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 ]

Dead Can Dance "Dead Can Dance" (1984)

Dead Can Dance [debut]
release date: Feb. 27, 1984
format: cd (2008 remaster)
[album rate: 3,5 / 5] [3,54]

producer: Dead Can Dance
label: 4AD / Warner Music Japan - nationality: Australia

Track highlights: 1. "The Fatal Impact" - 2. "The Trial" - 5. "Ocean" - 6. "East of Eden" - 10. "Musica Eternal"

Studio album debut by Australian, Melbourne-founded, band Dead Can Dance, who at this early point after having relocated to London, UK, consists of Lisa Gerrard, Brendan Perry, James Pinker, Scott Roger, and Peter (Lawrence) Ulrich. Already from the band's successor Spleen and Ideal (1985) and onwards, the band is constituted only by Gerrard and Perry.
Musically, it's quite difficult to narrow in as the style reflects a mix from many sources. The front cover alone - depicting the ancient artwork originating from Papua New Guinea sided by Greek letters tell us bits of their influences. There are dream pop-hauling electric guitars and likewise vocal performances with bold use of echo or delay effects, and then there's 'world'-like use of strong bass lines and percussion, which altogether makes it highly original by adding a gothic rock / ethereal darkwave sensation, although, that term wasn't even thought of at this point.
There are no credit-list available, only a back cover note stating: "A special thank-you to Ivo, Robin and Vaughan for all the interest they have shown." Ivo being Ivo Watts-Russell, one of the founders of 4AD Records, Robin being Robin Guthrie of Cocteau Twins (also associated with 4AD) - both Ivo and Guthrie were involved in the musical project, This Mortail Coil, which included Cocteau Twins and Dead Can Dance; and Vaughan being Vaughan Oliver, graphic designer at 4AD.
The album was released without much recognition in '84, but by passing the new Millenium and a bunch of artists engaged in neo-classical and / or darkwave-styles, Dead Can Dance and this album have attracted much more recognition, although, the band's style here is more linked with contemporary early '80s music - putting the band aside acts like Bauhaus, The Cure, Cocteau Twins and This Mortail Coil. With later (and more original) releases, Dead Can Dance would prove to make highly innovative and influential music.
Later in '84, both Gerrard and Perry represented the band on the debut album It'll End in Tears by the music collective, This Mortal Coil, led by 4AD founder, Ivo Watts-Russell.

Peter Murphy "Lion" (2014)

Lion

release date: Jun. 2, 2014

format: digital (11 x File, FLAC)

[album rate: 3 / 5] [2,86]

producer: Youth (aka Martin Glover)

label: Nettwerk - nationality: England, UK

Track highlights: 1. "Hang Up" - 3. "I'm on Your Side" - 5. "Compression" - 9. "Eliza"

9th studio album by Peter Murphy following three years after Ninth (Jun. 2011) and his second album on US label Nettwerk. To the typical procedure, Murphy has made the album with a new producer - this time by British producer and musician Youth, who is also perhaps best known for his part as bassist of post-punk and industrrial rock act Killing Joke, although, he relatively early on initiated a career as producer and basically of all genres and styles. All lyrics are as usual by Murphy, and all music is credited Murphy and Glover with the latter also filling the part as multi-instrumentalist. Some issues (CD and vinyl) include the ten track extra live material "Selections From the Mr. Moonl·)ght Tour (35 Years of Bauhaus)".

Apparently, many of the compositions are studio improvs, and as a whole the album distances itself from Ninth by being stronger influenced by industrial rock. Also, Murphy generally sings in a more restrained and higher register on a majority of the songs. The soundscape is dominated by bass, drums, and synths, and basically doesn't fall far from a style, which has strong bonds to Glover's famous band Killing Joke and their music in the late 80s and early 90s.

Lion was possibly seen as a return to form, or at least some kind of test to his legacy within certain circles, and it also made it to the Billboard 200 as his only second album after Holy Smoke. I just don't find it a particular fascinating album. Murphy's singing style here is too extravagant and as if he tries hard to convince himself about his 'god-given' qualities while going through the motions, doing what he knows the best. Where Ninth actually showed us what he's capable of, Lion appears more like a sequel to Go Away White (2008), although, it's nevertheless a quite coherent release.

Not recommended.

[ Pitchfork 7,5 / 10, allmusic.com, PopMatters, Exclaim! 3,5 / 5, Q Magazine 3 / 5 stars ]

Marilyn Manson "Antichrist Superstar" (1996)

Antichrist Superstar
release date: Oct. 8, 1996
format: cd
[album rate: 3,5 / 5] [3,32]
producer: Sean Beavan, Marilyn Manson, Dave Ogilvie, Trent Reznor
label: Interscope - nationality: USA

Track highlights: 1. "Irresponsible Hate Anthem" - 2. "The Beautiful People" - 4. "Tourniquet" - 7. "Deformography" - 12. "Antichrist Superstar" - 15. "The Reflecting God" -

2nd studio album by American industrial metal band Marilyn Manson originally released by Nothing Records. Guitarist Daisy Berkowitz (aka Scott Putesky) left the band while still recording the album with bassist Twiggy Ramirez, vocalist Marilyn Manson, additional musicians Danny Lohner and Robin Finck, as well as both co-producers Sean Beavan and Trent Reznor taking over the remaining guitar recordings.
Stylistically, the album marks a shift to a harder, simpler and in many ways more traditional hard rock style with loans from punk rock, gothic rock and metal rock. The band has left, what I find a murky, style and also the many samples and instead focused on a clearer industrial form, which has been praised by many. The two single releases (tracks #2 and #4) were both promoted with (acclaimed) music videos directed by Canadian-Italian director Floria Sigismondi. The album is regarded as the band's breakthrough album, and it was nominated and awarded several prizes. It's also the so far only Marilyn Manson album to be enlisted in "1001 Album You Must Hear Before You Die."
The album is not a favourite of mine but I do acknowledge the musical qualities of the album, although, I find it hard to listen to in its entirety. Tracks #1, #2 and #4 are the clearly best tracks here, and they all have a distinct punk rock influence, whereas several other tracks are more metal rock-founded, and therefore, from my perspective, less interesting; however, as a whole, I find it quite amusing / disturbing and clearly the band's best effort.
[ allmusic.com 4,5 / 5, Spin 4 / 5, Rolling Stone 3,5 / 5 stars ]

Peter Murphy "Ninth" (2011)

Ninth
release date: Jun. 7, 2011
format: cd
[album rate: 3,5 / 5] [3,62]
producer: David Barron
label: Nettwerk - nationality: England, UK

Track highlights: 1. "Velocity Bird" - 2. "Seesaw Sway" (4 / 5) - 4. "I Spit Roses" (4,5 / 5) - 5. "Never Fall Out" (4 / 5) - 6. "Memory Go" - 11. "Crème de la crème"

8th studio album by Peter Murphy - his 'ninth' including a live album and hence the title - following full seven years after Unshattered from 2004. Since then, Murphy teamed up with the other former members of Bauhaus to reunite forces and reform the legendary band which resulted in the album Go Away White (Mar. 2008), and that only ended up by finally burying the idea of another Bauhaus era. The album here mainly features lyrics and music by Murphy and producer David Barron, while only track #5 was co-written with Murphy's former regular co-composer Paul Stratham, who most recently contributed to Cascade from '95.

Peter Murphy isn't known for releasing new studio albums once a year or even every other year, but when he finally does release an album, it's usually with a new variation of his stylistic expression as a counterbalance to his most recent album. If you have followed his career since he was the star of one of the very first and most important bands of gothic rock - a style that had sprung out of post-punk in the UK - it's nevertheless still clear that he appears stuck in his musical starting point from the Bauhaus period. At that time, the music was a new mix merging glam rock of the 70s and the so-called proto-punk - exemplified by David Bowie, Iggy Pop, and Marc Bolan - with a more aggressive and simpler expression that grew out of punk rock in the shape of post-punk, where especially Joy Division and Siouxsie and the Banshees were key style creators. Over the past three decades, Murphy has kept firmly to gothic rock as a stylistic staple with variations. His first solo album probably indicated his biggest leap in style towards an art pop arena, after which he tried a more polished pop / rock version of gothic rock, which then added variations of the early sources of inspiration, but also with a new element in his music in the form of Turkish music, which certainly has added new traits to his sound.

Ninth is a solid dark gothic rock and alt. rock album, which stands as a solid pillar for his vocal expression and temper. He has pretty much always been a stable provider in making at least one really good song on each of his solo albums over the past 27 years, since his solo debut Should the World Fail to Fall Apart (1986). And this album is one of his better. The track "I Spit Roses" is, according to Murphy himself, a song about how and why Bauhaus eventually dissolved as a band. Imho, Ninth is Murphy's third best solo album and as such a quite solid album and worth to know.

[ allmusic.com 4 / 5 stars ]

Bauhaus "Go Away White" (2008)

Go Away White
release date: Mar. 10, 2008
format: digital
[album rate: 2,5 / 5] [2,64]
producer: Bauhaus
label: Cooking Vinyl - nationality: England, UK

5th and final studio album by Bauhaus released 25 years following Burning From the Inside (1983).

The style is not a return to the heydays of the 1980s but more of a combination of the styles Peter Murphy and Love and Rockets have been involved with in recent years, thus making it an alt. rock, neo-psychedelia release with gothic rock references. The album became a reality after several years with attempts of reuniting the band. The first reunion period took place in 1998 when they put together a "Resurrection Tour" and a new best of album Crackle was released by Beggars Banquet - the band also recorded a new song, included in the film soundtrack for the animated sci-fi movie "Heavy Metal 2000" (a follow-up sequel to the iconic "Heavy Metal" from 1981). However, both Murphy and Love and Rockets continued to concentrate on their separate projects, and it wasn't until late 2005 that they once again found time for new concerts, and a new unification came about. They had played several concerts together over a longer period of time, and in 2006 the quartet went as far as to begin writing new songs again with the intent to release a new album. But the monkey was back and what had split the band 25 years earlier, once again led to a final disbandment allegedly even before releasing the new album.
Go Away White isn't all bad, I just don't find it of great interest, and just think that Love and Rockets and Peter Murphy respectively both have made better and more interesting albums than this.
[ allmusic.com 4 / 5, Mojo, Rolling Stone, Uncut 3 / 5 stars ]

The Cure "Bloodflowers" (2000)

Bloodflowers
release date: Feb. 14, 2000
format: cd
[album rate: 2,5 / 5]
producer: Robert Smith, Paul Corkett
label: Fiction Records - nationality: England, UK

11th studio album by The Cure was again 4 years under its way, although, the recording sessions took place from 1998-99. For at least this album the band members remain the same as on the previous album. The album is by many seen as a return to a more dark, introvert and gothic rock styled sound that puts it as the last in a trilogy with Pornography (1982) and Disintegration (1989). I do see the common traces of the three albums, but since neither of them ever were among the best of The Cure in my eyes, I can at least agree that it's a return to more introvert and complex compositions without the cheesy pop love songs. To me it's more the sound of a band in lack of direction and new ideas. They turn to the past and put everything on repeat.
[ allmusic.com, Q Magazine 3 / 5, Rolling Stone 2,5 / 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.

And Also the Trees "Hunter Not the Hunted" (2012)

Hunter Not the Hunted
release date: Mar. 26, 2012
format: cd (AATTCD08)
[album rate: 3,5 / 5] [3,52]
producer: AATT
label: AATT - nationality: England, UK

Track highlights: 1. "Only" (4 / 5) ( live ) - 2. "Hunter Not the Hunted" - 7. "The Woman on the Estuary" - 8. "What's Lost Finds" - 12. "Angel, Devil, Man and Beast"

13th studio album by And Also the Trees is another self-released and self-produced album, which is the continued (good) style from their 2007 release, (Listen For) The Rag and Bone Man only with a more alt rock, folk rock element in the gloomy tristesse. Before this they released two acoustic albums with Driftwood (2011) as the most recent. Two albums that possibly made the band understand how powerful their back catalog is without keyboards and synths to express musical dynamics, and those experiences have helped shaping this album, I think.

Peter Murphy "Unshattered" (2004)

Unshattered

release date: Oct. 19, 2004

format: cd

[album rate: 3,5 / 5] [3,38]

producer: Gardner Cole

label: Viastar - nationality: England, UK

Track highlights: 1. "Idle Flow" - 2. "Kiss Myself" - 3. "Piece of You" - 4. "Face the Moon" - 8. "Give What He's Got" - 9. "Blinded Like Saul"

7th studio album by Peter Murphy following 2½ years after Dust (Apr. 2002), which saw him experiment with world music and Turkish music tradition in particular. In that respect, Unshattered appears much more like a natural follow-up to Cascade (Oct. 1995), his final studio album on Beggars Banquet. For the new album, he has teamed up with American producer Gardner Cole, who previously has worked mostly in a dance and synthpop arena, which alone indicates a shift in sound. Former co-composer Paul Statham is back and has composed music on six of the album's eleven songs. The credit list of featuring musicians count several acclaimed names including two members of Porno for Pyros: guitarist Peter DiStefano (who also performed with Murphy on his 'aLive Just for Love tour') is composer of two songs, on which he also plays guitar, and drummer Stephen Perkins, credited on three songs. Former Wham! and George Michael bassist Deon Estus is featured on three tracks, American session musician Eric Avery is bassist on two tracks, and producer Cole is also bassist on three tracks aside from overall handling keyboards, guitar, piano, and percussion on several songs. American session guitarist Tim Pierce is here on most tracks, whereas none of the musicians nor technical personnel from Dust reappear, but then former Bauhaus drummer Kevin Haskins is heard on track #9. The album is Murphy's only on Viastar - in fact it seems to be only one in a total of three releases on this label, all released in 2004.

Unshattered is return to his usual style of dark alt. rock with bonds to gothic rock. Sometimes he revists the darker corners of the style reminding us of Bauhaus, at other times he croons in lighter spheres, although, his vocal always seems to be returning to the shadows.

To his usual standard, the album contains fine moments and adds to the list of Peter Murphy staples, although, as a full-length studio album, it's simply too incoherent with too much filling to be considered one of his better outings.

[ allmusic.com 3,5 / 5 stars ]

And Also the Trees "When the Rains Come" (2009)

When the Rains Comes
release date: Jun. 8, 2009
format: cd (AATTCD07)
[album rate: 3,5 / 5] [3,55]
producer: *self-produced
label: AATT - nationality: England, UK
*Credits only mention recording, mixing and mastering credits

Track highlights: 1. "Virus Meadow" (live in Toulouse ) - 2. "Dialogue" (live in Toulouse) - 4. "Mary of the Woods" (live in Toulouse) - 5. "Jacob Fleet" (live in Toulouse) - 6. "Candace"

11th studio album by And Also the Trees is, once again, a self-realised album. Its the first of two consecutive albums to feature only acoustic versions of songs from their back catalogue, and it contains 14 tracks and runs approx. 51 minutes. The music has been stripped down to melody lines with Simon Huw Jones' strong and dark vocal accompanied by acoustic guitar, double bass, dulcimer / or melodica and some backing vocals only. The result is surprisingly powerful and almost mesmerising.
The album has nothing to do with selling old wine on new bottles, as one could suspect when releasing a new album featuring old songs. And the fact that the songs go as far back as the mid 1980s is never heard because of a total revitalisation of music making it a firm and strong whole, which makes me think of the great contemporary Liz Green and her fine alternative folk and singer / songwriter albums Haul Away from 2014 and the great debut O, Devotion! (2011).
Many of the songs on the album were part of a live tour "Livequest #50" [?]. The remaining songs were later reworked in the studio and released on the album Driftwood (2011).

=> French documentary about the process leading to When the Rains Come.

And Also the Trees "(Listen For) The Rag and Bone Man" (2007)

(Listen For) The Rag and Bone Man

release date: Nov. 12, 2007

format: cd (AATTCD06)

[album rate: 3,5 / 5] [3,52]

producer: self-produced

label: AATT - nationality: England, UK

Track highlights: 1. "Domed" - 2. "The Beautiful Silence" - 3. "Rive droite" - 4. "Mary of the Woods" - 9. "Stay Away From the Accordion Girl" (live) - 12. "A Man With a Drum"

10th studio album by And Also the Trees is another self-released album. The cover info only mentions recording and mixing credits - Matthew Devenish recorded and mixed. This is the first album not to feature bassist Steven Burrows, and it's the first to have both new bass player Ian Jenkins and keyboardist Emer Brizzolara as new members, which means that the band by now has been expanded to a quintet (actually, Burrows has never officially left the band, although, he hasn't taken an active part in the process of the band's later releases - as now of 2016).

The album marks a return to a more evident gothic rock, post-punk that doesn't really sound outdated. In 2007 that's a work well done! I think, they succeed pretty well by focusing on their strengths in producing tension within beauty and darkness. By doing so they remind me of Tindersticks, although, the previous album is even closer to the Tindersticks style. Without strings and brass this is hardly chamber pop but it has that certain sincerity and beautiful narration, which characterises their best albums - when music and vocals go hand in hand, and when the music supports the lyrics instead of drowns them.

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 ]

Peter Murphy "Dust" (2002)

Dust
release date: Apr. 23, 2002
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Peter Murphy, Mercan Dede
label: Metropolis Records - nationality: England, UK

6th studio album by Peter Murphy released seven years after Cascade (Oct. 1995) after which he released his so far only live album aLive Just for Love (2001). This is not only co-produced by a Turkish producer - the whole album is made with assistance of primarily Turkish musicians, which is clearly heard throughout an album where Murphy combines western popular music, the gothic rock, and even progressive rock in a mix with more traditional Turkish folk. Aside from that, there's also a synthpop or electronic influence present, and it's really hard to label the style, as it's a rather huge mix of influences, and one might even call it world music. The album is Murphy's first studio album after parting with Beggars Banquet, and this new album should perhaps also be seen in the light of being forced to rethink your musical career.
The album was met by positive reviews, many found it an artistic achievement, whereas others, in search of a more traditional album and without luck in finding stand-out tracks, saw it as lesser album. I will not say that it doesn't work, but I don't find it a strong nor very interesting album as such. It has an intense and warm feel but it doesn't appeal much to me.
[ allmusic.com 4 / 5, Q Magazine 3 / 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 ]

Peter Murphy "aLive Just for Love" (2001)

aLive Just for Love (live)

release date: Jul. 24, 2001

format: digital (18 x File, MP3)

[album rate: 2,5 / 5] [2,58]

producer: Peter Murphy

label: Metropolis Records - nationality: England, UK

Live album by Peter Murphy as follow-up to his most recent studio album Cascade (Oct. 1995) is a comprehensive 18 tracks album with a total running length of almost 1½ hour with all songs recorded live at a single performance at the El Rey Theatre, Los Angeles, Nov. 2000.

It's a bit of a long performance - mostly for die-hard fans 'cause the arrangements are to say it politely, extremely scarse. Fact is, Murphy mostly performs only backed by guitarist Peter DiStefano (of Porno for Pyros), at times supported by violinist Hugh Marsh, and by bassist David J on three extra tracks.

The album release, some six years after his most recent studio album may seem odd. And it's most likely not 'just' to fill in the gap in between more regular albums, but more seems manufactured in response to another album: Wild Birds 1985-1995 (2000), a compilation album, which had been released by Murphy's former record company, Beggars Banquet.

The idea of a live album is not that bad but it's a bit on the narrow side to 'just' listen to Murphy's dark vocal with not much else. The song selection is fine as is his performance, but after a few songs, I really yearn for additional instrumentation, which never comes.

Not really recommended.

Peter Murphy "Wild Birds 1985-1995" (2000)

Wild Birds 1985-1995 (compilation)

release date: Feb. 22, 2000

format: cd

[album rate: 4 / 5]

producer: diverse

label: Beggars Banquet - nationality: England, UK

Compilation by Peter Murphy released on Beggars Banquet after he had left the label with which he had been associated since the first release with Bauhaus in 1980, and it's Murphy's first compilation album.

As the subtitle indicates, it's not necessarily a best of album, but instead a selection of songs from his solo career spanning five studio albums over a decade with a total of sixteen compositions and a total running time at just under 75 minutes.

It's quite a fine selection - mainly songs written together with Murphy's regular composer (from his second album and onwards) guitarist Paul Stratham, and which generally shows his somewhat narrow musical style where music always contains elements from gothic rock with various hints of art pop and glam rock. The biggest stylistic detours are probably his influence from Turkish music, which is particularly evident on his most recent two albums: Holy Smoke from '92 and Cascade from '95.

[ allmusic.com 4,5 / 5 stars ]

Peter Murphy "Cascade" (1995)

Cascade
release date: Oct. 10, 1995
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Pascal Gabriel
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Mirror to My Woman's Mind" - 2. "Subway" - 3. "Gliding Like a Whale" - 6. "I'll Fall With Your Knife" (4,5 / 5) (live session) - 7. "The Scarlet Thing in You" - 8. "Wild Birds Flock to Me"

5th studio album by Peter Murphy following 3½ years after Holy Smoke (Apr. 1992), which saw him attempt more up-tempo and at times more mainstream compositions. Here, I think, producer Pascal Gabriel, who previously worked with Kitchens of Distinction (and later on productions for Goldfrapp, Marina and the Diamonds, and Bebel Gilberto), helps by adding a certain lightness and clearness to the album without losing the sense of alternative rock of it. Once again, but also for the last time in a decade, Paul Statham has co-written most of the songs with Murphy, who has made a slight turn towards deeper and more thoughtful compositions, which often works well with his dark and gloomy vocal. The album also stands as Murphy's final on the Beggars Banquet label.
The end result is a collection of songs that sound emotionally sincere without distinct post-punk and more low key gothic rock references. The album contains some really fine tracks and also a few mediocre ones with "I'll Fall With Your Knife" as a stand out and one of his absolute best songs ever. The fine "The Scarlet Thing in You" was chosen as single release.
All in all, I think this betters his '92 album and basically lands as his so far third best solo since his fine Love Hysteria and the fascinating debut..
[ allmusic.com 4 / 5 stars ]

Daniel Ash "Foolish Thing Desire" (1992)

Foolish Thing Desire
release date: 1992
format: digital
[album rate: 3 / 5] [3,15]
producer: Daniel Ash and John A. Rivers
label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Here She Comes" - 2. "Foolish Thing Desire" - 3. "Bluebird" - 5. "Get Out of Control" - 6. "The Void" - 8. "Here She Comes Again"

2nd solo album by Daniel Ash continues the style from his fine debut from 1991. It's alt. rock with the same mix of styles including glam rock, psychedelic rock, surf rock and gothic rock. The whole thing is nicely put together in what bonds with glamorish Phil Spector production with a touch of Bolan / Bowie. Most tracks are co-written with producer John A. Rivers, with whom Ash has worked many times since Rivers produced the debut album for Love and Rockets in '85. Instead of collaborating with Kevin Haskins, Rivers has been put in charge of drum programming ion this album, which isn't all bad, it just doesn't have any noticeable complexity in the rhythm section, and that makes it somewhat less successful. Generally, it's fine - it just lacks that little extra novelty dimension that his first solo leaked, and it's a bit like the expected sequel - the missing bonus disc of the debut, which doesn't add much new to the old sensation.
[ allmusic.com 4,5 / 5 stars ]

Peter Murphy "Holy Smoke" (1992)

Holy Smoke

release date: Apr. 14, 1992

format: cd

[album rate: 3,5 / 5] [3,52]

producer: Mike Thorne, Peter Murphy

label: Beggars Banquet - nationality: England, UK

Track highlights: 1. "Keep Me From Harm" - 3. "You're so Close" (4 / 5) - 4. "The Sweetest Drop" - 5. "Low Room" - 8. "Dream Gone By"

4th studio album by Peter Murphy follows a little more than two years after Deep (Dec. 1989) and sees Murphy and 'old' post-punk producer Mike Hedges co-produce this collection of ten new songs with one half written and composed by Murphy and keyboardist and composer Paul Statham. Murphy is exclusively credited tracks #2, #6, and #7. The album feature former UK Decay bassist Eddie Branch (aka Twiggy) and guitarist Peter Bonas (of Locust and Zen Attack), Mike Thorn on keyboards, and with drummer Terl Bryant.

Holy Smoke is generally mostly a bit of a revisit to a stronger gothic rock influence with bits of glam and equal parts of pop scattered here and there. Some songs are with distinct guitar riffs filling the foundation as more obvious electric rockers ("You're so Close", "Low Room", "Dream Gone By"), and then others take on a more polished tone with a certain influence from funk rock. Again, an influence from Iggy Pop is evident on a few tracks, I especially hear this on "Low Room". Two songs exclusively credited Murphy, mostly sound like outtakes from other albums - "Let Me Love You" could have been included on the final album by Bauhaus and "Secret Garden" share some of the more experimental traits as the songs on his debut. I'm not quite sure what to think of Murphy's "Kill the Hate" (track #2), as he's not a skilled instrumentalist, then how do you compose music with distinct guitar riffs, bass, keyboard, and drums, which all sound unmistakably as an Iggy Pop-paraphrase?

Holy Smoke is not a poor fourth, although critics didn't welcome it as a great new outing. The album was promoted with the following text: “You can’t pin down HOLY SMOKE, it curls and eddies in white and blue swirls, drawing a series of patterns on the brain, but just when an image begins to come into focus, the music mutates into something hypnotically new” [taken from the original press release, source: Peter Murphy's bandcamp site], and that's probably not far from the truth, as it sometimes takes you this way, and when you think you know where it goes, it has jumped in another direction! Some would claim it's incoherent, and it's not his best, but also, not his worst. A few songs definitely lift the album but it's also an uneven journey with several fillers. So, all in all, I'd say 'a decent one, Mr. Murphy. Perhaps, try just a little harder'. Front cover is credited Anton Corbijn.

[ 👎allmusic.com 2,5 / 5 stars ]