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
Lands End
Siouxsie and the Banshees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'll meet you there we'll share the moonlit floor
Through the driving rain, colors run in veins
Ozone fills the air, two figures disappear
Come let's take flight, let's quit this scene tonight
Whilst they sleep on endless, in their wrecked designs
Sleep on endless in your wrecked designs
Moths touched by flame repeat their fatal game
Forever and eternally, the cliffs around the crashing sea
Unsolved and endless, wait for me
Undulating far below, where lucid waters flow
Their faces seem to know
Where the land falls to an end
This hidden tale begins
Take a walk with me down by the sea
Moths touched by flame repeat their fatal game
Forever and eternally, the cliffs around the crashing sea
Unsolved and endless, wait for me, wait for me
Take a walk with me down by the sea
Take a walk with me down by the sea
Take a walk with me down by the sea
Take a walk, take a walk, take a walk
Take a walk with me down by the sea
Take a walk with me down by the sea
In the song "Lands End," Siouxsie and the Banshees invite the listener to join them in a surreal and mysterious setting at twilight's door. The lyrics evoke a feeling of otherworldliness, as if the singers are not entirely of this world. They describe fleeing from a seemingly mundane environment that is "wrecked" and being able to escape into this new strange space.
The opening lines invite the listener to take their hand at twilight's door and share the moonlit floor. The descriptions of driving rain, the colors running in veins, and the ozone in the air all add to the surreal atmosphere. They then suggest taking flight and leaving behind the "wrecked designs" of the world they're escaping.
The repeated phrase "moths touched by flame repeat their fatal game" seems to allude to the idea of repeating patterns and doomed cycles. The image of the cliffs around the crashing sea being "unsolved and endless" is haunting, and suggests a sense of the unknown and the infinite.
Overall, the lyrics to "Lands End" paint a vivid, dreamlike scene that invites the listener to join the singers in a surreal new world away from the mundane chaos of everyday life.
Line by Line Meaning
Come take this hand at twilight's door
Join me at sunset, take my hand, let's go somewhere peaceful
I'll meet you there we'll share the moonlit floor
I'll be there, and once we arrive, we'll dance in the moonlight
Through the driving rain, colors run in veins
As we make our way, the rain around us adds color and life to the journey
Ozone fills the air, two figures disappear
The atmosphere around us changes as we disappear from the world for a moment
Come let's take flight, let's quit this scene tonight
Let's escape the world we know, leave everything behind and start fresh
Whilst they sleep on endless, in their wrecked designs
While others are stuck in the monotonous cycle of life, we won't be held down and bound by conformity
Sleep on endless in your wrecked designs
Keep sleeping and living the mundane life, we'll leave you behind
Moths touched by flame repeat their fatal game
Those who are drawn to danger will continue to pursue it despite knowing the consequences
Forever and eternally, the cliffs around the crashing sea
The sea continues to crash against the cliffs, just as danger will always draw people in
Unsolved and endless, wait for me
The danger and mystery of the unknown is enticing and waiting for us to explore
Undulating far below, where lucid waters flow
The waters below the cliffs are calm and serene, but still hold mystery and secrets
Their faces seem to know
The unknown holds answers to questions we may not even know we have
Where the land falls to an end
The edge of the world is where the journey begins
This hidden tale begins
The journey ahead is unknown and full of surprises
Take a walk with me down by the sea
Experience the unknown and explore with me, by the sea
Take a walk, take a walk, take a walk
Continuously pursue the unknown and new experiences
Lyrics © DOMINO PUBLISHING COMPANY, BMG Rights Management
Written by: SIOUXSIE, THE BANSHEES
Lyrics Licensed & Provided by LyricFind