Their first single "Hong Kong Garden" reached the top ten in the UK in the summer of 1978. Their debut full-length The Scream (1978) is today considered as a classic. NME wrote in its review, "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... certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results." Indeed, "Switch" placed Siouxsie and the Banshees as pioneers of the post-punk movement.
Their sophomore Join Hands (1979), perhaps their darkest record, followed up. Guitarist McKay and drummer Morris had left the band shortly after its release. This change allowed Siouxsie the Banshees to play different music. They recruited drummer Budgie and the gifted John McGeoch, formerly of Magazine, who would play guitars on the three following records. McGeoch's work with Siouxsie the Banshees would later be praised by the likes of Radiohead and the Smiths.
Their third record Kaleidoscope (1980) released. Including tracks "Happy House" and "Christine", showed a brand new musical departure with liquid guitars and atmospheric synthesizers. This eclectic record was a success and it reached the top five in the national UK charts. One year later, fourth full-length Juju (1981), with the vibrant "Spellbound", was yet another success for the band.
The last session McGeoch recorded with Siouxsie and the Banshees was for the "Slowdive" single off the classic A Kiss in the Dreamhouse (1982). The British press greeted this fifth release enthusiastically. NME wrote on its review, "I promise. This music will take your breath away." McGeoch, worn out by the recording process of these songs, was hospitalized on his return from a promotional trip to Madrid, Spain. At the same era, Siouxsie and drummer Budgie formed the Creatures to record music more based on percussion.
In late 1982, McGeoch was replaced by famed Robert Smith, from the Cure. Smith became a full-time member between the years 1982 and 1984. He contributed to the classic live album, and later would be DVD, Nocturne (1983) and to the sixth studio album Hyaena (1984) as co-composer.
Guitarist John Valentine Carruthers, from band Clock DVA, replaced Smith in May, 1984. He played on the successful seventh full-length Tinderbox (1986), which included the first hit single of the band in the US, "Cities in Dust". The following covers album Through the Looking Glass (1987) with "This Wheel's on Fire", allowed the band to broaden up their sound.
Following a lengthy break, the rest of the band recruited another, new guitarist Jon Klein, from Specimen and the multi-instrumentalist Martin McCarrick to record ninth studio Peepshow (1988). The hit single "Peek-a-Boo" was considered as avant-garde for its abrasive sounds.
After the most impressive tour of their career, Siouxsie and the Banshees stopped for a while and then the Creatures reappeared with critically acclaimed sophomore Boomerang (1989). One of the most languorous songs from this record, "Killing Time", was covered live by Jeff Buckley a few years later.
In May 13th, 1991 Siouxsie the Banshees returned with the single "Kiss Them for Me", mixing the Beatles strings over a dance rhythm. This track peaked in the US singles charts at number 23, allowing them to reach a new audience. Melody Maker praised the last two studio albums by the band, Superstition (1991) and The Rapture (1995). The latter, partially produced by John Cale, included the swansong "Forever".
Morrissey later recorded a duet with Siouxsie titled "Interlude". This one, off-single was published under the banner of the two artists' names. After 20 years together, Siouxsie and the Banshees split in April, 1996. Siouxsie and Budgie thet announced that they would carry on recording as the Creatures. They released their third studio Anima Animus (1999) to critical acclaim.
The box set Downside Up (2004) was released, compiling 51 unreleased B-sides and the highly praised out-of-print The Thorn EP. Most of these numbers like, "Something Wicked (This Way Comes)" and "Red over White", are considered by fans as 'classics.' After carrying on recording as the Creatures, Siouxsie released her debut solo Mantaray (2007). The record was hailed by both Pitchfork and Mojo.
Influence on Other Artists
Siouxsie and the Banshees have influenced musicians worldwide across many genres.
The band had a strong impact on Trip Hop acts such as:
* Tricky covered "Tattoo" to open his second solo album Nearly God. Here's his version: Tattoo. The original version of "Tattoo" was recorded in 1983 and is available on the Banshees Downside Up box set.
* Massive Attack covered and sampled the music of Metal Postcard on their song "Superpredators (Metal Postcard)" for the movie soundtrack The Jackal.
Siouxsie and the Banshees also inspired the following artists :
* LCD Soundsystem covered "Slowdive" for the cd-single "Disco Infiltrator". Here's the original Slowdive and the LCD Soundsystem version Slowdive (XFM session)
* Jeff Buckley covered live a Siouxsie / The Creatures song called 'Killing Time' originally composed in 1989 on the album Boomerang. Here's the original Killing Time.
* Morrissey stated this in 'GQ' in 1994 : "None of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact."
* The Smiths guitarist Johnny Marr from The Smiths stated on the BBC radio 2 in february'2008 that he rated very high McGeoch for his work on Spellbound.
* Garbage singer Shirley Manson wrote in the foreword of the official Siouxsie and the Banshees biography in 2003 by Mojo magazine journalist Mark Paytress : "I learned how to sing listening to The Scream and Kaleidoscope."
* Radiohead bassist Colin Greenwood claims that while recording their song "There There", producer Nigel Godrich tried to get guitarist Jonny Greenwood to sound like the Banshees' John McGeoch.
* PJ Harvey selected in her top ten favourite albums of year 1999 : Anima Animus by The Creatures. aka Siouxsie.
*Jane's Addiction guitarist Dave Navarro also makes a parallel between his band and the Banshees in Siouxsie's official biography: "There are so many similar threads : melody, use of sound, attitude, sex-appeal. I always saw Jane's Addiction as the masculine Siouxsie and the Banshees."
*The Beta Band sampled the bridge of Painted Bird on their track Liquid Bird from the Heroes to Zeros album.
*Red Hot Chili Peppers covered Christine live at the V2001 festival. In 2002, their guitarist John Frusciante stated in an article featured on Total Guitar Magazine about Banshees guitarist John McGeoch : "He’s just a great guitar player, full stop. I wanted to listen to these people who weren’t just about technique but more about textures. People like John McGeoch. People who used good chords." also declaring that John McGeoch was an influence for the sound on the Red Hot Chili Peppers album By The Way.
*The Mars Volta covered Pulled to Bits (Live At The Royal Albert Hall) for the 'Wax Simulacra' single.
*Arcade Fire singer Win Butler suggested to the band Devotchka to cover the 1988 Siouxsie song : The Last Beat Of My Heart. One can listen to the Devothcka version on their Curse Your Little Heart ep.
* The Cure leader Robert Smith declared in 2003 in Mark Paytress's Siouxsie biography : "Siouxsie and The Banshees and Wire were the two bands I really admired. They meant something." He also pinpointed what the Join Hands tour brought him musically. "On stage that first night with the Banshees, I was Blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with The Cure. Before that, I'd wanted us to be like The Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing." He also talked about the band to Steve Sutherland in 1985 to describe "The Head On the Door" : "It reminds me of the Kaleidoscope album, the idea of having lots of different sounding things, different colors."
*U2 selected Christine for a compilation made for Mojo and The Edge presented an award to Siouxsie at a Mojo ceremony in 2005.
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Split in 2002
Drifter
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Awake to who is following
Moving like water, moving drifting on the wind
A drifter coming in
Then I dreamt that I awoke
And all around was asleep
With eyes in the back of my head
Drifter coming in
Never touching down, never leaving ground
A twilight world in which we roam
Still we don't belong, drift on
At daybreak, we walk
At daybreak, we talk
Ready to tear up the world
Drifter sleepwalk, drifter sleep talk
Your everywhere is home yet you never take hold
Wanting to live everywhere not wanting to live anywhere
A twilight world in which you roam
Still you won't belong, drift on
The lyrics in Siouxsie and The Banshees' song "Drifter" explore the concept of being a wanderer, a figure who never seems to settle down or find a true sense of home. The first verse describes the drifter's movements, suggesting they are fluid and effortless, almost like water or wind. The lyrics also suggest that the drifter is aware of those who follow them, yet still remains unattached and uncommitted.
The second verse presents an interesting dream sequence in which the drifter wakes up to find everyone else asleep. The imagery of having "eyes in the back of my head" reinforces the idea that the drifter is always on the lookout, never quite at ease. The song concludes with a reminder that the drifter's life is one of drifting in and out of various places and worlds. Although they may not belong, they continue to roam and explore.
Overall, "Drifter" is a song that captures the essence of a restless, wandering spirit. Through its evocative language and imagery, the song highlights the beauty and isolation that can come with a life lived without boundaries or limitations.
Line by Line Meaning
Drifter sleepwalk, drifter sleep talk
The drifter moves through life without purpose or direction, as if in a dream state.
Awake to who is following
Despite appearing aimless, the drifter is aware of their surroundings and who may be watching them.
Moving like water, moving drifting on the wind
The drifter is fluid and adaptable, moving through life gracefully and without resistance.
A drifter coming in
The drifter arrives without warning, stirring up curiosity and perhaps caution in those around them.
Then I dreamt that I awoke
The artist experiences a surreal sense of reality, where the world around them is asleep while they are 'awake' and alert.
And all around was asleep
The singer's surroundings are quiet and still, emphasizing their own sense of awareness and wakefulness.
With eyes in the back of my head
The singer is on high alert and watching for anything that may be following or watching them from behind.
Drifter coming in
The drifter arrives once again, perhaps bringing a sense of change or uncertainty with them.
Never touching down, never leaving ground
The drifter is always on the move, never becoming truly grounded or attached to any one place or person.
A twilight world in which we roam
The world around the artist and the drifter is uncertain and unclear, full of shadows and potential dangers.
Still we don't belong, drift on
Despite moving through the world together, the singer and the drifter remain outsiders, never fully fitting in or belonging.
At daybreak, we walk
The drifter and the artist continue to move forward, even as the light of day reveals the world around them more clearly.
At daybreak, we talk
The drifter and the singer communicate with each other, sharing their experiences and observations as they continue on their journey.
Ready to tear up the world
Despite their outsider status, the singer and the drifter feel a sense of empowerment and readiness to make a bold impact on the world around them.
Your everywhere is home yet you never take hold
The drifter feels a sense of familiarity and belonging everywhere they go, yet they are unable to fully commit or take ownership of any one place or person.
Wanting to live everywhere not wanting to live anywhere
The drifter is torn between a desire to experience everything the world has to offer, and a fear of becoming too attached or rooted in any one place.
Still you won't belong, drift on
The drifter acknowledges their status as an outsider and embraces their wandering, aimless lifestyle as the only way they know how to exist.
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: SIOUXSIE, THE BANSHEES
Lyrics Licensed & Provided by LyricFind