ENCARTE: SIOUXSIE AND THE BANSHEES

Finzinho de minucioso e copioso (4 páginas, 31 parágrafos) release cometido por Paul Morley em “Voices On the Air – The Peel Sessions” (2006):

“Siouxsie and the Banshees were twisted show business luxury fronted by the hardest, strangest most flamboyantly inscrutable female pop star of them of all. No one from the MTV generation, from Madonna to Love, from Bjork to Stefani, has come close to matching the originality of her impact.

Their songs travelled through space, time and sexuality, used handsome, enchanting melody to confront traumatic experiences. They thumbed their nose at conventional expectations, stuck the knife in, spun in a haze of rhapsody, cracked up, stuck around, found their way, exiled themselves, demanded attention, stopped, started, stopped. They were principled surrealists screaming themselves hoarse and whispering for dear life under an exhilarating sky.

Great guitarists come and went, rhythm hero Budgie joined on drums, Siouxsie and Steven stayed solid in the chuming centre. Their songs changed as they made their way into the 80s but always had a family resemblance to each other, to their early songs, ideas and experiments.

They ended up gate crashing the pop party playing the most violent, exquisite and erotically charged pop music imaginable. They sneaked hell into the pop charts, as well as a brittle, opulent heaven and a jarring lewdness. Considering their topics were mental illness, medical terrors, surreal diseases, sinistre intensity, unearthly energy, sexual abuse, childhood disturbances, sordid mysteries, unbearable nervous anxiety, urban discontent and the bleak dignity of solitude, it was astonishing that they ended up as much as anything else a sublime singles band.

In their own special way, they always wanted to be noticed“.