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Siouxsie & the Banshees

Siouxsie & the Banshees, left to right: Steven Severin, Siouxsie Sioux and Budgie
Background information
Also known as Janet and the Icebergs
Origin London, England
Genres Punk rock
Post-punk
Gothic rock
Alternative rock
Years active 1976–1996, 2002
Labels Polydor, Geffen, Sanctuary
Associated acts The Creatures, The Glove, The Cure
Members
Siouxsie Sioux
Steven Severin
Budgie
Former members
Sid Vicious
Marco Pirroni
Kenny Morris
Peter Fenton
John McKay
John McGeoch
Robert Smith
John Valentine Carruthers
Martin McCarrick
Jon Klein
Knox Chandler

Siouxsie & the Banshees were a British rock band formed in 1976 by vocalist Siouxsie Sioux and bassist Steven Severin, the only constant members.

Initially associated with the British punk rock scene, the band quickly evolved to create "a form of post-punk discord full of daring rhythmic and sonic experimentation."[1] The Times cited Siouxsie & the Banshees as "one of the most audacious and uncompromising musical adventurers of the post-punk era."[2]

The group also became inspirational in the creation and development of gothic rock and their music also combined elements of pop and avant-garde.

Contents

History

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Formation: 1976-1977

Siouxsie Sioux and Steven Severin met at a Roxy Music concert at a time when Glam rock had faded and there was nothing new coming through with which they could identify.[3] From February, 1976, Sioux, Severin and some friends began to follow an unsigned band, the Sex Pistols up and down England.[4] Journalist Caroline Coon dubbed them the "Bromley Contingent" as most of them came from the Bromley region of London, a label Severin later despised. "There was no such thing, it was just a bunch of people drawn together by the way they felt and they looked."[4] They were all inspired by the Sex Pistols - from watching them, they realized that anyone could do it.[5] When they learned that one of the bands scheduled to play the 100 Club Punk Festival, organized by Sex Pistols manager Malcolm McLaren, pulled out from the bill at the last minute, Sioux suggested that she and Severin play, even though they had no band name or additional members.[6] Two days later, the pair appeared at the festival held in London on September 20, 1976. With two borrowed musicians at their side, Marco Pirroni on guitars and John Simon Ritchie later known as Sid Vicious on drums, their set consisted of a 20-minute improvisation based around "The Lord's Prayer."[7]

While the band intended to split up after the gig, they were asked to play again. Two months later, Sioux and Severin recruited drummer Kenny Morris and guitarist Pete Fenton.[8] After playing several gigs in early 1977, the band realized that Fenton didn't fit in because he was "a real rock guitarist." John McKay finally took his seat in July.[9]

First records: 1978-1979

While the band sold out venues in London in early 1978,[10] they still encountered problems to get the right recording contract that could give them "complete artistic control."[11] Polydor finally offered this guarantee and signed them in June. The Banshees' first single, "Hong Kong Garden," issued shortly after, reached the Top Ten in the UK. In its review, the NME hailed it as "a bright, vivid narrative, something like snapshots from the window of a speeding Japanese train, power charged by the most original, intoxicating guitar playing I heard in a long, long time."[12]

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."[13]

The Banshees' 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 "a short, powerful evocation of the Great War"[14] and Record Mirror described the whole record as "a dangerous and volatile work".[15] 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.[16] In need of replacements to fulfill tour dates, the Banshees' manager called drummer Budgie, formerly with The Slits, and asked him to audition. Budgie was hired, but the band had no success auditioning guitarists.[17] Robert Smith of The Cure offered his services in case they couldn't find a guitarist, so the band held him to it after seeing too many "rock virtuosos."[18] The tour resumed in September and after the last concert, Smith returned to The Cure.[19]

1980-1982

Siouxsie Sioux in Long Island, New York, November 1980

Drummer Budgie quickly became a permanent member and the band entered the studios to record the single, "Happy House," with John McGeoch, formerly of Magazine. Their third album, Kaleidoscope, released in 1980, saw the Banshees exploring new musical territories with the use of other instruments like sitars and drum machines. The group initially had a concept of making each song sound completely different, without regard to whether or not the material could be performed in concert.[20] Melody Maker described the result as "a kaleidoscope of sound and imagery, new forms, and content, flashing before our eyes."[21] Kaleidoscope was a commercial success, peaking at number 5 in the UK album chart. This lineup, featuring McGeoch on guitar, toured the United States for the first time in support of the album, playing their first shows in New York City in November, 1980. For Juju (1981), the band had a different approach and practised the songs in concert first before recording them.[22] 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." [23] The album later peaked at number 7 in the UK album charts and became one of their biggest sellers. During the accompanying tour, Sioux and Budgie secretly became a couple.[24] At the same time, they also began a side project called The Creatures, releasing their first EP, "Wild Things."

The Banshees followed in 1982 with A Kiss in the Dreamhouse. The record, featuring strings on several numbers, was an intentional contrast to their previous work, with Sioux later describing it as a "sexy album."[25] The British press greeted it enthusiastically.[26][27] Richard Cook in the NME finished his review with this sentence: "I promise. This music will take your breath away."[28] 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.[29] Severin asked Robert Smith to take over guitarist duties again; Smith accepted and rejoined the group in November 1982.[30]

1983-1987

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; it became their biggest hit, reaching number 3 on the UK Singles Chart.[31] They also captured a live album, Nocturne, and completed their sixth studio album, Hyæna.[32] Shortly before its release in May, 1984, Smith left the group, citing health issues due to an overloaded schedule, being in two bands at once.[33]

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."[34] 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.[35] 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."[36] Due to the length of time spent working on Tinderbox, the group desired spontaneity and decided to record an album of cover songs, Through the Looking Glass, in 1987.[37] Mojo magazine later praised their version of "Strange Fruit"[38] After the album's release, the band realized Carruthers wasn't fitting in anymore and decided to work on new material as a trio.[39]

1988-1989

Following a lengthy break, the band recruited keyboard player Martin McCarrick and the ex-Specimen guitarist Jon Klein and recorded Peepshow in 1988 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."[40] The first single "Peek-a-Boo" looked like a "post-hip hop sound collage" :[41] it was their first real breakthrough in the United States.[42] 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.[43]

1990s

In 1991, the Banshees returned with the single, "Kiss Them for Me," mixing strings over a dance rhythm. The single peaked in the Billboard Hot 100 at number 23, allowing them to reach a new audience.[44] The album, Superstition, followed shortly afterwards and the group toured the U.S. 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 festivals abroad. On their return home, they hired former Velvet Underground member John Cale to produce the rest of the record.[45] At its release, the 1995's The Rapture was described by Melody Maker as "a fascinating, transcontinental journey through danger and exotica."[46] A few weeks after its release, Polydor dropped the band from its roster[47] and Klein was replaced on the band's last tour in 1995 by ex-Psychedelic Furs guitarist Knox Chandler. In April, 1996, the band finally called it a day after 20 years spent together.[48] Sioux and Budgie announced that they would carry on recording as The Creatures. In 1999, they released the album Anima Animus to critical acclaim.[49]

2000s-present

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 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." [50]

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."[51]

The second batch of remasters, concerning the 1982-1986 era, was released in April, 2009. It included four other re-issues (including the 1982 A Kiss In The Dreamhouse, considered their masterpiece).[52] The At The BBC box set - containing a DVD with all of the band's U.K. live television performances and several CDs with in-concert recordings - was also released in June of the same year.

Legacy and influence

Siouxsie & the Banshees influenced many musicians of different genres. The Banshees had a strong impact on two main trip hop acts.[53][54] Tricky covered the b-side, "Tattoo," to open his second album, Nearly God;[55] the original version of that song helped Tricky in the creation of his style.[56] Another trip hop group, Massive Attack, sampled "Metal Postcard"[57] prior to record Mezzanine. One of their leaders, 3D, also explained that for this album, his band "let the sounds of new wave acts like Siouxsie get in their music."[58] The singer Morrissey stated in 1994 that "If you study modern groups, those who gain press coverage and chart action, none of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact."[59] Another ex-member of The Smiths, Johnny Marr mentioned his liking for Banshees'guitarist John McGeoch.[60] Garbage's singer, Shirley Manson, wrote in the foreword to Paytress' Banshees biography, "I learned how to sing listening to The Scream and Kaleidoscope. Today, I can see and hear the Banshees' influence all over the place."[61] She also related that Siouxsie embodied everything she wanted to be as a teen.[62] Guitarist Dave Navarro of Jane's Addiction once made a parallel between his band and the Banshees: "There are so many similar threads: melody, use of sound, attitude, sex-appeal. I always saw Jane's Addiction as the masculine Siouxsie & the Banshees."[63] The Cure leader, Robert Smith, declared in 2003: "Siouxsie and The Banshees and Wire were the two bands I really admired. They meant something."[64] He also pinpointed what the 1979 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."[65] Other famous acts also cited the Banshees. Radiohead cited John McGeoch-era Siouxsie records when mentioning the recording of the song "There There."[66] U2 selected "Christine" for a Mojo compilation[67] and The Edge was the presenter of an award given to Siouxsie at the Mojo ceremony'2005 .[68][69] Jeff Buckley who took inspiration in several female voices, covered "Killing Time" on various occasions.[70][71] Red Hot Chili Peppers performed "Christine" in concert[72] and their guitarist cited the Banshees in interviews.[73] Siouxsie was also name checked by various female singers including PJ Harvey[74] and Ana Matronic of Scissor Sisters.[75]

The Banshees's music continues to be an influence on modern music. LCD Soundsystem leader James Murphy was marked by certain Banshees albums during his childhood.[76] Later in 2005, his band LCD Soundsystem covered "Slowdive" as a b-side to the single "Disco Infiltrator."[77] Santigold based one of her songs on the music of "Red Light." "'My Superman' is an interpolation of a Siouxsie Sioux song, 'Red Light,'" she explained. "The only reason I'm calling it an interpolation is because we have to." "I have no problem with it because I love her song and I love this song." [78] The Beta Band sampled "Painted Bird" on their track "Liquid Bird" from the Heroes to Zeros album.[79] DeVotchKa covered "The Last Beat of My Heart" on the suggestion of Arcade Fire singer, Win Butler; it was released on "The Curse Your Little Heart" EP.[80] In 2009, Gossip also named the Banshees as one of their major influences.[81]

Discography

References

  • Paytress, Mark. Siouxsie & the Banshees: The Authorised Biography. Sanctuary, 2003. ISBN 1-86074-375-7
  • Johns, Brian. Entranced : the Siouxsie and the Banshees story. Omnibus Press,1989. ISBN 0-7119-1773-b
  • Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984. Penguin, 2005. ISBN 0-14-303672-6

Notes

  1. ^ Siouxsie & the Banshees, Nigel Williamson, The Times, November 27, 2004 "with the Banshees she helped to invent a form of post-punk discord full of daring rhythmic and sonic experimentation"
  2. ^ Siouxsie & the Banshees, Nigel Williamson, The Times, November 27, 2004 "the Banshees stand proudly alongside PiL, Gang of Four and the Fall as the most audacious and uncompromising musical adventurers of the post-punk era."
  3. ^ Paytress, p. 27
  4. ^ a b Johns Brian, p.13
  5. ^ Paytress, p. 48
  6. ^ Paytress, p. 49
  7. ^ Paytress, p. 53-54
  8. ^ Paytress, p. 54-55
  9. ^ Paytress, p. 57
  10. ^ NME, Paul Morley, 14/01/78 "Friday night at the Nashville. An incongruous/traditional venue, it would seem, for Siouxsie and the Banshees. Isn’t anywhere? It is ‘an occasion’. Names/faces are scattered, to be noticed and not to be noticed, perhaps admiring the path of individualism. Wayne County, Billy Idol, Marianne Faithful, Andy Czezowski, Howard Pickup, Jordan and so on. It is a sell out. People straggle outside, hoping for admission."
  11. ^ NME, Adrian Thrills, 24/06/78 "Yeah, we were holding out to a certain extent," she admits. "But just to get the right deal, the right control. No recording company would sign the band for what we wanted. If it’s our material, we want to have control over what is put out, how it is put out... the packaging and God knows what else."
  12. ^ Paul Rambali, Hong Kong Garden review, NME, 19 August 1978
  13. ^ NME (8.26.78) Nick Kent for the release of The Scream
  14. ^ Melody Maker, Jon Savage, 01/09/79Excerpt: "'Poppy Day', is a short, powerful evocation of the Great War graveyards in Flanders. McKay's phased guitar scythes out a barrage of sound while the bass carries the tune. 'Regal Zone' opens with an urgent flurry, muted slightly by McKay's sax: it shifts into an urgent, insistent claustrophobia. The two best tracks follow: 'Placebo Effect' has a stunning flanged guitar intro, chasing clinical lyrics covering some insertion or operation. It winds down, spaciously, into the apocalyptic 'Icon'. Siouxsie begins awkwardly, and the band slip into one of the oldest tricks in the book - the Bo Diddley rhythm - and make it their own: the brilliantly reverbed guitar is a perfect foil for Siouxsie's soaring and, for once, emotional vocal."
  15. ^ Record Mirror 1979 "Poppy Day" establishes the bands perfect employ of atmospherics and sets the tone of all the tracks here. The track makes no judgments, it merely sets a scenario of death, a theme which is overpoweringly abundant on "Join Hands". "Regal Zone" perhaps traces the Banshees paranoia, or otherwise on rejection and alienation whilst "Placebo Effect" the most melodic track on the album harkens back to material like the most hummable passages of the first album. Given time this will become enjoyable, probably not what the band intend for their open ended waxings but for now it's a dangerous and volatile work which should be heard.
  16. ^ Paytress, p. 81-82
  17. ^ Paytress, p. 93-94
  18. ^ Paytress, p.94 and p. 95
  19. ^ Paytress, p. 97-98
  20. ^ Paytress, p. 101
  21. ^ Kaleidoscope review, by Paulo Hewitt, Melody Maker (7.26.80)
  22. ^ Paytress, p. 105
  23. ^ Sounds Magazine, Juju album review, by Betty Page, 27/06/1981 Excerpt : "After the relative calm (before the storm) and optimism of "Kaleidoscope" the Banshees are wailing again, doom is at the door, creating what is hardly the sound of summer but what is something intriguing, intense, brooding and powerfully atmospheric. Sioux's voice seems to have acquired a new fullness of melody - a rich, dark smoothness matched only, perhaps, by Bourneville chocolate and Jim Morrison."
  24. ^ Paytress, p. 110-11
  25. ^ Paytress, p. 124
  26. ^ Melody Maker, 06/11/1982 Steve Sutherland, A Kiss In The Dreamhouse'review Excerpt : "Dreamhouse is an intoxicating achievement".
  27. ^ Record Mirror, 06/11/82, Jim Reid, A Kiss In The Dreamhouse'review Excerpt: "This is a very fine pop record."
  28. ^ 06/11/1982 NME; 06/11/82, Richard Cook, A Kiss In The Dreamhouse'review Excerpt: "It's rare for a group to make their fourth LP and still be provocative, still be interested in themselves, let along break any substantially new ground. For them to progress as far as Siouxsie and The Banshees have done on ‘A Kiss In The Dreamhouse’ is a feat of imagination scarcely ever recorded. It’s breathtaking."
  29. ^ Paytress, p. 126-27
  30. ^ Paytress, p. 129
  31. ^ Paytress, p. 137, 143
  32. ^ Paytress, p. 134
  33. ^ Paytress, p. 142-43
  34. ^ NME 25.10.84 Mark Jenkins, review of "The Thorn" EP
  35. ^ Paytress, p. 154
  36. ^ [ http://www.untiedundone.com/queen.html Kevin Murphy, "POP'S ROYAL COUPLE?", Sounds, 10/05/1986]
  37. ^ Paytress, p. 158
  38. ^ [ http://www.badlands.co.uk/Items/mojo163?&caSKU=mojo163&caTitle=MOJO%20Magazine%20June%202007%20(FREE%20CD) Mojo june 2007 issue 163 CD tracklisting includes "Strange Fruit" covered by Siouxsie & the Banshees]
  39. ^ Paytress, p. 162-63
  40. ^ Q magazine, Peeshow review by Mark Cooper
  41. ^ Simon Price, Kisses in the dreamhouse: a subjective history, Melody Maker, 28 August 1993
  42. ^ Allmusicguide Billboard charts position for the singles of Siouxsie & the Banshees
  43. ^ Paytress, p. 188-89
  44. ^ AMG Billboard page with the siouxsie & The Banshees us singles chart positions
  45. ^ Paytress, p. 216
  46. ^ Melody Maker, Cathi Unsworth, 14 january 1995, p34
  47. ^ Paytress, p. 224
  48. ^ Press statement, April 1996
  49. ^ The Times, 2 February 1999, The Creatures, Anima Animus review "hypnotic and inventive".
  50. ^ The Times Downside-up review by NIgel Williamson, 27 November 2004
  51. ^ Allmusic.com Dave thompson, review of Voices oh the Air: the Peel Sessions
  52. ^ 06/11/1982 dithyrambic reviews of "A Kiss In the Dreamhouse" published in the NME and the Melody Maker
  53. ^ http://www.rocknfolk.com/site/ancien-numero.php?produit=2090 Rockn'folk October 2007 Patrick Eudeline
  54. ^ allmusicguide.com Tricky page, see under the category "Influenced by"
  55. ^ moon-palace.de Tricky website Tricky's "Tattoo" is a cover of Siouxsie & the Banshees
  56. ^ allmusicguide.comTricky page, see under the category "Influenced by"
  57. ^ inflightdata.com Massive Attack website Massive Attack's "Superpredators(metal postcard)"'1997), music copyright by Siouxsie & the Banshees
  58. ^ Les inrockuptibles, Massive Attack-contre-attaque 08/04/1998, interview of Massive Attack with 3D and Daddy G by Jean-Daniel Beauvallet3D:"Il n'y a aucune logique dans notre carrière : c'est par exemple absurde de faire soudain entrer dans notre musique tous ces disques de new-wave, tous ces sons de Wire, Gang Of Four, Cure, Siouxsie, Joy Division... Public Image aussi, que nous avions immédiatement adopté à Bristol : comme les clubs que nous fréquentions, ils mélangeaient sans se poser de questions le dub et le punk. D'où la tonalité dub-new-wave de Mezzanine."
  59. ^ [http://motorcycleaupairboy.com/interviews/1994/hello.htm Hello, Cruel World Morrissey interviewed by Stuart Maconie, Q, April, 1994]"If you actually study modern groups, those who gain press coverage and chart action, none of them are as good as Siouxsie And The Banshees at full pelt. That's not dusty nostalgia, that's fact."
  60. ^ "Spellbound: The Story of John McGeoch" BBC radio2, Saturday 2 February 2004Radio 2’s Pete Mitchell talks to Howard Devoto, Siouxsie Sioux and Johnny Marr among others, as he shines a light on the life of this unsung guitar hero.
  61. ^ Mark Paytress, foreword by (the singer) Shirley Manson 'the Siouxsie & The Banshees The Authorised Biography', Sanctuary 2003, page 9
  62. ^ Rebellious Jukebox From Melody Maker - March 28, 1998 by Dave Simpson, "Garbage's Shirley Manson reveals what rings her bell" Siouxsie & The Banshees: "The Scream"
  63. ^ interview of Dave Navarro in Mark Paytress 'the Siouxsie & The Banshees authorised biography', Sanctuary 2003, page 199
  64. ^ Interview of Robert Smith by Alewis Petridis in Mark Paytress 'the Siouxsie & The Banshees authorised biography', Sanctuary 2003, page 95
  65. ^ Interview of Robert Smith by Alewis Petridis in Mark Paytress 'the Siouxsie & The Banshees official biography', Sanctuary 2003, page 96
  66. ^ Radiohead Biography capitolmusic.ca Excerpt. Colin Greenwood remembers: "The first single we're releasing is actually the longest song on the record. ("There There"). It was all recorded live in Oxford. We all got excited at the end because Nigel was trying to get Jonny to play like John McGeoch in Siouxsie And The Banshees. All the old farts in the band were in seventh heaven."
  67. ^ U2 Jukebox Cd Compilation, Mojo Magazine, June 2005 U2'Compilation for Mojo featuring "Christine"
  68. ^ The Creatures - Siouxsie Sioux Official Website. Archived News: Mojo Icon Award 17.06.05. Last night Siouxsie lifted the Icon Award and the Mojo Honours Awards. The award was given to her by U2's The Edge who cited Siouxsie as a big influence on Bono and U2 before handing over the Award.
  69. ^ Mojo websiteMojo Icon Award 2005: Siouxsie Sioux presented by The Edge
  70. ^ Untiedundone.com archivesBuckley's version of "Killing Time" performed at the radio WFMU Studios, East Orange, NJ, 10.11.92. ("Killing Time" is a Siouxsie/The Creatures song from the Creatures's Boomerang album) Buckley also performed it in January'1995 in London at the Astoria.</
  71. ^ JeffBuckley-fr.netlist of songs covered by Jeff Buckley including "Killing Time" by The Creatures aka (Banshees'members Siouxsie & Budgie]]
  72. ^ saunalahti.fi (Red Hot Chilli Peppers'site). setlist of the Red Hot Chilli Peppers' concert performing "Christine" at the V2001 festival
  73. ^ Dalley, Helen (August 2002). "John Frusciante" Total Guitar.
  74. ^ Pj Harvey.net entry : 7 January 2000 - PJ selects her Top 10 Albums of 1999Pj Harvey put on her website Anima Animus by The Creatures aka (Siouxsie & ex-banshee Budgie) in her top ten favourite albums of year 1999.< Artist Album Title : Bonnie Prince Billy I See A Darkness, Yat-Kha Dalai Beldiri, Tricky with DJ Muggs & Grease Juxtapose, The Rachel’s Selenography, Various Book Of Life Soundtrack, The Creatures Anima Animus, Guided By Voices Do The Collapse, The Black Heart Procession Eponymous, Billy Bragg & Wilco Mermaid Avenue, The Kamkars Kani Sepi
  75. ^ [http://www.metro.co.uk/fame/interviews/article.html?in_article_id=1082&in_page_id=11 Metro.co.uk, "Ana Matronic By JAMES ELLIS" - Monday, February 2, 2004] Ana Matronic from Scissor Sisters talked about her favourite band Siouxsie & the Banshees]
  76. ^ Thrasher Magazine, Sept, 2005 by Sarah PulverMy first album: I got some birthday money, went to the record store and bought Siouxsie and the Banshees' Join Hands, The Fall Grotesque, and The Birthday Party Nick the Stripper, all in one day. And all three of those records are three of my favorite things I've ever heard.
  77. ^ jacksonfreepress.com, LCD Soundsystem iTunes Remix Album by Herman Snell on Feb 27, 06 LCD Soundsystem included their cover of the 1982 "Slowdive" on their Itunes remix album
  78. ^ [http://prod1.cmj.com/articles/display_article.php?id=63047536 SANTOGOLD: All That Glitters Is Santogold, CMJ, Apr 28, 2008, By Lisa Hresko. ]
  79. ^ Earlash April 2004 interview of the Beta band by Scott Lapatine "EL: On previous albums you’ve used some left-field samples as a jumping off point to do something new and original. JM: Yeah, we’ve got Siouxsie and the Banshees on this record. It was Robin’s idea." "Liquid Bird" featured a sample of Siouxsie & the Banshees' "Painted Bird" from the album A Kiss In The Dreamhouse.
  80. ^ devotchka.net DeVotchka biography mentions that Win Butler from Arcade Fire suggested them to cover a banshees songExcerpt: "The Curse Your Little Heart EP showcases the band’s versatility, reinterpreting tracks by the Velvet Underground, Frank Sinatra, Siouxsie and the Banshees, and others, in addition to taking on one of their own older songs. Could the band itself even have predicted what would transpire of the Arcade Fire’s Win Butler’s suggestion to the band that they take on "Last Beat of My Heart"? The end result is the center-piece of the EP, a grand and soaring take on the song.
  81. ^ Spin.com Gossip Q&A By Larry Fitzmaurice 04.28.09 Excerpt : "What bands influenced the new album's sound? Everything from the Birthday Party to house music and Siouxsie and the Banshees."

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