A Kiss in the Dreamhouse is the fifth studio album by British rock band Siouxsie and the Banshees. It was released on 5 November 1982 by Polydor Records. The record marked a change of musical direction, as the group used strings for the first time and experimented in the studio. Guitarist John McGeoch played more instruments, including recorder and piano. For Julian Marszalek of The Quietus, the release proved the Banshees to be "one of the great British psychedelic bands" of the post-punk era. In August 2007, it was ranked No. 1 on Mojo magazine's list of the best albums of 1982.
Tinderbox is the most musically up-tempo of all Siouxsie and the Banshees' albums and the most stylistically consistent one since The Scream and Join Hands. Most of the selections here feature urgently rocking drumming, drivingly aggressive yet fully textured guitar playing, and masterful, gutsy singing. The songs here are intense and unfold slowly, some starting off less vigorously but becoming hard rockers further along. There is of course a fine line between consistency and lack of contrast, but this album stays firmly on the side of the former; in fact, there's a certain satisfying feel to the musically uniform wall of sound here. The arrangements are less complex than in immediately preceding albums, but there are still plenty of subtle, effective production touches to be found throughout, most notably in the song "Cannons." "Cities in the Dust," a dance-pop number with a bell-like synthesizer opening section, stretches the above-mentioned boundaries the most, though typically bleak lyrics keep this selection from any sense of vacuity. This excellent release is well worth purchasing.
Once Upon a Time: The Singles collects all ten of Siouxsie and the Banshees' A-sides spanning the years 1978-1981, with four songs otherwise unavailable on LP. It's a neat and accessible encapsulation of the group's early guitar-driven sound – a frosty, dissonant art punk that had a tremendous impact on the emerging goth rock scene. Unlike similarly forbidding work by such proto-goth contemporaries as Joy Division or the Cure, the early Banshees were tense and visceral; the darkness of the Once Upon a Time singles doesn't come from a sense of downcast gloom so much as it does from a jittery angst. Yet as challenging as the music is, it's also accessible enough for eight of these singles to have charted in the British Top 50. The melodies are angular and almost alien, yes, but oddly memorable once the listener has assimilated them. Starting shortly after the period covered by this collection, Siouxsie Sioux's icy detachment would be fused with an elegant romanticism and lusher, smoother arrangements.
Peepshow is the ninth studio album by Siouxsie and the Banshees and their first as a quintet. With the arrival of multi-instrumentalist Martin McCarrick, Peepshow was one of their most musically complex albums, including the singles "Peek-a-Boo" and "The Last Beat of My Heart". The album was both a critical and a commercial success, peaking at number 68 on the Billboard 200 chart.
Digitally remastered reissue of this 1980 album by the Queen of Goth Rock and her busy little Banshees featuring nine bonus tracks including 'Sitting Room', 'Israel' (Single Version), four Warner Chappell demos and three Polydor demos.
Through the Looking Glass is the eighth studio album from Siouxsie and the Banshees containing cover versions of songs written and originally performed by other artists.
One of the band's masterworks, Juju sees Siouxsie and the Banshees operating in a squalid wall of sound dominated by tribal drums, swirling and piercing guitars, and Siouxsie Sioux's fractured art-attack vocals. If not for John McGeoch's marvelous high-pitched guitars, here as reminiscent of Joy Division as his own work in Magazine, the album would rank as the band's most gothic release. Siouxsie and company took things to an entirely new level of darkness on Juju, with the singer taking delight in sinister wordplay on the disturbing "Head Cut," creeping out listeners in the somewhat tongue-in-cheek "Halloween," and inspiring her bandmates to push their rhythmic witches brew to poisonous levels of toxicity.
2009 digitally remastered digipak edition of this classic live Banshees album from 1986. Features sleevenotes by Paul Morley. 16 tracks. NTSC DVD Nocturne features the Banshees live in concert from the Royal Albert Hall (Sept 30th & Oct 1st 1983) , featuring Robert Smith from The Cure on guitar. Extras include the Channel 4 Documentary Play At Home (53 mins approx) and the Promotional Video for 'Dear Prudence'. Also features 'Melt' and 'Painted Bird' recorded live on The Old Grey Whistle Test (8 mins. approx). Available in Dolby Stereo, 5.1 Surround Sound and DTS 5.1 Surround Sound.
2009 digitally remastered and expanded digipak edition of the classic Banshees album from 1984 featuring three bonus tracks including the Glamour Mix of 'Dazzle' and the previously unreleased songs 'Baby Piano - Part One' and 'Baby Piano - Part Two' featuring Robert Smith of The Cure. Siouxsie & The Banshees began life as a Punk outfit (with Sid Vicious on drums, no less!) before mutating into Post-Punkers on their way to becoming one of the most influential Goth Rock band on the scene. To this day, over 10 years after their disintegration, the band's fanatical fan base continues to grow.
2009 digitally remastered and expanded digipak edition of the classic Banshees album from 1982 featuring four bonus tracks including the epic 12" versions of 'Fireworks' and 'Slowdive' plus the previously unreleased demo versions of 'Painted Bird' and 'Cascade'. Siouxsie & The Banshees began life as a Punk outfit (with Sid Vicious on drums, no less!) before mutating into Post-Punkers on their way to becoming one of the most influential Goth Rock band on the scene. To this day, over 10 years after their disintegration, the band's fanatical fan base continues to grow.