Well, late yesterday was my intro to The Residents. My dad enthusiastically played The Third Reich 'n' Roll for me. I somehow wound up with a splitting headache. Might just be a coincidence...
Musically it was apalling. However, it was funny at points. It was basically a messy bunch of covers, done purely from memory. It was mostly sixties pop hits, I think. Didn't recognize most of it. Therefore, a lot of the joke passed me by. I did laugh pretty hard when Hanky Panky, Yummy Yummy Yummy I've Got Love in my Tummy, and In-A-Gadda-Da-Vida came under the slate. Far as I'm concerned, they kinda deserved it. (Meaning no offense to anyone who likes those songs).
Unfortunately, there wasn't much else that was actually funny. It sounded more or less like nightmare music. Interesting, horrible, amusing and agonizing by turns. First thing I said when it was over was "I need a bath." Actually, I needed a mental rinse. Thank heavens it was not the sort of music that could ever get stuck in my head.
So why am I even wasting my time writing about it? Because it was (at times) entertaining. It's a pity that it was lumped into two long tracks, forcing you to listen to the whole thing if you ever want to hear the good moments again. I don't, but there are others who really enjoy the Residents.
Like my Dad, who was bopping, laughing, happy as a clam while this was playing. It's nice that someone gets something out of it.
As for me, it was educational. But it did not leave me a fan. I didn't think it would.
Tuesday, April 21, 2009
Friday, April 10, 2009
Pop music as done by The Banshees
Superstition.Three stars, more's the pity.
The Banshees sound changes completely yet again on their first nineties album. And it's sad that it makes use of the cheezy synths and slick production they'd mostly avoided before. This is quite a disappointing turn of events, but if you accept it as it is, you may get more out of it.
The opener is Kiss Them For Me, one of the best songs on Superstition. It's a pop song, but it works and has a great melody. It's very enjoyable and I always like hearing it. Unfortunately, it's so commercial it feels like a guilty pleasure.
Fear (of the Unknown) goes way over the edge. It's incredibly cheezy, and nothing can save it.
Cry is better. It's got a serious quality and the melody is easy to like. It's an aquired taste, shall we say.
Drifter is honestly one of the record's standouts. Dark, atmospheric, slow-moving and with a good lyric. This is one of the reasons to own Superstition.
Little Sister is another. It moves faster but has the same haunting and beautiful quality. My other favorite song from here.
Then there's Shadowtime. It's an innocuous (?) pop song. Though not on Kiss Them For Me's level. Demand nothing edifying from it and it's kind of enjoyable.
Silly Thing is the song most people hate, and I'll admit it doesn't sound like something Siouxsie would do. It's filler, but really no worse than Fear was, so I've no cause to dislike it.
It's Got to Get Up I can't stand. The beginning is full of promise, but it's got a feel-good lyric. I mean come on; what's it even doing on a Siouxsie record? And her voice aggravates me to no end here. Like I said, I can't stand it.
Silver Waterfalls has a nice melody. It's a bit like Shadowtime really. A nice moment in its own way.
Softly. It should be called Slowly. It's really long, the tempo never shifts, nothing happens, and Sioux sings so slowly and quietly I can hardly hear a word. I tend to tune this one out.
The Ghost in You is a nice ending. It's pretty and soft, reminiscent of the cover art. It provides a bit of interest after Softly. Provided you're still awake to hear it.
I've never had the slightest interest in anything Siouxsie and the Banshees did after this, so I neither own or have heard The Rapture. If you're a real completist, by all means keep going, but this is where I disembark. I own the first ten CDs, and the Singles Collection (which I'll review at first opportunity). That's more than enough for me.
The Banshees sound changes completely yet again on their first nineties album. And it's sad that it makes use of the cheezy synths and slick production they'd mostly avoided before. This is quite a disappointing turn of events, but if you accept it as it is, you may get more out of it.
The opener is Kiss Them For Me, one of the best songs on Superstition. It's a pop song, but it works and has a great melody. It's very enjoyable and I always like hearing it. Unfortunately, it's so commercial it feels like a guilty pleasure.
Fear (of the Unknown) goes way over the edge. It's incredibly cheezy, and nothing can save it.
Cry is better. It's got a serious quality and the melody is easy to like. It's an aquired taste, shall we say.
Drifter is honestly one of the record's standouts. Dark, atmospheric, slow-moving and with a good lyric. This is one of the reasons to own Superstition.
Little Sister is another. It moves faster but has the same haunting and beautiful quality. My other favorite song from here.
Then there's Shadowtime. It's an innocuous (?) pop song. Though not on Kiss Them For Me's level. Demand nothing edifying from it and it's kind of enjoyable.
Silly Thing is the song most people hate, and I'll admit it doesn't sound like something Siouxsie would do. It's filler, but really no worse than Fear was, so I've no cause to dislike it.
It's Got to Get Up I can't stand. The beginning is full of promise, but it's got a feel-good lyric. I mean come on; what's it even doing on a Siouxsie record? And her voice aggravates me to no end here. Like I said, I can't stand it.
Silver Waterfalls has a nice melody. It's a bit like Shadowtime really. A nice moment in its own way.
Softly. It should be called Slowly. It's really long, the tempo never shifts, nothing happens, and Sioux sings so slowly and quietly I can hardly hear a word. I tend to tune this one out.
The Ghost in You is a nice ending. It's pretty and soft, reminiscent of the cover art. It provides a bit of interest after Softly. Provided you're still awake to hear it.
I've never had the slightest interest in anything Siouxsie and the Banshees did after this, so I neither own or have heard The Rapture. If you're a real completist, by all means keep going, but this is where I disembark. I own the first ten CDs, and the Singles Collection (which I'll review at first opportunity). That's more than enough for me.
Thursday, April 9, 2009
I don't always agree with AllMusic
Peepshow. Five stars.
With Peepshow, the Banshees finally return to form with a set of songs that all have their own individual sound and aren't buried under ham-fisted production. Plus, there's ony ten of them, so filler is non-existent.
Peek-a-Boo is a truly weird song. It's mostly indescribable, and there was a time when I couldn't stand it. It's grown on me a lot since then, however I must say it gives you no clue as to the album's sound. It doesn't fit in at all, but it easily gains your attention for the rest of it.
The Killing Jar is a solid follow-up. The lyric is pretty awkward, but the melody is good. And the band is great. There's a lot of depth to the music on this record, yet another reason I enjoy it so much.
Next is Scarecrow, one of my favorites. It starts very slow and low key, with vivid imagery. Then it leaps into a propulsive chorus before slowing down again. It rises up beautifully as it progresses. A standout.
Carousel changes gears entirely. The music easily evokes an empty, haunted carnival. It's not eventful -- taking almost the entire song to start building up to the chorus -- but it makes up for it with atmosphere.
Burn-up is nearly the best song on Peepshow. It's a country-western styled song, with typical Siouxsie subject matter. It's a joyous celebration of a pyromaniac and the song structure mimics a raging fire to its best ability. It's super fast-paced and is great fun to listen to
Ornaments of Gold is lush and elegant, along with being emotionally distant. It's also very memorable. Fourth in a row of great songs.
Turn to Stone has some vocal effects I don't much care for. The song has a very romantic flavor, though the lyric makes no sense. The chorus is easy to remember and there's some nice guitar work. A lovely interlude.
Rawhead and Bloody Bones is a freaky little experiment. Use your imagination, it's worth it.
I think the worst track onboard is The Last Beat of My Heart. It's musically quite uneventful and flat, and the lyric is pretty overwrought. Still, Siouxsie's voice is nice enough to carry it off. I don't get any emotion out of it, though. As far as I'm concerned, this is just the pause for breath before the finale.
Rhapsody eclipses the whole album. Siouxsie's voice arrests you instantly, backed by cold, mechanical music. Then it begins to rise up into a powerhouse of tragic majesty. The lyric is beautiful and Siouxsie soars with it. The very first time I heard it, Rhapsody was my instant favorite in the Banshee cannon. It's one of the finest examples of a crescendo I've ever heard, and it makes for a glorious finale.
For months, this was my favorite record by Siouxsie and the Banshees. Now I'm not so sure, but it's easily in my top three and is better than any of their previous work for Geffen.
(And in explanation of the title of the post, I thought most of AllMusic's Siouxsie reviews hit the nail on the head. However, they cursorily dismissed Peepshow as "the sound of a once-great band treading water" or some such hogwash. Everyone has their opinion, but they could at least make an effort to explain things. That review wasn't even as long as this footnote!)
With Peepshow, the Banshees finally return to form with a set of songs that all have their own individual sound and aren't buried under ham-fisted production. Plus, there's ony ten of them, so filler is non-existent.
Peek-a-Boo is a truly weird song. It's mostly indescribable, and there was a time when I couldn't stand it. It's grown on me a lot since then, however I must say it gives you no clue as to the album's sound. It doesn't fit in at all, but it easily gains your attention for the rest of it.
The Killing Jar is a solid follow-up. The lyric is pretty awkward, but the melody is good. And the band is great. There's a lot of depth to the music on this record, yet another reason I enjoy it so much.
Next is Scarecrow, one of my favorites. It starts very slow and low key, with vivid imagery. Then it leaps into a propulsive chorus before slowing down again. It rises up beautifully as it progresses. A standout.
Carousel changes gears entirely. The music easily evokes an empty, haunted carnival. It's not eventful -- taking almost the entire song to start building up to the chorus -- but it makes up for it with atmosphere.
Burn-up is nearly the best song on Peepshow. It's a country-western styled song, with typical Siouxsie subject matter. It's a joyous celebration of a pyromaniac and the song structure mimics a raging fire to its best ability. It's super fast-paced and is great fun to listen to
Ornaments of Gold is lush and elegant, along with being emotionally distant. It's also very memorable. Fourth in a row of great songs.
Turn to Stone has some vocal effects I don't much care for. The song has a very romantic flavor, though the lyric makes no sense. The chorus is easy to remember and there's some nice guitar work. A lovely interlude.
Rawhead and Bloody Bones is a freaky little experiment. Use your imagination, it's worth it.
I think the worst track onboard is The Last Beat of My Heart. It's musically quite uneventful and flat, and the lyric is pretty overwrought. Still, Siouxsie's voice is nice enough to carry it off. I don't get any emotion out of it, though. As far as I'm concerned, this is just the pause for breath before the finale.
Rhapsody eclipses the whole album. Siouxsie's voice arrests you instantly, backed by cold, mechanical music. Then it begins to rise up into a powerhouse of tragic majesty. The lyric is beautiful and Siouxsie soars with it. The very first time I heard it, Rhapsody was my instant favorite in the Banshee cannon. It's one of the finest examples of a crescendo I've ever heard, and it makes for a glorious finale.
For months, this was my favorite record by Siouxsie and the Banshees. Now I'm not so sure, but it's easily in my top three and is better than any of their previous work for Geffen.
(And in explanation of the title of the post, I thought most of AllMusic's Siouxsie reviews hit the nail on the head. However, they cursorily dismissed Peepshow as "the sound of a once-great band treading water" or some such hogwash. Everyone has their opinion, but they could at least make an effort to explain things. That review wasn't even as long as this footnote!)
Tuesday, April 7, 2009
Wavering...
Through the Looking Glass. Three stars.
I had never intended to buy this particular album, but I did so anyway, because I have a completist nature. It's the Banshees doing a cover album, and though not a complete success, it makes for an interesting listen.
One thing it has going for it is individuality. None of these songs blur together as some of the last two records did. Unfortunately, a lot of them aren't good enough to hear more than once. Win some, lose some...
It's got a decent opener with This Town's Not Big Enough for the Both of Us. It's frantic, fast-paced and Siouxsie's voice falls over itself as she pours out the words. It's a good way to start.
Hall of Mirrors is also quite good. It's got the lush, gothic beauty that I love about Geffen-era Banshees. I do wish the chorus didn't show up so often, but that can't be blamed on them. For a cover, it's really good.
Trust in Me is actually from Disney's Jungle Book, believe it or not. For all that, it's darn good. It reads like a sinister lullaby anyway, and Siouxsie emphasizes that quality with her voice. It's a beautiful, sparkling inclusion, one of the best moments on here.
This Wheel's On Fire is a fast-paced, easy to like song. Good string arrangement. I can see why it was chosen as a single. I like it a lot.
Things bog down afterwards, more's the pity. Strange Fruit has the most obnoxious violins I've ever heard. The lyric is pointlessly dark. I find it a total waste of time.
You're Lost Little Girl is forgettable even as you listen to it. It's pleasant at first, but it's not all that interesting.
The Passenger is next. If I'd never heard the original, I'd certainly like it more. Interesting addition of a horn section... But let's face it; the Passenger is just one of those songs you aren't supposed to cover. Ah well, it's not like Siouxsie slaughters it, so why am I complaining?
Gun has a very interesting lyric and a footstomping beat. It's one of the best songs on side two. I don't love it, but it's certainly worth a listen now and then.
Sea Breezes starts good, but there are way too many pauses, dragging proceedings out. I don't like the original too much either. Bryan Ferry did it best solo.
Anyway, last track is Little Johnny Jewel - a hard to remember song with an eye-rolling climax. It ensures that Through the Looking Glass fades away, instead of going out with a bang. Every band have a few clunkers. (If they don't, it means they haven't made enough records) This is one of Siouxsie and the Banshees'. I don't get much out of it.
I had never intended to buy this particular album, but I did so anyway, because I have a completist nature. It's the Banshees doing a cover album, and though not a complete success, it makes for an interesting listen.
One thing it has going for it is individuality. None of these songs blur together as some of the last two records did. Unfortunately, a lot of them aren't good enough to hear more than once. Win some, lose some...
It's got a decent opener with This Town's Not Big Enough for the Both of Us. It's frantic, fast-paced and Siouxsie's voice falls over itself as she pours out the words. It's a good way to start.
Hall of Mirrors is also quite good. It's got the lush, gothic beauty that I love about Geffen-era Banshees. I do wish the chorus didn't show up so often, but that can't be blamed on them. For a cover, it's really good.
Trust in Me is actually from Disney's Jungle Book, believe it or not. For all that, it's darn good. It reads like a sinister lullaby anyway, and Siouxsie emphasizes that quality with her voice. It's a beautiful, sparkling inclusion, one of the best moments on here.
This Wheel's On Fire is a fast-paced, easy to like song. Good string arrangement. I can see why it was chosen as a single. I like it a lot.
Things bog down afterwards, more's the pity. Strange Fruit has the most obnoxious violins I've ever heard. The lyric is pointlessly dark. I find it a total waste of time.
You're Lost Little Girl is forgettable even as you listen to it. It's pleasant at first, but it's not all that interesting.
The Passenger is next. If I'd never heard the original, I'd certainly like it more. Interesting addition of a horn section... But let's face it; the Passenger is just one of those songs you aren't supposed to cover. Ah well, it's not like Siouxsie slaughters it, so why am I complaining?
Gun has a very interesting lyric and a footstomping beat. It's one of the best songs on side two. I don't love it, but it's certainly worth a listen now and then.
Sea Breezes starts good, but there are way too many pauses, dragging proceedings out. I don't like the original too much either. Bryan Ferry did it best solo.
Anyway, last track is Little Johnny Jewel - a hard to remember song with an eye-rolling climax. It ensures that Through the Looking Glass fades away, instead of going out with a bang. Every band have a few clunkers. (If they don't, it means they haven't made enough records) This is one of Siouxsie and the Banshees'. I don't get much out of it.
Falls short of potential
Tinderbox. I've never been sure of my rating for this one. I always have the feeling that it's better then I thought. However, after careful consideration, I'm content to give it a three and a half.
Hyaena was hurt mostly by over-production. Tinderbox has a different problem: a lack of dynamics (especially on headphones). Allow me to clarify...
It gets off to a fastpaced start with Candyman. The lyric is very dark and the music is quite good, though the backing vocals never fail to irritate me.
The Sweetest Chill is rather pretty. It's carried by Sioux's fine voice and the backing forms a nice compliment. But it has no staying power whatsoever.
It morphs into This Unrest. It's harder-edged, and designed for speakers. On headphones it's not very interesting and never adds up to anything important. And it's a bit overlong.
After that comes Cities in Dust, a real breath of fresh air. The melody is great and it's very enjoyable to hear. Easily one of Tinderbox's best.
Cannons drives home the album's emphasis on really bad weather. Its structure is interesting and it's a quick listen, but again it falls just short of its potential. And sounds worse on headphones...
I'm probably the only person to hear this CD that doesn't love Party's Fall. It's pretty, and I like the lyric, though the melody isn't very strong. Again.
92 (degrees) is more interesting. It finally gets some dynamics and goes through a few segments. Maybe I'm being too harsh on this record, as is does sweep you along in a way. But the background soundscape doesn't change very often and the five bonus tracks really drag it out.
Land's End is the standout. It's melodic, soothing, darkly beautiful and paints a lovely picture. This one is my personal favorite, and the end of the original record.
The Quarterdrawing of the Dog is the only complete instrumental the Banshees ever did. That gives it a certain extra interest for me, though it doesn't exactly uphold that.
An Execution starts with an ominous instrumental section before Siouxsie speaks of a gruesome execution for a thankfully short time. Then it wraps up with a surprisingly wistful and melodic ending. If the middle wasn't so absolutely horrendous, it would have been a successful moment.
Lullaby calls up shades of the other soft, gentle tracks heard here. The inclusion of a wind instrument is a good touch, as is the sudden darkness hinted at towards the end. And it's short too.
Umbrella is very similar to This Unrest, though with scarcely any vocals. It's interesting enough.
Last is a totally pointless inclusion. Cities in Dust (Extended Version). It amounts to little more than a remix and is a whole three minutes longer than the original! It's the longest track on Tinderbox and doesn't do any good.
Okay, Tinderbox is worth a listen. ON SPEAKERS. Don't forget that. The lyrics are good and it's got some gems on it. Siouxsie sounds great and it isn't swamped by the production team as badly as Hyaena was. Still, it lacks strong melodies and individuality, and it's way too long. It is unable to achieve greatness, which is a pity, as it could have.
Maybe I'm missing something. After all, the reviews on Amazon universally adore it.
Hyaena was hurt mostly by over-production. Tinderbox has a different problem: a lack of dynamics (especially on headphones). Allow me to clarify...
It gets off to a fastpaced start with Candyman. The lyric is very dark and the music is quite good, though the backing vocals never fail to irritate me.
The Sweetest Chill is rather pretty. It's carried by Sioux's fine voice and the backing forms a nice compliment. But it has no staying power whatsoever.
It morphs into This Unrest. It's harder-edged, and designed for speakers. On headphones it's not very interesting and never adds up to anything important. And it's a bit overlong.
After that comes Cities in Dust, a real breath of fresh air. The melody is great and it's very enjoyable to hear. Easily one of Tinderbox's best.
Cannons drives home the album's emphasis on really bad weather. Its structure is interesting and it's a quick listen, but again it falls just short of its potential. And sounds worse on headphones...
I'm probably the only person to hear this CD that doesn't love Party's Fall. It's pretty, and I like the lyric, though the melody isn't very strong. Again.
92 (degrees) is more interesting. It finally gets some dynamics and goes through a few segments. Maybe I'm being too harsh on this record, as is does sweep you along in a way. But the background soundscape doesn't change very often and the five bonus tracks really drag it out.
Land's End is the standout. It's melodic, soothing, darkly beautiful and paints a lovely picture. This one is my personal favorite, and the end of the original record.
The Quarterdrawing of the Dog is the only complete instrumental the Banshees ever did. That gives it a certain extra interest for me, though it doesn't exactly uphold that.
An Execution starts with an ominous instrumental section before Siouxsie speaks of a gruesome execution for a thankfully short time. Then it wraps up with a surprisingly wistful and melodic ending. If the middle wasn't so absolutely horrendous, it would have been a successful moment.
Lullaby calls up shades of the other soft, gentle tracks heard here. The inclusion of a wind instrument is a good touch, as is the sudden darkness hinted at towards the end. And it's short too.
Umbrella is very similar to This Unrest, though with scarcely any vocals. It's interesting enough.
Last is a totally pointless inclusion. Cities in Dust (Extended Version). It amounts to little more than a remix and is a whole three minutes longer than the original! It's the longest track on Tinderbox and doesn't do any good.
Okay, Tinderbox is worth a listen. ON SPEAKERS. Don't forget that. The lyrics are good and it's got some gems on it. Siouxsie sounds great and it isn't swamped by the production team as badly as Hyaena was. Still, it lacks strong melodies and individuality, and it's way too long. It is unable to achieve greatness, which is a pity, as it could have.
Maybe I'm missing something. After all, the reviews on Amazon universally adore it.
Monday, April 6, 2009
The Geffen era begins
Hyaena. Four stars.
Hyaena does not hold the same edge previous Banshees records had. It's lush, neo-gothic romanticism with psuedo art-house production. Yes, it is softer than what's gone before, but it still retains the dark lyricism that is their trademark, and Siouxsie's voice just keeps gaining depth and range.
It's also got Robert Smith from The Cure onboard as guitarist. Some people might find that important. However (never having heard The Cure) it makes little difference to me.
My only complaint with this CD is a certain similarity the songs suffer from. They blend together musically a little too much. It's a noticable problem, and my main reason for only giving it a four.
Dazzle is one of the Banshees' all time great moments. It starts with a swirl of strings before kicking into high gear. Siouxsie fills the song with strange, darkly beautiful imagery. It's an immensely satisfying moment and just flies along.
I don't think so highly of We Hunger. The lyric is empty and grotesque and I don't find much of interest in the arrangement. The only thing I really like is the way Siouxsie sings it.
Take Me Back is a unique track. It's quite sparse (compared to the rest of it)and the lyric is the only one on here that actually makes any sense.
Belladonna has a lovely melody, it's rather pretty. An understated gem that always seems to sound better on the record than off. It's one of the moments I look forward to.
Swimming Horses is very refined. I didn't like it too much on first hearing it, but Siouxsie's voice carries it. At this point I usually start to notice the similarities in the "sound" of each song. Taking them off Hyaena tends to help. Might just be me.
Back to the songs... Next they cover Dear Prudence. It can't match the haunting quality of the original, but they put their own distinct interpretation on it. They give it a bouncy, radio-friendly quality and it's quite an enjoyable listen.
Bring me the Head of the Preacher Man is a dark, gothic track. It flows effortlessly from line to line, from one strange image to another. It rises and falls, smooth but turbulent. Another favorite.
Running Town is jauntier. I think it's trying for frantic, but it can't achieve that. I like it anyway, but it's not a standout.
Pointing Bone has an atmospheric beginning, then it launches into a fast-tempo song that seems to be some sort of sacrificial rant, full of typically bizarre imagery. For what it is it's not bad, but I find the best moments in the song to be when it slows down for the title phrase. I rather wish it had been more like that.
Anyway, it ends on a really strong note (ironically it used to be my least favorite). Blow the House Down. It's nearly seven minutes but really keeps your interest, and it comes closer than anything else on Hyaena to the exaustive ferocity of former days.
So Hyaena starts and ends wonderfully and has plenty of strong material in the middle. There are some things worth complaining about, but all in all it's a good album.
Hyaena does not hold the same edge previous Banshees records had. It's lush, neo-gothic romanticism with psuedo art-house production. Yes, it is softer than what's gone before, but it still retains the dark lyricism that is their trademark, and Siouxsie's voice just keeps gaining depth and range.
It's also got Robert Smith from The Cure onboard as guitarist. Some people might find that important. However (never having heard The Cure) it makes little difference to me.
My only complaint with this CD is a certain similarity the songs suffer from. They blend together musically a little too much. It's a noticable problem, and my main reason for only giving it a four.
Dazzle is one of the Banshees' all time great moments. It starts with a swirl of strings before kicking into high gear. Siouxsie fills the song with strange, darkly beautiful imagery. It's an immensely satisfying moment and just flies along.
I don't think so highly of We Hunger. The lyric is empty and grotesque and I don't find much of interest in the arrangement. The only thing I really like is the way Siouxsie sings it.
Take Me Back is a unique track. It's quite sparse (compared to the rest of it)and the lyric is the only one on here that actually makes any sense.
Belladonna has a lovely melody, it's rather pretty. An understated gem that always seems to sound better on the record than off. It's one of the moments I look forward to.
Swimming Horses is very refined. I didn't like it too much on first hearing it, but Siouxsie's voice carries it. At this point I usually start to notice the similarities in the "sound" of each song. Taking them off Hyaena tends to help. Might just be me.
Back to the songs... Next they cover Dear Prudence. It can't match the haunting quality of the original, but they put their own distinct interpretation on it. They give it a bouncy, radio-friendly quality and it's quite an enjoyable listen.
Bring me the Head of the Preacher Man is a dark, gothic track. It flows effortlessly from line to line, from one strange image to another. It rises and falls, smooth but turbulent. Another favorite.
Running Town is jauntier. I think it's trying for frantic, but it can't achieve that. I like it anyway, but it's not a standout.
Pointing Bone has an atmospheric beginning, then it launches into a fast-tempo song that seems to be some sort of sacrificial rant, full of typically bizarre imagery. For what it is it's not bad, but I find the best moments in the song to be when it slows down for the title phrase. I rather wish it had been more like that.
Anyway, it ends on a really strong note (ironically it used to be my least favorite). Blow the House Down. It's nearly seven minutes but really keeps your interest, and it comes closer than anything else on Hyaena to the exaustive ferocity of former days.
So Hyaena starts and ends wonderfully and has plenty of strong material in the middle. There are some things worth complaining about, but all in all it's a good album.
Sunday, April 5, 2009
My intro to the Banshees
A Kiss in the Dreamhouse is the most experimental album the Banshees ever did. It's full of odd little bits and pieces that form cohesive, structured songs. And every song does something different, tries something new. It also sounds like Juju's exorcism. And Siouxsie's voice on the entire thing has an extraordinary beauty that it really never had before.
Cascade is one of my favorite songs of theirs. It builds into one crescendo after another, carrying you along in a sweep of strange majesty. The lyric is bizarre in the trademark sense, not the stomach-churning sense of the last record.
A recorder is the first of many odd stylistic choices on Green Fingers. I get visions of pagan rites when I hear it. I never tended to pay much attention to it before, but it's really surprisingly good. There's a lot going on in it.
Obsession is our main hangover from Juju. It's a vivid and totally twisted track about...well, obsession. What else? The music drags like a funeral dirge except for a surprisingly beautiful (though short) cello solo.
She's a Carnival is set up like a more typical rock tune, but it's a really irrepressable song. I love the picture it paints and the off-the-wall organ solo just thrown on the end.
I do not like Circle at all. It's tape-loop experimentation, and has a really depressing lyric. I think the loop is effective if it's supposed to drive you insane from the endless repetition. But I could do without it.
Melt! on the other hand... The melody is beautiful, enticing and really ominous. Siouxsie's voice is at its peak of expression. The music in entirely complimentary and the lyric is a huge slice of eroticism. A standout.
Painted Bird is very close to my heart. It's a wonderful song, but it ran heavily in my head last winter (Dec 07 - Feb 08) when my life wasn't going so well. So every time I hear it all the memories and emotions come flooding back. Obviously I can't quite look at normally, so I'll refrain from commenting.
Then there's the Banshees first and only foray into jazz -- Cocoon. For that reason alone I love it. The lyric is more bizarreness and it has a cool feel to it. You can listen to this one with your feet up and relax as it winds down.
Slowdive is not a favorite, but it's an important harbinger of the future: it's got a string arrangement. I don't like it for two reasons. One is the pointless, empty lyric which seems to be weird for the sake of it. Two is that it's a twisted commercial pop tune, and that just sort of grates on my nerves. I like the music toward the end, but it's far from great.
Despite those two less than perfect tracks, I love this album. It's one of their absolute best, and it is also the first of their albums that I heard.
Cascade is one of my favorite songs of theirs. It builds into one crescendo after another, carrying you along in a sweep of strange majesty. The lyric is bizarre in the trademark sense, not the stomach-churning sense of the last record.
A recorder is the first of many odd stylistic choices on Green Fingers. I get visions of pagan rites when I hear it. I never tended to pay much attention to it before, but it's really surprisingly good. There's a lot going on in it.
Obsession is our main hangover from Juju. It's a vivid and totally twisted track about...well, obsession. What else? The music drags like a funeral dirge except for a surprisingly beautiful (though short) cello solo.
She's a Carnival is set up like a more typical rock tune, but it's a really irrepressable song. I love the picture it paints and the off-the-wall organ solo just thrown on the end.
I do not like Circle at all. It's tape-loop experimentation, and has a really depressing lyric. I think the loop is effective if it's supposed to drive you insane from the endless repetition. But I could do without it.
Melt! on the other hand... The melody is beautiful, enticing and really ominous. Siouxsie's voice is at its peak of expression. The music in entirely complimentary and the lyric is a huge slice of eroticism. A standout.
Painted Bird is very close to my heart. It's a wonderful song, but it ran heavily in my head last winter (Dec 07 - Feb 08) when my life wasn't going so well. So every time I hear it all the memories and emotions come flooding back. Obviously I can't quite look at normally, so I'll refrain from commenting.
Then there's the Banshees first and only foray into jazz -- Cocoon. For that reason alone I love it. The lyric is more bizarreness and it has a cool feel to it. You can listen to this one with your feet up and relax as it winds down.
Slowdive is not a favorite, but it's an important harbinger of the future: it's got a string arrangement. I don't like it for two reasons. One is the pointless, empty lyric which seems to be weird for the sake of it. Two is that it's a twisted commercial pop tune, and that just sort of grates on my nerves. I like the music toward the end, but it's far from great.
Despite those two less than perfect tracks, I love this album. It's one of their absolute best, and it is also the first of their albums that I heard.
Horror album 101
I'm not going to say Juju is the Banshees best album (even if I do give it five stars), nor do I agree with the 'goth' tag it usually gets. This is a horror record, plain and simple. And it's one of the darkest and scariest things I've ever heard (though Outside really gives it a run for its money).
Spellbound just about equals Happy House as a brilliant opening number. Great pummeling drums and metallic guitars. It's invigorating to hear.
But Into the Light is what gives you the real introduction to Juju's sound. The lyric is quite normal, but the way it's done makes it sound a trifle claustrophobic and sordid.
Spellbound was a great single. But Arabian Knights is even better. Beautiful melody that's easy to remember, and ominous tribal drumming. It's the last breather you'll get on this record, so savor it. Everything is insane from here out.
Halloween has Siouxsie return to her flat singing style on a melody that doesn't...quite...work. The guitars have a certain manic quality to them.
Then there's Monitor, with a super cool beginning. It has a really thick and claustrophobic quality to it, especially when the backup vocals start repeating different parts of the song at the same time. It's also got a merciless quality to it: when Siouxsie says "sit back and enjoy the real McCoy" it sounds like an order/threat.
Next is Night Shift. Am I the only one who gets visions of Jack the Ripper? Anyway, it's a really creepy, slow-moving, distasteful song. Six minutes long with a few accents on squealing guitar feedback.
Sin in my Heart is a hidden gem on this record. The music is great, and almost jaunty. The lyric is simple, but Siouxsie's voice is astounding. It's full of energy and makes her come across as a werewolf. Very good track.
That one sounds pleasant compared to Head Cut, my least favorite track. By this point, the album is starting to come across as distinctly unhealthy, and it's no longer just a coincidence that all these songs are showing up here. Head Cut pushes the envelope too far and just doesn't hold up musically to what came before.
Last is Voodoo Dolly. Totally creepy, start to finish. It's 7:00 minutes of horror, as the music twists around and speeds up, building and ebbing. Of course, Sioux is busy setting up this final bout of morbid madness and reminding you to listen.
This CD brings out the worst in peoples imaginations. I love it on a musical and technical level, but it's not my favorite Banshee album. I infinitely prefer the ones that bookend it.
Spellbound just about equals Happy House as a brilliant opening number. Great pummeling drums and metallic guitars. It's invigorating to hear.
But Into the Light is what gives you the real introduction to Juju's sound. The lyric is quite normal, but the way it's done makes it sound a trifle claustrophobic and sordid.
Spellbound was a great single. But Arabian Knights is even better. Beautiful melody that's easy to remember, and ominous tribal drumming. It's the last breather you'll get on this record, so savor it. Everything is insane from here out.
Halloween has Siouxsie return to her flat singing style on a melody that doesn't...quite...work. The guitars have a certain manic quality to them.
Then there's Monitor, with a super cool beginning. It has a really thick and claustrophobic quality to it, especially when the backup vocals start repeating different parts of the song at the same time. It's also got a merciless quality to it: when Siouxsie says "sit back and enjoy the real McCoy" it sounds like an order/threat.
Next is Night Shift. Am I the only one who gets visions of Jack the Ripper? Anyway, it's a really creepy, slow-moving, distasteful song. Six minutes long with a few accents on squealing guitar feedback.
Sin in my Heart is a hidden gem on this record. The music is great, and almost jaunty. The lyric is simple, but Siouxsie's voice is astounding. It's full of energy and makes her come across as a werewolf. Very good track.
That one sounds pleasant compared to Head Cut, my least favorite track. By this point, the album is starting to come across as distinctly unhealthy, and it's no longer just a coincidence that all these songs are showing up here. Head Cut pushes the envelope too far and just doesn't hold up musically to what came before.
Last is Voodoo Dolly. Totally creepy, start to finish. It's 7:00 minutes of horror, as the music twists around and speeds up, building and ebbing. Of course, Sioux is busy setting up this final bout of morbid madness and reminding you to listen.
This CD brings out the worst in peoples imaginations. I love it on a musical and technical level, but it's not my favorite Banshee album. I infinitely prefer the ones that bookend it.
Kaleidoscope
Kaleidoscope gets a solid five. This is where Siouxsie and the Banshees really take off. Listen to it right after Join hands; the difference is phenomonal. It's very experimental, very abstract and the drumming is far above the average thanks to new addition Budgie.
Happy House is the alert that they've gone up in the world. It's instantly recognizable and attention-grabbing and Siouxsie's voice has a newfound style and evocation. It's layered, the lyric is vivid, there's cool percussion. This is one great track and the best opener they've had yet.
It's followed by Tenant. Tenant is pure atmosphere. It's unsettling and relaxing at the same time. How often does that combo occur?
I don't have much to say about Trophy. It's a perfectly good song and I like it, but I can't find anything to say about it. That loss of words happens occasionally, to my annoyance.
Hybrid is long and repetitive in a good way. I haven't the faintest idea what it's about but it's got the typical Banshee imagery down -- the macabre, strange, faintly wrong imagery. I wish the lyric sheets would tell me who wrote what on here...
Clockface is a short, repetitious experiment. But I like it, as it calls to mind victorian steampunk, clockwork devices. It's a wordless deviation that fits well on the album.
Lunar Camel is a dreamy, puzzled little tune. It's a really lovely, quizzical piece, and a good follow-up to Clockface. It doesn't make any sense at all.
Christine is neat. It and Happy House made a great pair of singles. But I've heard it so much that there isn't anything new for me to say...
My favorite track is easily Desert Kisses. It's so evocative, and I especially love the wailing background vocals. Marvelous.
Red Light is downright creepy, with a camera sound affect going off and her slow, merciless voice painting a vivid picture.
Paradise Place is another unsettling one, wrapped in a really pleasing melody. It's about plastic surgery, a subject that is kind of grotesque anyway, but when the Banshees get hold of it...
I don't like Skin so well as the rest of this, as Siouxsie's voice is kind of harsh after all the improvements she's made. But it's weird and I like the way it winds itself up to a dervish frenzy before relaxing at the end.
So this is the first truly great Banshee album. It's odd that I never listened to it before writing this review, but better late than never.
Happy House is the alert that they've gone up in the world. It's instantly recognizable and attention-grabbing and Siouxsie's voice has a newfound style and evocation. It's layered, the lyric is vivid, there's cool percussion. This is one great track and the best opener they've had yet.
It's followed by Tenant. Tenant is pure atmosphere. It's unsettling and relaxing at the same time. How often does that combo occur?
I don't have much to say about Trophy. It's a perfectly good song and I like it, but I can't find anything to say about it. That loss of words happens occasionally, to my annoyance.
Hybrid is long and repetitive in a good way. I haven't the faintest idea what it's about but it's got the typical Banshee imagery down -- the macabre, strange, faintly wrong imagery. I wish the lyric sheets would tell me who wrote what on here...
Clockface is a short, repetitious experiment. But I like it, as it calls to mind victorian steampunk, clockwork devices. It's a wordless deviation that fits well on the album.
Lunar Camel is a dreamy, puzzled little tune. It's a really lovely, quizzical piece, and a good follow-up to Clockface. It doesn't make any sense at all.
Christine is neat. It and Happy House made a great pair of singles. But I've heard it so much that there isn't anything new for me to say...
My favorite track is easily Desert Kisses. It's so evocative, and I especially love the wailing background vocals. Marvelous.
Red Light is downright creepy, with a camera sound affect going off and her slow, merciless voice painting a vivid picture.
Paradise Place is another unsettling one, wrapped in a really pleasing melody. It's about plastic surgery, a subject that is kind of grotesque anyway, but when the Banshees get hold of it...
I don't like Skin so well as the rest of this, as Siouxsie's voice is kind of harsh after all the improvements she's made. But it's weird and I like the way it winds itself up to a dervish frenzy before relaxing at the end.
So this is the first truly great Banshee album. It's odd that I never listened to it before writing this review, but better late than never.
A stumbling block
Join Hands. Two and a half...
It's hard to pinpoint what makes Join Hands so terrible. The quality of playing hasn't fallen, but it's most certainly got a lack-luster edge to it. And Siouxsie's voice has lost its earlier passion and just grates for the most part. Though I can applaud them for starting to branch out. Instead of just blindly copying The Scream, they interject a lot of macabre and gothic imagery. But no good melodies really show up and most of the songs fail. Simply put, this is The Scream's hangover and the sound of a band in trouble (proven by the fact that half the members left after this album's completion).
Poppy Day, the short opener, has a cool lyric, but Siouxsie just doesn't pull it off and the music doesn't stay with you from moment to moment.
Regal Zone tries harder, but still limps along, especially on the drawn-out chorus. It's not awful, but it's far from good.
One of the few great moments follows. Placebo Effect stays in your head, despite the too-long opening. This one actually has Siouxsie's voice retaining a bit of the ferocity that carried The Scream. After the grinding intro the music also gains a decent tempo. Easy winner.
Icon starts slow as well, but it's got a bit of atmosphere to it. Then it picks up , and despite its length it's easily another good track.
Premature Burial brings the album back down. With a name like that you sort of expect crawling, nightmare music. Well, you don't get it. You get a really choked up melody and (I'm sorry to say this) a really bad lyric. Can you take a line like "doing the zombierama" seriously?
The best of the whole lot is the single Playground Twist. It's short, powerful and Sioux dishes out commanding atmosphere in spades. Cool sax solo too.
That's the last good track though. Next is the experiment Mother/Oh Mein Pa Pa. It doesn't work. It's got an old music lullaby on endless repeat with Sioux singing two seperate sets of lyrics over it. Never mind the second set because you'll never be able to make out a word of it. This may have been one of the worst things they ever did.
Then there is... The Lord's Prayer. I've tried to find out what's wrong with it, but I can't identify the problem. The playing is energetic improv, and Sioux is belting it out again. The real flaw is most likely that it takes fourteen minutes where four would have sufficed. It's a drag, despite the promising beginning.
So that's the whole turkey carved up. Three fine songs and a bunch of filler. I really can't believe that any of the later Banshee records are as bad as this one ('cept for The Rapture, which I have not deigned to purchase). This is either their worst or runner-up for that title. If you're a fan, it's worth a listen for the three good songs. Rest of you: don't start here.
It's hard to pinpoint what makes Join Hands so terrible. The quality of playing hasn't fallen, but it's most certainly got a lack-luster edge to it. And Siouxsie's voice has lost its earlier passion and just grates for the most part. Though I can applaud them for starting to branch out. Instead of just blindly copying The Scream, they interject a lot of macabre and gothic imagery. But no good melodies really show up and most of the songs fail. Simply put, this is The Scream's hangover and the sound of a band in trouble (proven by the fact that half the members left after this album's completion).
Poppy Day, the short opener, has a cool lyric, but Siouxsie just doesn't pull it off and the music doesn't stay with you from moment to moment.
Regal Zone tries harder, but still limps along, especially on the drawn-out chorus. It's not awful, but it's far from good.
One of the few great moments follows. Placebo Effect stays in your head, despite the too-long opening. This one actually has Siouxsie's voice retaining a bit of the ferocity that carried The Scream. After the grinding intro the music also gains a decent tempo. Easy winner.
Icon starts slow as well, but it's got a bit of atmosphere to it. Then it picks up , and despite its length it's easily another good track.
Premature Burial brings the album back down. With a name like that you sort of expect crawling, nightmare music. Well, you don't get it. You get a really choked up melody and (I'm sorry to say this) a really bad lyric. Can you take a line like "doing the zombierama" seriously?
The best of the whole lot is the single Playground Twist. It's short, powerful and Sioux dishes out commanding atmosphere in spades. Cool sax solo too.
That's the last good track though. Next is the experiment Mother/Oh Mein Pa Pa. It doesn't work. It's got an old music lullaby on endless repeat with Sioux singing two seperate sets of lyrics over it. Never mind the second set because you'll never be able to make out a word of it. This may have been one of the worst things they ever did.
Then there is... The Lord's Prayer. I've tried to find out what's wrong with it, but I can't identify the problem. The playing is energetic improv, and Sioux is belting it out again. The real flaw is most likely that it takes fourteen minutes where four would have sufficed. It's a drag, despite the promising beginning.
So that's the whole turkey carved up. Three fine songs and a bunch of filler. I really can't believe that any of the later Banshee records are as bad as this one ('cept for The Rapture, which I have not deigned to purchase). This is either their worst or runner-up for that title. If you're a fan, it's worth a listen for the three good songs. Rest of you: don't start here.
No time for introductions
My earliest walkthrough reviews are for The Beatles. However, they'd need a great deal of editing before I'd even consider posting them. As do most of my reviews. So I've decided to start with my current project: reviewing all twelve of my Siouxsie and the Banshees CDs. Beginning with their debut...
The Scream by Siouxsie and the Banshees. And it gets four stars...
It's really interesting to note that The Banshees started off as a punk rock group, because they lost that sound in short order. Which is a good thing, but as The Scream proves, they had an impressive amount of talent in that field. The Scream is a rough, mechanical, dark and dripping affair, a ten song study of humanity's vices, from smoking to going postal.
It's not a cheery listen. But it is powerful and affective. Sioux's voice is eternally flat on this record, but the delivery's so ferocious that you quickly forget about how bad it is on a technical level. The musicianship is far above your typical three-chord slam from bands who don't know how to play and won't take time to learn. (I've got a bad opinion of punk rock, can you tell?)
The opener is Pure. It's a good experiment, nearly two minutes of creepy guitar with Siouxsie wailing over it like some just-murdered spirit come back to vent her anger. Works well as an opener, setting the tone.
Jigsaw Feeling does a quick build-up and is a decent rocker. It's about a "cerebral non-event." I like the guitars on this track and on the record in general. It really compliments the whole outfit.
Overground has the same building start (most of the songs do), and the riff is certain to stay in your head all day. I mainly like the song because of that. It's a bit repetitive though. Easy to get tired of.
Carcass is a punkish rocker and it's a really fierce little tune, but I can't stand the annoyingly repetitive chorus. The rest of it is really interesting and the sudden inclusion of handclaps at the end gives the bizarre impression of twisted good cheer. Disturbing lyric...
Then there's the cover of Helter Skelter. The first minute is one of the creepiest I've ever heard in a song, then Siouxsie starts up. Keep in mind that I've never liked this song, but I find this version of it more tolerable than the original (sacrilege, I know...). She's not screaming and the song fits better here than on The White Album.
Mirage is another catchy one. It's one of the hardest to understand, seems to be about a television. It's short and kind of enjoyable because it's a bit nonsensical. Even has some noticable acoustic guitar at the beginning.
Metal Postcard (Mittageisen) is the real standout. This song makes the whole CD. It just sounds cool. Great riff, Siouxsie's delivery is right on the money. This one is the centerpiece. I'm surprised most people think Carcass and Switch are the great ones. Ah well...
Don't like Nicotine Stain so well. It sounds like an amalgamation of the rest of The Scream and doesn't have much melody either. I can never remember it well, it's just sort of there. Filler.
Suburban Relapse has a bit of saxophone that gives it some individuality. So does the lyric, which is probably the scariest of the bunch. It doesn't have a good backing though. It's just another part of the album.
Luckily it finishes on Switch, the most ambitious track on here, longest too. More segments to this one, and it upholds interest all the way. It's a strong end-note and bodes well for what this band can do.
Alas, if you've heard Join Hands you'll know they didn't exactly hold that promise up. But that's another review...
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