Aku gerenti lah ada diantara kita yang sik tauk/sik ingat ngan band tok.Sidak tok la bagi aku yang diantara pelopor gothic rock...biarpun zaman ya nya digelar rock jak la (tok sebelum kebangkitan punk rock & genre yang sewaktu dengannya). Seperti biasa, aju kita baca dengan lebih lanjut tentang band otai Siouxie & The Banshees. Bagi kitaurang yang interested nok nengar muzik nya aku rekomen lagu "Face to Face - Batman Return Soundtrack) best!
Siouxie & The Banshees
Siouxsie & the Banshees were a British rock band which formed in 1976. Led by vocalist Siouxsie Sioux and with bassist Steven Severin, the band's only constant members, the Banshees formed at the advent of the British punk rock scene and from 1977 with the arrival of guitarist John McKay and drummer Kenny Morris soon became one of the major forces in the post-punk movement. After a change of musical direction leading to a redefining of their image, together with new drummer Budgie and a procession of guitarists including Robert Smith of The Cure and John McGeoch, the Banshees also became inspirational in the creation and development of gothic rock into the next decade. The group released several successful albums and singles throughout the 1980s and 1990s, including "Cities in Dust", "Peek-a-Boo", and "Kiss Them for Me", while its members also dabbled in side projects. The Banshees disbanded in 1996, with Sioux and Budgie continuing to record music as The Creatures, a side project they had started in the 1980s. The band reunited in 2002 for a brief tour.
Formation and early releases
Siouxsie Sioux and Steven Severin met at a Roxy Music concert in September 1975. Severin remembered : "At one time, you could see something every week New York Dolls, Can, but that was changing. Glam rock has faded. Roxy and Bowie were getting too big. There was nothing new coming through that we could identify with."From February 1976, Sioux, Severin and some friends began to follow the Sex Pistols at their early stage of their career. Journalist Caroline Coon dubbed them the Bromley Contingent as most of them came from the Bromley region of London. Severin later despised the label. "There was no such thing as the 'bromley contingent', said he. "It was just a bunch of people drawn together by the way they felt and they looked." Severin explained why they were interested by this new group yet un-signed. "The Sex Pistols inspired us all. For the first time in my life I saw that anyone could do it. You didn't have to be able to play your instruments." When one of bands scheduled to play the 100 Club Punk Festival organised by Sex Pistols manager Malcolm McLaren pulled out from the bill, Sioux suggested that she and Severin play, even though they had no band name or additional members. Siouxsie & the Banshees played their first show at the festival, held at the 100 Club in London on 20 September 1976. With two borrowed musicians, Marco Pirroni on guitars and John Simon Ritchie, later famous as Sid Vicious of the Sex Pistols, on drums, their set consisted of a 20-minute improvisation based around "The Lord's Prayer".
While the band intended to split up after the gig, they were asked to play again. Sioux and Severin recruited guitarist Pete Fenton and a drummer named Dixon, who was soon replaced by Kenny Morris only to be replaced by John McKay later that year. Fenton didn't fit in because he was "a real rock guitarist". While the band was able to obtain a publishing deal, they still did not have a record contract. Sioux speculated, "All I can think of is that record companies saw no future in the concept of a woman fronting a band - at least a woman with attitude . . . Perhaps they thought if they didn't sign us we'd go away." The only label that offered the band a recording contract was Polydor Records, to which Siouxsie & the Banshees soon signed with. Polydor released the Banshees's first single, "Hong Kong Garden", which reached the top ten in the UK.
The band released their debut album The Scream in November 1978. Nick Kent of NME said of the record: "the band sounds like some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn." At the end of the article, he added this remark : "Certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results."
The Banshees's second album, Join Hands, was released in 1979 and included a version of "The Lord's Prayer". In the Melody Maker, Jon Savage described "Poppy Day" as "powerful", "Placebo Effect" as "stunning" and the single Playground Twist as "a great song." The Banshees embarked on a major tour to promote the album that August. A few dates into the tour, Morris and McKay left an in-store signing and quit the band. In need of replacements to fulfill tour dates, the Banshees's manager called Budgie (real name Peter Clarke, formerly of The Slits) and asked him to audition. Budgie was hired, but the band had no success auditioning guitarists. Robert Smith of The Cure offered his services in case they couldn't find a guitarist, so the band "held him to it after realising everyone else was rubbish", according to Sioux. The tour resumed in September 1979. When the tour culminated, Smith was obligated to continue with The Cure, so the Banshees hired John McGeoch, formerly of Magazine, to replace him.
The new lineup soon went into the studio and recorded the 1980 single "Happy House". Their third album Kaleidoscope, released later that year, saw Sioux & Severin exploring new musical territories with the use of other instruments like sitars and keyboards. The group initially had a concept of making each song sound completely different, without regards to whether or not the material could be performed in concert. Melody Maker described the result as "a kaleidoscope of sound and imagery, new forms, and content, flashing before our eyes". Kaleidoscope was a commercial success, peaking at number five in the UK album chart. For their 1981's Juju, the band had a different approach and practised the songs in concert first before recording them. Juju, according to Severin, became an unintentional concept album that "drew on darker elements". Sounds magazine hailed it as "intriguing, intense, brooding and powerfully atmospheric." The album later peaked at number 7 in the uk album charts. During the accompanying tour, Sioux and Budgie secretly became a couple. At the same time, they also began a side project called The Creatures.
The Banshees followed with the experimental A Kiss in the Dreamhouse in 1982. The record, featuring strings on several numbers, was an intentional contrast to their previous work, with Sioux later describing it as a "sexy album". The British press greeted it enthusiastically. Richard Cook in the NME finished his review with this sentence: "I promise. This music will take your breath away." At that time McGeoch was struggling with alcohol problems, and was hospitalized on his return to a promotional trip to Madrid. The band fired him shortly thereafter. Severin asked Robert Smith to take over guitarist duties again; Smith accepted and rejoined the group in November 1982. During 1983, the band members worked on several side projects; Sioux and Budgie composed the first Creatures album, while Severin and Smith recorded as The Glove. Smith then insisted on documenting his time with the Banshees, so the group released a cover version of The Beatles' "Dear Prudence" in September 1983, which became their biggest hit, reaching number three on the UK Singles Chart. They also captured a live album, Nocturne and completed their sixth studio album, Hyæna. Shortly before its release in May 1984, Smith left the group, citing health issues due to an overloaded planning.
Ex-Clock DVA guitarist John Valentine Carruthers replaced him. The Banshees then reworked four numbers of their repertoire with a section of strings for The Thorn EP. The NME praised the project at its release : "The power of a classical orchestra is the perfect foil for the band's grindingly insistent sounds". The new Banshees lineup spent much of 1985 working on their new record Tinderbox. The group finished the song "Cities in Dust" before the album, so they rushed its release as a single prior to their longest tour of the UK ever. Tinderbox was finally released in April 1986. Sounds magazine noted : "it's a refreshing slant on the Banshees' disturbing perspective and restores their vivid shades to pop's pale palette". Due to the length of time spent working on Tinderbox, the group desired spontaneity and decided to record an album of cover songs. releasing Through the Looking Glass in 1987. Mojo magazine later especially praised their version of "Strange Fruit" After the album's release, the band realized Carruthers wasn't fitting in anymore and decided to work on new material as a trio.
Following a lengthy break, the band recruited keyboards player Martin McCarrick and the ex-Specimen guitarist Jon Klein and recorded the 1988's Peepshow with non-traditional rock instrumentation including cello and accordion. Q Magazine praised the album in its five-star review : "Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom." The first single "Peek-a-Boo" used abrasive sounds over a pop texture : it was their first real breakthrough in the United States. After an elaborate tour to promote the album and sorting through band tensions, the band decided to take a break, with Sioux and Budgie recording a new Creatures album and Severin and McCarrick working on material together.
Superstition, The Rapture, and breakup
In 1991, the Banshees returned with the single "Kiss Them for Me", mixing strings over a dance rhythm. This single peaked in the U.S. singles charts at number 23, allowing them to reach a new audience. The album Superstition followed shortly after and the group toured the US as second headliners of the inaugural Lollapalooza tour. The following year the Banshees were asked to compose "Face to Face" as a single for the film Batman Returns.
In 1993, The Banshees recorded new songs based on strings arrangements but quickly stopped the sessions to play some festivals abroad. On their return at home, they hired former Velvet Underground member John Cale to produce the rest of the record. At its release, the 1995's The Rapture was described by Melody Maker as "a fascinating, transcontinental journey through danger and exotica." Yet, a few weeks after its release, Polydor dropped the band from its roster and Klein was replaced on the band's last tour in 1995 by ex-Psychedelic Furs guitarist Knox Chandler. In June, Sioux suggested to Severin that they end the band; Sioux told the bassist, "It's not doing anyone any good and it's not any fun". The band split up after playing the final date of the tour at the Beach Festival in Belgium on 21 July 1995.
After the Banshees broke up, Sioux and Budgie carried on recording as The Creatures.
In 2002, Sioux, Severin, Budgie and Chandler reunited briefly for the Seven Year Itch tour, which spawned the 2003 Seven Year Itch live album and DVD.
The year after Downside Up, a box set that collected all of the band's B-sides and the out-of print The Thorn EP, was released. The Times wrote in its review : "for here is a group that never filled B-sides with inferior, throwaway tracks. Rather they saw them as an outlet for some of their most radical and challenging work."
In 2006, the band's first four records were remastered and compiled with previously unreleased bonus tracks.
Several recordings made for the John Peel radio show from 1978 to 1986, were put together on Voices on the Air: The Peel Sessions. Allmusic described the first session as "a fiery statement of intent" and qualified the other performances as "excellent".
The next batch of remasters, concerning the 1982-1986'era, are set to be released on April 4, 2009 : it will include four other re-issues (including the 1982's A Kiss In The Dreamhouse considered as their masterpiece) plus a BBC boxset containing live in concert recordings.
When they started, Sioux saw rock music as "flaccid and perverted", and the band expressed a "rock is dead" philosophy that was a common thought process of the post-punk movement. Many of their musical traits were determined through negation. Severin said, "It was a case of us knowing what we didn't want, throwing out every cliche . . . Never having a guitar solo, never ending a song with a loud drum smash." Sioux wanted a guitar sound that sounded like "a cross between the Velvet Underground and the shower scene in Psycho", Severin said, and the band added flanging effects to the instrument.".