“Dissecting the deathly mystique of Siouxsie and the Banshees”

siouxsie-israelExcellent Siouxsie and the Banshees primer…

Next steps: By 1982 Siouxsie And The Banshees had begun to stretch their canvas to encompass many more instruments, textures, and styles than they previously had. The culmination of that tonal drift is A Kiss In The Dreamhouse. Steeped in keyboards, strings, chimes, bells, and lush surrealism, the album flew in the face of post-punk austerity by simply pretending it had never existed. It’s also a prototype for shoegaze, having greatly inspired the proto-shoegaze group Cocteau Twins. Nothing on Dreamhouse wound up on The Best Of Siouxsie And The Banshees, although that’s not surprising; the band could and did produce stellar singles, but Dreamhouse is best swallowed whole.

1984’s Hyæna is The Banshees’ sole album with Robert Smith as guitarist-keyboardist and follows Dreamhouse’s template while giving Smith room to develop some of the ideas he would later apply to The Cure’s baroque Kiss Me Kiss Me Kiss Me. But it was 1986’s Tinderbox that became Siouxsie And The Banshees’ next evolutionary leap. Clipped, cold, and reconciling the starkness of the band’s early days with a sculpted darkness, songs such as “Candyman” and “Cities In Dust” manicured The Banshees for the slicker demands of the late ’80s without removing any of their luscious menace. New conscript John Valentine Carruthers didn’t last long in the band, but his relative absence as a guitarist granted The Banshees even more of the void to love.

via Dissecting the deathly mystique of Siouxsie And The Banshees | Music | Gateways To Geekery | The A.V. Club.

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