Last four Siouxsie and the Banshees reissues coming September 15

Four years ago, Siouxsie and the Banshees' label Universal pulled the plug on the band's album reissue campaign midway, meaning that their last four albums were left without remastered editions. Their previous albums from 1978's The Scream to 1986's Tinderbox were all treated with reissues, with the former even getting a deluxe 2CD release with a bunch of demos and live versions. Said Severin:

“Universal have decided not to release any more single disc remasters. As the final four albums don’t have enough extras to warrant the double disc ‘deluxe’ treatment, they have halted our programme four albums short. They have given us the opportunity to license the last four (Peepshow, Glass, Super, Rapture) to another label. We are looking into this.” (source)

Since then, however, things have changed. First there was the reissue of the group's debut single "Hong Kong Garden" earlier this year, and Severin wrote that it wouldn't be a one-off thing, revealing that "Once we start — we will be putting things out on a regular basis. Universal have a 3 year plan proposed". Someone over at Universal must've really taken a liking to the band! Proceeding with the remaster campaign must also be easier now that the feud between Siouxsie and Severin is finally over, as well:

Then, five days ago, Severin teased the fans with a game of hangman over at the band's Facebook fan group:

After the fans succeeded in guessing the correct letters, the mysterious sentence turned out to spell "FINAL/FOUR/DUE/FIFTEENTH/SEPTEMBER". In other words, the Banshees' last remaining albums Through The Looking Glass (1987), Peepshow (1988), Superstition (1991), and The Rapture (1995) will finally get their reissues in no more two months! Brilliant news!

There's been no news regarding the extras yet, though Severin did confirm on Facebook that all the reissues will have additional material. As the Banshees rarely made demos in advance, it's unlikely that there will be any entirely unreleased songs in the mix, save for Through The Looking Glass: considering it's an album consisting entirely of cover versions, there might be some unreleased covers that never saw the light of day. But we'll see. Their 1987 stand-alone single "Song from the Edge of the World" has become quite the rarity because it was never released in a digital format in its original version - it was omitted from their 1992 singles collection Twice Upon A Time, included on another compilation album only in a remixed version, and resurfaced on the remastered Tinderbox in an unreleased version that featured guitars by John Valentine Carruthers rather than Jon Klein, who played on the single release of the song - so it might also make an appearance among the extras.

The band has often made it very clear they have a strong aversion to remixes so none are to be expected as extras. I'd predict most of the extra material to be live performances - especially with Superstition, their 1991 KROQ Acoustic Christmas performance would be a highly appreciated gem, should it exist as a professional recording. Out of the 11-song setlist, two tracks have actually been released already: "Swimming Horses" and a cover of "All Tomorrow's Parties" by The Velvet Underground both appeared as B-sides to the band's 1994 single "O Baby". The Rapture might feature initial versions of the album tracks that predate John Cale's involvement in the production work. A live concert from the Peepshow tour has already appeared on the band's "At The BBC" box set, so I have no clue of possible extras there.

Well, two months (and five days) to go! Meanwhile, why don't you check out my reviews of the four albums in question while you're waiting?

Happy birthday to the legendary Siouxsie Sioux!

The iconic post-punk legend Siouxsie Sioux celebrates her 57th birthday today, congratulations! Having been a force to be reckoned with in the music world for nearly 40 years, this high priestess of punk has recorded groundbreaking and uncompromisingly avant-garde records in four different decades, and has apparently been working on a follow-up to her 2007 solo debut Mantaray (a review of it is on its way this week). That's what she said three years ago, at least, so she's certainly taking her time. On the other hand, it took Grace Jones nineteen years to make a proper comeback but the comeback album Hurricane was simply so marvellous that it was worth the wait, so that's there.

She did make a critically acclaimed live comeback last summer in the sold-out Meltdown concerts, curated by none other than Yoko Ono. But after that, there's been no news whatsoever. I've read some rumours online but as put by Siouxsie herself: "I heard a rumour / It was just a rumour" so I'll keep on waiting for any official news with great enthusiasm. I do hope she doesn't keep us waiting for too long, though...

Anyway, it's her birthday now so that obviously calls for celebration - there's always a good reason for such! Me, I'm going to have a glass of wine but you can now for example find all the Siouxsie Sunday reviews put together conveniently in one singular tab - you can find it either next to the other tabs or just by clicking here. Also, for a Siouxsie and the Banshees -themed playlist, you can head over here. Yay, am I right? There's only one studio album left to be reviewed (her aforementioned solo album Mantaray) but I might write more stuff in there, such as reviews of her compilation albums etc. so do watch that space if you're interested. 

Thank you for the music, Ms. Sioux, and do come back soon - we miss you. Meanwhile though, here's the lead single from Mantaray, titled "Into A Swan". Enjoy!

Top image via Fame Magazine.

Siouxsie and the Banshees to reissue debut single 'Hong Kong Garden'

In 1978, Siouxsie and the Banshees finally landed, as one of the last punk bands to do that, a recording contract and released their debut single "Hong Kong Garden" to instant success: the single peaked at #7 in the UK singles chart. Some 35 years later, the single is being reissued as a special edition to celebrate the iconic post-punk single.

The release will be a double 7" vinyl package that comes with a gatefold card sleeve, reworked artwork and an 8-page booklet, with all content being personally overseen by the two original Banshees, Siouxsie and Severin. The first disc is essentially the original 1978 single (A-side: "Hong Kong Garden", B-side: "Voices (On The Air)"), while the second disc features the same tracks in alternative versions, with the A-side being the "string intro" version from the soundtrack of Sofia Coppola's 2006 film Marie Antoinette, while the B-side is the orchestral revamp of "Voices (On The Air)" from the Banshees' 1984 EP The Thorn. First 100 people to order the package (you can do it here) also get a commemorative poster but let's face it, you're already late. Here's the poster anyway:

As you can see, Siouxsie's posture mirrors that of the the single cover. Lovely, isn't it. And here's the one song that started it all:

Siouxsie Sunday: 'The Rapture' by Siouxsie and the Banshees

This Sunday, the album that will be reviewed is Siouxsie and the Banshees' 1995 record The Rapture. Released 19 years after the group was founded, The Rapture was the last LP they recorded before disbanding the following year. So this is it then - the very last Siouxsie and the Banshees studio album. (Although there's plenty of remaining Siouxsie recordings so fear not, it's far from over just yet.)

After releasing Superstition in 1991, the Banshees headlined the first Lollapalooza festival and were then asked to record a song for Tim Burton's Batman Returns. The outcome was the fantastic stand-alone single "Face To Face" that was co-orchestrated by Danny Elfman. A year after that, in 1993, the group started to record material for a new album. They then took a break from the recording process to play several festivals abroad, performing some of their newer songs as well even though they remained unreleased. The following year, Siouxsie also duetted with Morrissey on an incredible, heart-rending cover or Timi Yuro's "Interlude". The band felt that the album wasn't quite ready yet so they collaborated with The Velvet Underground pioneer John Cale to finish it. Two songs were dropped from the initial version of the album and ended up as B-sides for a later single release ("Black Sun", "Hang Me High") while a bunch of new songs were recorded with Cale. The completed album The Rapture finally saw the light of day in early 1995.

New Game of Thrones trailer features a Siouxsie and the Banshees song!

That's right - the 1985 Banshees classic "Cities In Dust" from the group's Tinderbox album is featured in the new Game of Thrones trailer! Although it's not the original version of the song that's featured, but rather a cover of it by The Everlove. It's not the first time that this particular cover version is featured in a trailer: it was also used in a trailer for the 2012 video game Transformers: Fall of Cybertron. The trailer use of a Banshees song was hinted by none other than a founding member of the band, Steven Severin himself in a Siouxsie/Banshees/Creatures fan group in Facebook, though he didn't reveal the song in question. I was kind of expecting it to be "Israel", one of their signature hits, if only for the line "There were princes, and there were kings". 






While the slower cover version is arguably more suitable for a trailer use, the original one is still miles better as far as I'm considered. (For a modern, electronic take on the song, you might as well check out Junkie XL's cover of it.) And for old times' sake - it's Sunday, after all! - here's the one version that started it all:

Siouxsie Sunday: 'Superstition' by Siouxsie and the Banshees

The year is 1991, and the Banshees get back together after taking an extended break to record a new album. It had been three years since 1988's brilliant Peepshow, which was the longest recording gap of their career so far. Meanwhile, Siouxsie and Budgie had worked together as The Creatures, recording another excellent LP Boomerang. The late 1980s had indeed been a creatively successful era for both groups, and Superstition saw them experimenting once again with new elements. This particular album, however, become probably their most polarising one - the new direction they were experimenting with, you see, was pop music.

Uh-oh, we're dealing with that dreaded moment when your cool and alternative favourite band does the unthinkable and goes pop. Sells out. When our favourite artists or groups release new music and it's not what we expect from them, we're often admittedly upset or at least not positively surprised. We've all been there. Nonetheless, sometimes we let our own initial reactions blur our judgement which is never a good thing. And now that I look back at Superstition - or 'the pink album', as the SATB fans tend to call it - it's by no means as lacking as many make it to be.

Siouxsie Sunday: 'Peepshow' by Siouxsie and the Banshees

Another Sunday, another Siouxsie album, eh? The year is 1988, and after releasing the cover album Through The Looking Glass the year before, Siouxsie and the Banshees hit the studio, this time with original material. Subsequently they released their 9th studio album, Peepshow. The band's constant evolution and development was further fuelled with changes in the line-up: after Through The Looking Glass, the core trio of the Banshees (Siouxsie, Severin, Budgie) decided to continue working as a trio, and guitarist John Valentine Carruthers was to go, becoming yet another ex-Banshee guitarist. 

However, by the time they started recording the album, the line-up had once again expanded, this time to a five-piece: they recruited ex-Specimen guitarist Jon Klein and multi-intrumentalist Martin McCarrick. The latter had already actually worked with the Banshees on two occasions, having done the string arrangements for both 1984's The Thorn EP and the group's previous album Through The Looking Glass. Now however, he would join the group as a full-time member, staying with the Banshees till the rest of their career and becoming the longest-serving Banshee after the obvious exception of Siouxsie/Severin/Budgie.

Siouxsie Sunday: 'Through The Looking Glass' by Siouxsie and the Banshees

The Tinderbox writing and recording sessions had taken a lot of time and effort - almost the whole of 1985 - so the band decided to take another route with their next LP. Thus, they ended up recording 1987's Through The Looking Glass, an album solely consisting of cover versions of pre-existing songs. That's right, a cover album. Now, the thing about cover albums is that they can end up being extremely boring: it's songs you've already heard before, and usually not that radically reworked either. Furthermore, going exclusively for covers can be a rather lazy option too (hey, you don't need to write anything yourself, when you're relying on great songs already made popular).

However, Siouxsie and the Banshees were not your average band - when they did covers, they nailed it. They had already recorded and released a bunch of covers, ranging from two Beatles covers, both from the latter's eponymous 1968 album ("Helter Skelter" appeared on their debut LP The Scream and "Dear Prudence" was included in the US version of Hyæna) to additional singles B-sides. They were not a lazy group of musicians either, often revamping the songs beyond recognition, making them distinctively Banshees-y songs in the process. "Helter Skelter" for instance was remade into a full-fledged post-punk stomper whereas the dreamy "Dear Prudence" became a blissful pop gem in the Banshees' hands. So, they had already successfully done some sporadic covers, but how would they fare with a whole 10-track collection of them?

Siouxsie Sunday: 'Tinderbox' by Siouxsie and the Banshees

Whoops, it's been a while due to my Yuletide absence and I do apologise that. Anyway, I suppose it's time to get back to blogging and continue with Siouxsie Sunday series!

Where were we? Ah yes, the mid-80s. Following Robert Smith's exit from Banshees for the second and the final time after first recording a live record Nocturne and then, a studio album Hyæna with the group, he was replaced with John Valentine Carruthers, previously from the industrial outfit Clock DVA. Before writing a proper new album, however, the Banshees chose to re-record a bunch of older tracks first, partly in order to integrate Carruthers into the group prior to the album writing process. The final results were released as a four-track EP titled The Thorn. Then, it was time to hit the studio again, but now with a whole new LP in their sights. The album took quite some time to finish - they spent most of 1985 working on it - but finally, the following year, the Banshees' seventh studio album was released, and it bore the name Tinderbox.

Siouxsie Sunday: 'The Thorn' EP by Siouxsie and the Banshees

After recording 1984's Hyæna album with Robert Smith of The Cure in the guitars, it was only a matter of time before Smith would focus on his own band again, effectively ending his tenure as a Banshee guitarist. Siouxsie herself has often brought up the band's unfortunate luck with their guitarists - they just kept losing them, one after another. The next guitar-wielding Banshee, John Valentine Carruthers was actually the band's sixth one in only eight years.

After Carruthers joined the group, they decided not to write a new album straight away, but to record an EP consisting of revamped versions of their older songs. On the one hand, the Banshees - whose core now firmly consisted of the holy trinity of Siouxsie, Severin and Budgie - wanted to use the EP as Carruthers' induction to the band, and on the other hand, experiment with string arrangements and re-record some older songs that had evolved into new versions on tour.

Siouxsie Sunday: 'Hyæna' by Siouxsie and the Banshees

After releasing the 1982's experimental A Kiss In The Dreamhouse, guitarist John McGeoch's alcoholism became too much of a burden to the band - he even collapsed onstage once - and he was then fired from the Banshees. Replacement was found in The Cure frontman Robert Smith who had previously played in the band in 1979, albeit only temporarily. This time, however, he wanted to document his stay as a Banshee, so after the group got back together (after the previous Banshee tour, Siouxsie and Budgie recorded their first Creatures LP Feast while Severin and Smith wrote a one-off album Blue Sunshine as The Glove) a live album Nocturne was recorded in 1983. But he also stayed onboard for a proper studio album which was released the following year. And this Sunday it's time to dig into that album, titled Hyæna.

Now, the funny thing is that you can actually hear Smith's influence on the album - at least compared to the other Banshee stuff before it. This is most evident on the lead single "Swimming Horses", whose piano riff could easily come from an eighties Cure track. There are also some other songs on the album that remotely bring to mind Smith's own band, such as The Top album, also released in 1984. The organ-led "Take Me Back" for instance is one of the more Cure-ish tunes here. That is not to say that the album would be some kind of a Cure pastiche, though, but rather a blending of two musical directions: that of Robert Smith, and that of The Banshees.

Siouxsie Sunday: 'A Kiss In The Dreamhouse' by Siouxsie and the Banshees

So, after a little break it's time to continue with the story of Siouxsie and the Banshees. After The Creatures - aka Siouxsie and Budgie - were done with their Wild Things EP, it was time to return to the recording studio with the Banshees. Throughout their early career they kept recording new LPs with quite a pace - from 1978's The Scream up until 1982's A Kiss In The Dreamhouse they released a new album every year. With that in mind, it's astonishing how effortlessly they kept on reinventing themselves, creating records that always were distinctively Banshees, yet simultaneously something new and fresh. But none of these reinventions were quite as radical as what they went through on A Kiss In The Dreamhouse.

While Juju was a return to the more guitar-oriented sound of The Scream and Join Hands, Dreamhouse recalls the experimentality of Kaleidoscope, incorporating a range of new elements, such as loops and string arrangements - a feat first introduced on the fantastic stand-along single "Fireworks" that, for one reason or another, was left out of the album. Indeed, the album has a very, well, kaleidoscopic feel to it, as it is like a journey through glistering colours and ideas, a theme perfectly mirrored in its Gustav Klimt inspired artwork (a personal favourite of mine, as a matter of fact).

Siouxsie Sunday: 'Juju' by Siouxsie and the Banshees

Siouxsie and the Banshees were arguably one of the most important bands to emerge from the British punk scene, and I dare to say that no other LP of theirs was quite as influential as their 1981 album Juju. After the electronic-influenced Kaleidoscope the group re-embraced a more guitar-driven and rock-oriented sound (then again, Kaleidoscope was written mostly without a permanent guitarist to begin with). However, at the same time the album represents a radically new direction for them - while The Scream and Join Hands had some very unorthodox guitar playing by John McKay, their new guitarist (and another John) John McGeoch wasn't exactly conventional either. Another new element in the mix was Budgie's unique way of drumming. And the outcome, well, it's spectacular. 

Siouxsie Sunday: 'Kaleidoscope' by Siouxsie and the Banshees

Once again it's that time of the week - time to talk about Siouxsie! Well, it's not technically Sunday anymore but I was a wee bit hungover so whatever. The Banshees' story continues: after the band split during the previous tour, the core duo Siouxsie and Severin finished the tour with a new drummer, Budgie (who would become a permanent member for the rest of the group's run), and a temporary guitarist, Robert Smith (of The Cure). While writing their third album the band found a new full-time guitarist, John McGeoch, who had previously played in post-punk groups Magazine and Visage. He remained a Banshee for a string of three excellent albums, and during his tenure the band would record some of their finest work. 1980's Kaleidoscope was the first one out of these.

Siouxsie Sunday: 'Join Hands' by Siouxsie and the Banshees

Remember when I wrote about the hardships of creating a worthy follow-up to a brilliant debut? The so-called sophomore slump phenomenon? Well, not many bands have suffered from it quite as Siouxsie and the Banshees did. After recording the The Scream which became an instant classic, the band had some serious interpersonal issues during the Join Hands era which finally led to the band splitting during the promotion tour. Ouch. It wasn't the end for the Banshees, however, as they fortunately found a new drummer in Budgie who'd later stay for the rest of the band's career, and then recruited Robert Smith of The Cure to do the guitars for the rest of the tour. (Smith would later join the group again in 1982 but more on that later.)

Siouxsie Sunday: 'The Scream' by Siouxsie and the Banshees

I'm sorry to have kept you waiting for the first actual Siouxsie Sunday but there has been a lot happening at the moment. I know how eager you have been for an update: my mailbox has been flooding with requests (no it hasn't) and I hear people have started online petitions for a proper kick-off for the article series in desperation (no they haven't). So let's get on with it.

1978's The Scream is not only a great album, it's also an exceptional debut album. To understand this record it doesn't harm to know a little about the group's history: Siouxsie and the Banshees originally started as an impromptu act to fill an empty slot at a punk festival held at London's 100 Club. Siouxsie and Steven Severin, two Sex Pistols followers and the only original Banshees to serve from start to finish, got Marco Pirroni (of latter Adam Ant fame) and Sid Vicious (yes, the future Sex Pistols member Sid Vicious) to join them on stage for an unrehearsed rendition of "The Lord's Prayer". It was all quite chaotic, reportedly, which isn't surprising. 

It's Siouxsie Sunday!

Now, if you're reading (and hopefully also following) this blog, the chances are that you are a music lover yourself. And if you're a music lover, it is highly likely that you have a favourite band or a favourite singer too. That one artist or act that will always have a special place in your heart, the one whose music you'll always return to, time after time. I most certainly do. And that musician is Siouxsie Sioux.

Siouxsie, born Susan Janet Ballion, is an English singer-songwriter, who's most famous for having been the frontwoman of post-punk band Siouxsie and the Banshees. With the Banshees she recorded 11 studio albums between 1978 and 1996. Even though the '80s revival in the mid-2000s wasn't quite as favourable to Siouxsie as they were to many of her peers - such as Joy Division, The Cure and The Smiths - and no such hype was built around the Banshees, she's every bit as iconic as the frontmen of the aforementioned bands (Ian Curtis, Robert Smith, Morrissey). Widely recognised as one of the most significant British rock singers - especially of the female ones - she has had a huge impact on other musicians, and has been praised and considered influential by everyone from Radiohead, U2 and Red Hot Chili Peppers to PJ Harvey, Santigold, Gossip and Shirley Manson of Garbage, not to mention the previously mentioned Robert Smith and Morrissey or Tricky and Massive Attack - post-punk had a great impact on the trip-hop movement. Quite some names right there.