both of Us" (Sparks) - 2. "Hall of Mirrors" (Kraftwerk) - 4. "This Wheel's on Fire" (The Band) - 5. "Strange Fruit" (Billie Holiday) - 7. "The Passenger" (Iggy Pop)

8th studio album by Siouxsie and the Banshees (stylised: Siouxsie & The Banshees) following Tinderbox (Apr. 1986) is produced in collaboration with Mike Hedges, who has worked on/off with the band since A Kiss in the Dreamhouse (1982), where he worked as sound engineer. This new collection consists of cover songs exclusively, and it's only the band's second but also already its final with (new) guitarist John Valentine Carruthers.

After having spent a relatively long time writing, composing and recording the '86 album, the band wanted an easier and more spontaneous approach to the studio work, and they therefore selected a collection of tracks of other artists they have played live or just felt like honouring for being musical inspirations. The title of the album is taken from Lewis Carroll's novel with the same title, which btw. is the continuation of "Alice in Wonderland" - that very title was previously inspiration to the band's own label, which is simply named Wonderland.

Stylistically, the album falls somewhat outside of what usually characterises the band's music, much to the same extent as was the case with the single "Dear Prudence" (1983) - a Beatles cover, which resulted in positive feedback from reviewers and fans. At first listen the album may turn out a bit of a disappointment, but The Banshees' versions of very diverse songs have an original quality that extents the scope of each song in that they are still recognisable classics - there is an original cut left - and on the other hand they have been adapted to the band's soundscape. It may take several listens to sense how tracks with such different origins nevertheless have a common basic tone. One of the more recent changes to band's output is a greater musical complexity, which is partly conveyed by the presence of strings - something which admittedly was also used on Tinderbox. British composer Jocelyn Pook features on viola and multi-instrumentalist Martin McCarrick, who is yet to be a future band member, effectively from the successor Peepshow (1988), he is credited all string arranegements and also plays cello and keyboards.

Siouxsie Sioux and Steven Severin are the only two remaining members from the formative years, while drummer Budgie has been a regular since the band's third album Kaleidoscope (1980). However, it's far from a band secret that over the years they have had more than ordinary difficulty in holding on to their changing guitarists for a longer period, and after this, the band's newest guitarist, John Carruthers, was released from the band, who then decided to continue as a trio - without a stable guitarist.

The 2014 edition comes with four bonus tracks, two of which are remix versions of tracks #4 and #7.

This is a fine and different work from the band.

[ allmusic.com 3 / 5 stars ]

Siouxsie and the Banshees "Tinderbox" (1986)

Tinderbox

release date: Apr. 21, 1986

format: vinyl (SHELP 3) / cd (2009 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Siouxsie and the Banshees

label: Polydor / Wonderland - nationality: England, UK

Track highlights: 1. "Candyman" - 2. "The Sweetest Chill" - 4. "Cities in Dust" (4 / 5) (live on The Old Grey Whistle Test) - 5. "Cannons" - 6. "Party's Fall" - 8. "Land's End" (live on The Old Grey Whistle Test) - *10. "The Sweetest Chill (Chris Kimsey 12" Remix)" - *11. "Song From the Edge of the World (JVC Version)" - *12. "Starcrossed (demo)"

*Bonus track on 2009 remaster

7th studio album by Siouxsie & The Banshees (as the band is stylized here) (SATB), following nearly full two years after Hyaena (Jun. 1984), which saw the band among other things having to find a suitable replacement for guitarist Robert Smith, who ultimately found it too challenging to be engaged in several groups and finally chose to concentrate fully on his brain-child, The Cure. Smith was eventually replaced by John Valentine Carruthers, who first features on the The Thorn EP (Oct. 1984).

The guitar has always played a special part in the music by SATB, which means there's a natural audible change on the album here. It's not so much that the guitar sound has disappeared, but to a larger extent that the album makes more room for other instruments. Severin's bass has gained more volume and Budgie's drums also uphold a significant position in a soundscape that is particularly characterised by the use of strings: violins, cellos, and keyboards simulating similar instrumentation - all of which emphasises a certain chamber pop feel and for the most part: a distinct art pop style on all compositions. It's not a ground-breaking newfound sound as such, but it's certainly a new foundation, and that's how it's always been with this band. Each new album has its own touch and Tinderbox is generally beautifully produced.

The album garnered positive reviews and landed at number #13 on the UK albums chart, possibly thanks to two singles preceding the album. The first single "Cities in Dust" was released already in Oct. '85 and it got a great deal of airtime on MTV and it peaked at No. #21 on the singles list. The song presents a distinctly stronger dance-friendly style as alt. dance / dance pop, which is why it found a spot at number #17 on the US Dance Club Songs chart. The second single "Candyman" was released in Feb. '86 and charted at number #34.

"Cities in Dust" is a fine, strong and iconic track that fits the band's distinctive profile perfectly, whereas the album doesn't quite reach the level of Hyaena. "Land's End" is a super-nice progressive and unconventional composition with focus on Severin's fretless bass and Budgie's skills as equilibrist percussionist - something that may also be heard on several other tracks on an album that has also found room for a few fillers. Still, Tinderbox is a thoroughly solid album both proving Carruthers as a sublime guitarist and at the same time demonstrates that SATB still have great musical potential and still are capable of the difficult task of evolving.

The front cover reproduces a photograph of a tornado taken by Lucille Handberg near the town of Jasper, Minnesota, Jul. 8, 1927. It's a classic image, which previously served as the cover of Miles Davis' Bitches Brew (1970) and for Deep Purple's Stormbringer (1974).

The 2009 remaster comes with four bonus tracks - two remix versions, and two non-album tracks, which are quite fine compositions.

Recommended.

[ allmusic.com 4,5 / 5 stars ]

Siouxsie and the Banshees "The Thorn EP" (1984) (ep)

The Thorn EP, ep

release date: Oct. 19, 1984

format: digital (2004 remaster)

[album rate: 3,5 / 5] [3,54]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

Tracklist: 1. "Overground" - 2. "Voices (On the Air)" - 3. "Placebo Effect" - 4. "Red Over White"

EP release by Siouxsie and the Banshees and the band's first release after Robert Smith left the band and therefore also the first album with John Valentine Carruthers as new guitarist. The EP contains four tracks, all of which have previously been issued. "Overground" is thus available in album version on the debut The Scream (1978), "Voices (On the Air)" has previously only been released as the B-side "Voices" to the band's first single "Hong Kong Garden" (Aug. '78), "Placebo Effect" may be found on the band's second album Join Hands (1979), and "Red Over White" was B-side to the single "Israel" (Nov. '80). All tracks here have been recorded in new 'symphonic' arrangements with the band attempting to incorporate strings in its soundscape - something they would refine on the band's following album Tinderbox (1986).

The Thorn EP is quite an interesting outing, which clearly shows the band's search for a new sound. SATB had always been and practically were challenged throughout the band's long career in holding on to guitarists. The band had already displayed several great guitarists, and this was another characteristic that followed the band from start to finish. Either the guitarists chose to leave themselves, or they were dismissed, but none of the band's many excellent guitarists featured on no more than three studio albums in succession. The band's sound depends heavily on a distinctive guitar sound, and with Robert Smith in the band that sound was naturally different from when John McGeoch played beforehand, and with Carruthers it's again necessary to saddle up - and in this way The Thorn Ep nicely documents a search for cultivating the band's sound and to incorporate their new guitarist into a natural process, which finds a more rooted sound on the following album.

The EP is not in itself a masterful outing but is exciting as something diverse in between big albums, where the band proves to bridge from energetic post-punk towards more sophisticated art pop.

The Thorn EP was originally only released on vinyl - later came an independent digital issue, but the EP is also available as a separate CD on the compilation album Downside Up (2004).

Siouxsie and the Banshees "Hyaena" (1984)

Hyaena

release date: Jun. 8, 1984

format: vinyl (SHE HP1) / cd (2009 remaster)

[album rate: 4 / 5] [3,92]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor / Wonderland - nationality: England, UK

Track highlights: 1. "Dazzle" (officiel video) - 2. "We Hunger" - 3. "Take Me Back" - 4. "Belladonna" (4 / 5) - 5. "Swimming Horses" (4 / 5) - 6. "Bring Me the Head of the Preacher Man" (4,5 / 5) - 7. "Running Town" - 9. "Blow the House Down"

6th studio album by Siouxsie and the Banshees (SATB) is the first and only of its kind to feature Robert Smith (of The Cure) on lead guitar. Former guitarist John McGeoch was dismissed from the band shortly after A Kiss in the Dreamhouse (1982). Already as early as after the band's second album Join Hands (1979), the band was left without a guitarist as John McKay left just prior to a tour with The Cure as a warm-up band was about to take off - Robert Smith therefore jumped in to help the band complete the first two shows before John McGeoch then took over as new permanent guitarist while Smith stayed with The Cure. When McGeoch was hospitalised in '82, the band again asked Smith to step in as temporary replacement, and when eventually McGeoch was sacked from the band, Robert Smith officially accepted the role as their new guitarist, although he was still the main force in The Cure. Together with bassist Steve Severin, Smith simultaneously established the short-lived project-duo The Glove in '83, under which name they released Blue Sunshine (Aug. '83). Also, Siouxsie and drummer (and husband to be) Budgie began their (long-running) duo, The Creatures, and they released their acclaimed debut Feast in May '83. After breaking up with SATB in '83, McGeoch became a member of The Armoury Show and he contributes to the band's only (and fine) Waiting for the Floods (1985).

Musically, Hyaena (stylized: 'Hyæna') is something quite different compared to the band's previous releases, although the same may be said of all their albums. The '82 album was clearly experimental and full of strings, and unlike that, Hyaena is a multi-layered synthesiser mix, blending art pop, post-punk, gothic rock with distinct traits from neo-psychedelia.

If you happen to be familiar with The Top (1984) by The Cure (and therefore Robert Smith), Blue Sunshine (1983) by The Glove (Robert Smith & Steven Severin), then you'll perhaps notice a similar soundscape on Hyaena, which is very much in line with exactly those two albums by exhibiting some of the same stylistic traits. There is an almost wild and absurd willingness to throw in all sorts of instrumentation as extra layers on top of all the existing layers of both acoustic and electronic instruments while miraculously still managing to maintain a distinct musical direction through musical signatures created by the use of guitars, bass, and drums - as a common feature on all three albums. Some may point out that precisely this should be credited Robert Smith's creative abilities. However, the music is credited to the band, and Budgie and Severin have also played fundamental parts in the creation of the sound that characterised SATB. Sioux contributes especially with her characteristic vocal and she is also credited almost all lyrics, except for three tracks with lyrics by Severin. Although he naturally slipped in as one of the band's many fine guitarists, Robert Smith left the band again shortly before the release of the album as he ended up suffering from symptoms of physical strain and mental breakdown, most probably as the result of having been full-time involved in three concurrent projects. Smith was subsequently replaced by John Valentine Carruthers, who was to prove to be another distinctive guitarist in SATB.

Hyaena is yet another dazzling album from a band who seem to quite simply (re-)invent musical styles and simultaneously be able to reinvent themselves over and over again.

Highly recommended.

[ allmusic.com 4,5 / 5 stars ]

Siouxsie and the Banshees "Nocturne" (1983) (live)

Nocturne (live)

release date: Nov. 1983

format: digital (2009 remaster)

[album rate: 4 / 5] [3,88]

producer: Mike Hedges, Siouxsie and the Banshees

label: Polydor Records - nationality: England, UK

*Track highlights: 6. "Pulled to Bits" - 13. "Spellbound" - 14. "Helter Skelter"

*It's a splendid album without a dull moment and where all songs could be listed here, so here's a few songs that simply shine more than the original studio versions.

Live album by Siouxsie and the Banshees released one year after A Kiss in the Dreamhouse is featuring new guitarist Robert Smith (also The Cure) replacing John McGeoch, who was dismissed by the band in late '82. Smith jumped in as substitute for the upcoming tour promoting the '82-album in November that year and was then asked to join the band. The 16 tracks selected for this album were all recorded over two nights at the Royal Albert Hall, London, on Sep. 30 and Oct. 1, 1983. Most of the songs are taken from the two albums Juju (1981) and A Kiss in the Dreamhouse with the addition of a couple of B-side singles and the most recent single hit "Dear Prudence". The album was also released in VHS-format as a 12-track issue and in 2006 on DVD including an extensive TV performance 'Play at Home TV Special' and two live tracks from a live performance from The Old Grey Whistle Test.

Despite just playing songs from two albums Nocturne is a spectacular and quite successful performance at the height of this band's remarkable career. The sound is not perfect but it justifies the skilled instrumentalists and reveals what a sublime unit they are. The addition of Robert Smith works so smoothly because he had played with the band for a couple of live concerts in '79 and then he has collaborated and recorded together with bassist Steve Severin on their common project, The Glove - a fascinating music-project releasing just one album, Blue Sunshine (Aug. '83).

Nocturne is a must-have for fans of Siouxsie and the Banshees, but it's also a quite successful live album for anyone interested in post-punk and / or early gothic rock.

Highly recommendable.

[ allmusic.com 3 / 5 stars ]

Siouxsie and the Banshees "Dear Prudence" (1983) (single)

gatefold cover

Dear Prudence, 7'' single

release date: Sep. 23, 1983

format: vinyl (gatefold - SHEG 4)

[single rate: 3,5 / 5] [3,42]

producer: Siouxsie and the Banshees, Mike Hedges

label: Polydor / Wonderland - nationality: England, UK

Tracklist: A) "Dear Prudence" - - B) "Tattoo"

Single release by Siouxsie and the Banshees and the band's first issue featuring Robert Smith (The Cure) on guitar. The title track is a cover-song originally by The Beatles and credited Lennon / McCartney.

The single was issued in regular 7'' and 12'' issues. I purchased a special issue, which comes with a six panel fold-out green sleeve.

The single is the band's best-selling single-hit making it to number #3 on the British singles chart list, but it also brought the band some fame in North America.

I guess, its appeal to a largely mainstream audience secured the fine sales numbers. Having purchased the vinyl single, it never appealed much to my taste, though. I think, I thought of it as being too pretentious and contrary to the style I had come to associate with Siouxsie and the Banshees.

regular cover

The Glove "Blue Sunshine" (1983)

Blue Sunshine

release date: Aug. 23, 1983

format: vinyl (SHE LP 2) / digital (2006 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Merlin Griffiths, Robert Smith, Steven Severin

label: Polydor / Wonderland - nationality: England, UK

Studio debut and only album by collaboration project The Glove consisting of guitarist and vocalist Robert Smith - founding member of The Cure, and guitarist in Siouxsie and the Banshees, shortly in '79 and then again from '82-'84 - together with bassist Steven Severin of Siouxsie and the Banshees.

[ collectors' item ]

The Creatures "Feast" (1983)

Feast [debut]

release date: May 20, 1983

format: vinyl (SHELP 1) / digital

[album rate: 3 / 5] [3,12]

producer: Mike Hedges, The Creatures

label: Wonderland / Polydor - nationality: England, UK

Track highlights: A) 3. "Ice House" - 4. "Dancing on Glass" - 5. "Gecko" - - B) 2. "Festival of Colours" - 3. "Miss the Girl"

Studio album debut by the duo The Creatures, consisting of Siouxsie Sioux and Budgie, vocalist and drummer respectively in Siouxsie and the Banshees (SATB). The album is the first on newly formed label Wonderland (started by SATB) and it's produced by Mike Hedges, previously credited as sound engineer on A Kiss in the Dreamhouse (1982) by SATB, and as a producer already a high-profile name within the post-punk-related scene, where in '82-83 he produced for e.g. The Cure, Associates, The Beat, and The Undertones.

Musically, The Creatures are naturally closely related to SATB, but it's still a radically more experimental soundscape that you hear on Feast, with its distinct mix of the special easy-listening style of exotica with remnants and touches from exotic world music (here musically inspired by sounds and music from Hawaii) and art pop, and where more traditional rock instruments such as electric guitar and bass are replaced by that of percussion - instruments such as xylophone, pipe bells, vibraphone, marimba and the like, and with the incorporation of natural sounds (the special exotica impression) and vocal. Rumour has it that Sioux and Budgie used a globe before they had the tracks for the album - they spun the globe and with eyes closed one of them used a finger to stop spinning the globe, thus pointing at a random place which happened to be (close to) Hawaii - that approach then was the starting point for the music. The two traveled to the American state to find inspiration for the album, which in this way was given natural sound patterns and a distinctly exotic touch.

The album garnered good reviews and landed a nice 17th place on the UK albums chart, although part of the album's success is probably due to the familiarity of Siouxsie and the Banshees and the fact that Polydor saw the duo as potential hitmakers and spent some financial resources to help promote the band. And precisely to this notion, Feast doesn't exactly contain notable single hits. "Miss the Girl" was selected for sole single release and the track peaked at No. #21 on the singles chart. Two months later, The Creatures released "Right Now" as a single - a cover track originally from 1962 with music by Herbie Mann and lyrics by Carl Sigman, as song which is probably best known in Mel Tormé's version from the same year. That single became The Creatures' highest-charting single peaking at number #14 in the UK (none of the band's later releases charted similarly). Despite good reviews, where the duo garnered great praise for originality, I personally don't think that the album is all that convincing. Sioux sounds like herself, which is a quality in itself, and Budgie is an excellent percussionist who gets an opportunity to show his worth, but as a whole the album is more of an interesting curiosity with great originality than being close to a real masterpiece.

Mostly for collectors and fans of Siouxsie and the Banshees.

[ allmusic.com, Record Mirror 4 / 5 stars ]