Siouxsie Sioux

This article is about the rock singer and lead vocalist for the Banshees and the Creatures. For the Korean-American alternative folk singer, see Susie Suh.
Siouxsie Sioux

Siouxsie performing in 1980 in Edinburgh
Background information
Birth name Susan Janet Ballion
Born (1957-05-27) 27 May 1957
London, England
Genres Post-punk, new wave, gothic rock, alternative rock, exotica
Occupation(s) Musician, songwriter, singer, producer
Instruments Vocals, guitar
Years active 1976–present
Labels Polydor, Geffen, Sioux, W14
Associated acts Siouxsie and the Banshees, The Creatures
Website www.siouxsie.com

Siouxsie Sioux (/ˈsuːziː suː/, born Susan Janet Ballion;[1] 27 May 1957) is an English singer, songwriter, musician and producer. She is best known as the lead singer of the alternative rock band Siouxsie and the Banshees (1976–1996) and the drums-and-voice duo The Creatures (1981–2005). Siouxsie and the Banshees released 11 studio albums and several UK Top 20 singles including "Hong Kong Garden", "Happy House", "Peek-a-Boo" plus a US Billboard Top 25 hit "Kiss Them for Me". With The Creatures, Siouxsie recorded four studio albums and the hit single "Right Now". She has also sung with artists such as Morrissey[2] and John Cale.[3] After disbanding The Creatures in the mid-2000s, she continued as a solo artist and released Mantaray in 2007.

Allmusic named Siouxsie as "one of the most influential British singers of the rock era".[4] Her songs have been covered by Jeff Buckley,[5] Tricky[6] and LCD Soundsystem.[7] Her records have also been praised by artists such as PJ Harvey[8] and TV on the Radio.[9] In 2011, she was awarded for Outstanding Contribution to Music at the Q Awards[10] and in 2012, at the Ivor Novello Awards, she received the Inspiration Award.[11]

Biography

Early life (1957–76)

Siouxsie was born Susan Janet Ballion[12] on 27 May 1957 at Guy's Hospital in Southwark, England.[13] She is ten years younger than her two siblings. Her brother and sister were born while the family was based in the Belgian Congo.[13] Her parents met in that colony and stayed working there for a few years. Her mother, Betty, was a bilingual English secretary and her father was a bacteriologist who milked venom from snakes. He was a Walloon from the French-speaking part of Belgium. In the late 1950s, before Siouxsie's birth, the family moved to England. The Ballions lived in a suburban district, in Chislehurst in Kent (now south-east London). Siouxsie had an isolated youth. Her comrades invited her home but she couldn't reciprocate as her father drank at home and didn't work.[14] She was aware of her family being different.[15] The Ballions weren't part of the community. Their house was different: elsewhere, "life in all its normality was being paraded". She later said: "the suburbs inspired intense hatred".[15]

At the age of nine, Susan and a friend were seriously sexually assaulted. The more damaging aspect being the assault was ignored by her parents.[16] The episode became an unspoken item. From that moment, she started to acquire disrespect for adulthood.[17] Years later, she stated: "I grew up having no faith in adults as responsible people. And being the youngest in the family I was isolated – I had no-one to confide in. So I invented my own world, my own reality. It was my own way of defending myself – protecting myself from the outside world. The only way I could deal with how to survive was to get some strong armour."[17]

Her father died when Siouxsie was 14 years old, resulting in an immediate adverse effect on her health. She lost a lot of weight and missed school. After several misdiagnoses, she was operated on and survived a bout of ulcerative colitis.[18] During the weeks of recovery in summer 1972, she watched television in the hospital and saw David Bowie on Top of the Pops.[17]

At 17, she left school. It was during this period that she began frequenting the local gay discos where most of her sister's friends used to go.[19] She introduced her own friends to that scene. In November 1975, a new young group called Sex Pistols performed at the local art college in Chislehurst. Siouxsie did not attend, but one of her friends told her how their singer threatened the string of students present at that gig. He added that they sounded like The Stooges. In February 1976, Siouxsie and her friend Steven Severin (then still called Steven Bailey) went to see Sex Pistols play in the capital. After chatting with members of the band, Siouxsie and Severin decided to follow them regularly.[20] In the following months, journalist Caroline Coon coined the term "Bromley Contingent" to describe this group of eccentric teenagers devoted to the Sex Pistols.[21]

Siouxsie became well known in the London club scene for her glam, fetish and bondage attire, which later became part of punk fashion.[17] She would also later epitomise gothic style with her signature cat-eye makeup, deep red lipstick, spiky dyed-black hair, and black clothing.[17]

In early September 1976, the Bromley Contingent followed Sex Pistols to France, where Siouxsie was beaten up for wearing a black armband with a swastika on it. She claimed her intent was to shock the bourgeoisie, not to make a political statement.[22] She later wrote the song "Metal Postcard (Mittageisen)" (in memory of the anti-Nazi artist John Heartfield).[23]

Following the adage of DIY and the idea that the people in the audience could be the people on stage, Siouxsie and Severin decided to form a band. When a support slot at the 100 Club Punk Festival (organised by Malcolm McLaren) opened up, they decided to make an attempt at performing, although at that time they did not know how to play any songs. On 20 September 1976, the band improvised music as Siouxsie recited poems and prayers she had memorised. This "Lord's Prayer" performance lasted 20 minutes.[24]

For critic Jon Savage, Siouxsie was "unlike any female singer before or since, commanding yet aloof, entirely modern."[25] She opened a new era for women in music as Viv Albertine from The Slits would later comment:

"Siouxsie just appeared fully made, fully in control, utterly confident. It totally blew me away. There she was doing something that I dared to dream but she took it and did it and it wiped the rest of the festival for me, that was it. I can't even remember everything else about it except that one performance."[26]

One of Siouxsie's first public appearances was with the Sex Pistols on Bill Grundy's television show, on Thames Television in December 1976. Standing next to the band, Siouxsie made fun of the presenter when he asked her how she was doing. She responded: "I've always wanted to meet you, Bill". Grundy, who was drunk, suggested a meeting after the show. That directly provoked a reaction from Sex Pistols guitarist Steve Jones, who responded with a series of expletives never heard before on early-evening television.[27] This episode created a media furore on the front covers of several tabloids, including the Daily Mirror with the headline "Siouxsie's a Punk Shocker". This event had a major impact on the Sex Pistols' subsequent career, and overnight, they became a household name.

Not liking the clichés put forward by the press, Siouxsie distanced herself from that scene and stopped seeing Sex Pistols. She decided to focus all her energy on her own band, Siouxsie and the Banshees.[28]

Siouxsie and the Banshees, and the Creatures (1977–2003)

In 1977, Siouxsie began touring in England as Siouxsie and the Banshees. One year later, their first single, "Hong Kong Garden", reached number 7 in the UK Singles chart;[29] it was pop and catchy. With its oriental-inflected xylophone motif, Melody Maker deemed it as "a glorious debut" [...] All the elements come together with remarkable effect. The song is strident and powerful with tantalising oriental guitar riffs plus words and vocals that are the result of anger, disdain and isolation. No-one will be singled out because everyone is part and parcel of the whole. It might even be a hit."[30]

Their first album, The Scream, was one of the first post-punk records released. It received five star reviews in Sounds[31] and Record Mirror,[32] the latter said : the record "points to the future, real music for the new age".[32] The music was different from the single; it was angular, dark and jagged. The Scream was later hailed by the NME as one of the best debut albums of all time along with Patti Smith's Horses.[33] Join Hands followed in 1979 with war as the lyrical theme.[34]

The 1980 album Kaleidoscope marked a change in musical direction with the arrival of John McGeoch, considered "one of the most innovative and influential guitarists of the past 30 years" by The Guardian.[35] The hit single "Happy House" was qualified as "great Pop" with "liquid guitar"[36] and other songs like "Red Light" were layered with electronic sounds. Kaleidoscope widened Siouxsie's audience, reaching the top 5 in the UK charts. Juju followed in 1981, reaching number 7; the singles "Spellbound" and "Arabian Knights" were described as "pop marvels" by the Guardian.[37] During recording sessions for Juju, Siouxsie and drummer Budgie formed a percussion-oriented duo called The Creatures, characterized by a stripped-down sound focused on vocals and drums; their first record, the EP Wild Things, was a commercial success.

Main article: The Creatures

In 1982, the Siouxsie and the Banshees' album A Kiss in the Dreamhouse was widely acclaimed by critics.[38] Richard Cook in the NME depicted it as "a feat of imagination scarcely ever recorded."[39] The single "Slowdive" was "a violin-colored dance beat number".[40] They included strings for the first time on several songs. However, the recording sessions took its toll and McGeoch was forced to quit the band before the tour.

In 1983, Siouxsie went to Hawaii to record the Creatures' first album Feast, which included the hit single "Miss the Girl". It was her first incursion into exotica, incorporating sounds of waves, local Hawaiian choirs and local percussion. Later that year, Siouxsie and Budgie released "Right Now", a song from Mel Tormé's repertoire that the Creatures re-orchestrated with brass arrangements;[41] "Right Now" soon became a top twenty hit single in the UK. Then with the Banshees (including guitarist Robert Smith of The Cure), she covered The Beatles' "Dear Prudence", reaching number 3 on the UK Singles Chart.[42] Two albums followed with Smith: Nocturne, recorded live in London in 1983, and 1984's Hyæna. In 1985, the single "Cities in Dust" was recorded with sequencers; it climbed at N°21 in the uk charts. 1986's Tinderbox and the 1987 covers album Through the Looking Glass both reached the top 15 in the UK.[43]

In 1988, the single "Peek-a-Boo" marked a musical departure from her previous work, anticipating hip hop-inspired rock with the use of samples. The song was praised by the NME as "oriental marching band hip hop with farting horns and catchy accordion"[44] and hailed by the Melody Maker as "a brightly unexpected mixture of black steel and pop disturbance."[45] The Peepshow album was considered by critics to be the Banshees' most successful album in years.[46] The ballad "The Last Beat of My Heart" issued as a single, saw her exploring new ground, "as she caresses a haunting melody" on a music played with accordion and strings.[47]

Siouxsie with The Creatures, Andalucia 1989

Siouxsie and Budgie then went to Spain, in Andalucia to record the second Creatures album, Boomerang. The songs took a different direction from previous Creatures works, with backing music ranging from flamenco to jazz and blues styles. It featured brass on most of the songs. The first single was "Standing There". NME hailed Boomerang as "a rich and unsettling landscape of exotica".[48] Anton Corbijn visited the group during the recording near Jerez de la Frontera, and Siouxsie convinced him to take pictures in color whereas his work was previously in black'n'white. The pictures were used for the promotion showing Siouxsie and Budgie in fields surrounded with sunflowers. In 1990, she toured for the first time with the Creatures, in Europe and North America.

Siouxsie at the first Lollapalooza in Irvine, California, 1991

On 1991's dance-oriented "Kiss Them for Me" single, Siouxsie and the Banshees used South Asian instrumentation, which had become popular in the UK club scene with the growth of bhangra.[49][50] Indian tabla player Talvin Singh (who was later Björk's percussionist on her 1993's Debut album) took part in the session and provided vocals for the bridge. With Kiss Them for Me, the Banshees scored a hit on the US Billboard Hot 100 peaking at number 23.[51] After the release of Superstition which received enthusiastic reviews,[52] the group co-headlined the first Lollapalooza tour, further increasing their American following.

In 1992, film director Tim Burton requested her to write a song for Batman Returns and the Banshees composed the single "Face to Face".

In the mid-1990s, Siouxsie started to do one-off collaborations with other artists. Suede invited her to a benefit concert for the Red Hot Organization. With guitarist Bernard Butler, she delivered a version of Lou Reed's "Caroline Says". Spin reviewed it as "haughty and stately".[53] Morrissey, ex-lead singer of The Smiths, recorded a duet with Siouxsie in 1994. They both sang on the single "Interlude", a track that was initially performed by Timi Yuro, a female torch singer of the 1960s. "Interlude" was released under the banner of "Morrissey and Siouxsie".[54]

The last Banshees studio album, The Rapture, was released in 1995; it was written in part in France where she had recently moved near Toulouse. After the accompanying tour, the Banshees announced their split during a press conference called "20 Minutes into 20 Years".[55] At the same time, she released the song "The Lighthouse" on French producer Hector Zazou's album Chansons des mers froides which translates to Songs from the Cold Seas. Siouxsie and Zazou adapted the poem "Flannan Isle" by English poet Wilfred Wilson Gibson.[56]

Her first live performance in three years was in February 1998 when former Velvet Underground member John Cale invited her to a festival called "With a Little Help From My Friends" at the Paradiso in Amsterdam. The concert was shown on Dutch national television and featured an unreleased Siouxsie composition, "Murdering Mouth", sung as a duet with Cale.[3] The collaboration between the two artists worked so well that they decided to tour the US from July until August, performing "Murdering Mouth" and Cale's "Gun" together in the encores.[57]

The following year, Siouxsie and Budgie released Anima Animus, the first Creatures album since the split of the Banshees. It included the singles "2nd Floor" and "Prettiest Thing". The material diverged from their former work, with a more urban sound from art rock to electronica. Anima Animus was described by The Times as "hypnotic and inventive".[58] Also in 1999, Siouxsie collaborated with Marc Almond on the track "Threat of Love."

In 2002, she was rated in the 10 best female rock artists by Q.[59] That same year, Universal released The Best of Siouxsie and the Banshees as the first reissue of her back catalogue.

In 2003, Siouxsie and Budgie released the last Creatures album, Hái! which was in part recorded in Japan, collaborating with taiko player Leonard Eto (previously of the Kodo Drummers). Peter Wratts wrote in Time Out: "Her voice is the dominant instrument here, snaking and curling around the bouncing drumming backdrop, elegiac and inhuman as she chants, purrs and whispers her way around the album." He termed the record a "spine-tingling achievement."[60] Hái! was preceded by the single "Godzilla!". That year, Siouxsie was featured on the track "Cish Cash" by Basement Jaxx: Kish Kash then won Best Electronic/Dance Album at the Grammy Awards.[61]

Solo career (2004–present)

Siouxsie at the Saturday Night Fiber, Madrid 2008

2004 was a pivotal year for the singer. She toured for the first time as a solo act combining Banshees and Creatures songs. A live DVD called Dreamshow was recorded at the last London concert, in which she was accompanied by the Millennia Ensemble. Released in August 2005, this DVD reached the No. 1 position in the UK music DVD charts.[62]

Her first solo album Mantaray was released in September 2007. Pitchfork wrote, "She really is pop", before finishing the review by declaring, "It's a success."[63] Mojo stated: "a thirst for sonic adventure radiates from each track".[64] Mantaray included three singles "Into a Swan", "Here Comes That Day" and "About to Happen". In 2008, Siouxsie performed vocals for the track "Careless Love" on The Edge of Love soundtrack by composer Angelo Badalamenti, a frequent collaborator with director David Lynch. She performed another Badalamenti number, "Who Will Take My Dreams Away", at the annual edition of the World Soundtrack Awards.[65] After a year of touring, the singer played the last show of her tour in London in September 2008. A live DVD of this performance, Finale: The Last Mantaray & More Show, was released in 2009.[66]

In June 2013 after a hiatus of five years, Siouxsie played two nights at the Royal Festival Hall in London during Yoko Ono's Meltdown festival. She performed 1980's Kaleidoscope album live in its entirety, along with other works from her back catalogue: her performance was hailed by the press.[67] She also appeared at Ono's Double Fantasy concert, to sing the final song "Walking on Thin Ice".[68]

In October 2014, she and fellow Banshee Steven Severin compiled a CD titled It's a Wonderfull Life for the November 2014 issue of Mojo magazine, in which she appeared on the cover.[69] The disc included 15 tracks that inspired the Banshees.[70]

"Love Crime", her first song in eight years,[71] was featured in the finale of the TV series Hannibal, broadcast in August 2015. Series creator Bryan Fuller, who had contacted her in November 2014,[72] described the collaboration with Brian Reitzell as "epic".[73] On 4 December, "Love Crime (Amuse-Bouche Version)", was made available via download stores as a digital-only single.[74]

Influence

Her voice is, in its own right, the common thread through all of it. There is no one who sings like that. And I think there are a lot of people who were influenced by it, but even if you try and sing like her, you can't do that. You can't throw your voice like that. You can't throw harmony like that. That is a very distinct voice. Her technique is a thread between the really far-out stuff and opera and pop music. It's distinct. It's all her own.
— Dave Sitek of TV on the Radio[75]

Siouxsie has been praised by artists of many genres. She had a strong impact on two trip-hop acts. Tricky covered 1983's proto trip-hop "Tattoo" to open his second album Nearly God[76] and Massive Attack sampled "Metal Postcard" on their song "Superpredators (Metal Postcard)" for the soundtrack to the film The Jackal.[77]

Other acts have also covered Siouxsie's songs. Jeff Buckley, who took inspiration from various female singers, performed "Killing Time", composed by Siouxsie and Budgie in 1989 for the Creatures album Boomerang.[78] Buckley first sang it in 1992 on WFMU.[5] LCD Soundsystem recorded a cover of "Slowdive" for the B-side of "Disco Infiltrator". Their version was also released on Introns.[79] Santigold based one of her tracks, "My Superman", on the music of Banshees song "Red Light".[80] In 2003, The Beta Band sampled "Painted Bird" and changed the title to "Liquid Bird" on their Heroes to Zeros album.[81] Red Hot Chili Peppers performed "Christine" at the V2001 festival and introduced it to their British audience as "your national anthem".[82] "Christine" was also revisited by Simple Minds on their "Graffiti Soul" bonus CD in 2009. Indie folk group DeVotchKa covered the ballad "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.[83]

Morrissey, previously of The Smiths said that "Siouxsie and the Banshees were excellent. They were one of the great groups of the late 70s, early 80s".[84] In 1995, discussing modern bands, he also stated: "None of them are as good as Siouxsie and the Banshees at full pelt. That's not dusty nostalgia, that's fact."[85] Another ex-member of The Smiths, Johnny Marr, mentioned that he rated guitarist John McGeoch for his work on Siouxsie's single "Spellbound". Marr qualified it as "clever" with "really good picky thing going on which is very un-rock'n'roll."[86] Radiohead also cited McGeoch-era Siouxsie records when mentioning the recording of "There There"[87] Their singer Thom Yorke said: "the band that really changed my life was R.E.M. and Siouxsie and the Banshees ...". "My favourite show I ever saw then was Siouxsie and she was absolutely amazing. ... She's totally in command of the whole audience".[88] Yorke added that she "made an especially big impression in concert, she was really sexy but absolutely terrifying."[89] Sonic Youth's singer and guitarist, Thurston Moore, named "Hong Kong Garden" as one of his all time 25 favourite songs.[90]

Siouxsie has influenced other bands ranging from contemporaries U2[91] and The Cure[92] to later acts like The Jesus and Mary Chain,[93] Jane's Addiction[94] and TV on the Radio.[95] U2 Frontman Bono named her as an influence in the band's 2006 autobiography U2 by U2. He was inspired by her way of singing.[91] With his band, he selected "Christine" for a compilation made for Mojo's readers.[96] U2 guitarist The Edge also was the presenter of an award given to Siouxsie at a Mojo ceremony in 2005.[97][98] The Cure's Robert Smith declared in 2003: "Siouxsie and The Banshees and Wire were the two bands I really admired. They meant something."[92] 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."[99] For Smith's record The Head on the Door in 1985, he stated: "It reminds me of the Kaleidoscope album, the idea of having lots of different sounding things, different colours".[100] 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 and the Banshees."[94] From a younger generation, Dave Sitek of TV on the Radio hailed the poppiest Siouxsie songs, citing their arrangements: "I've always tried to make a song that begins like "Kiss Them for Me". I think songs like "I Was a Lover" or "Wash the Day Away" came from that element of surprise mode where all of a sudden this giant drum comes in and you're like, what the fuck?! That record was the first one where I was like, okay, even my friends're going to fall for this. I feel like that transition into that record was a relief for me. Really beautiful music was always considered too weird by the normal kids and that was the first example where I thought, we've got them, they're hooked! I watched people dance to that song, people who had never heard of any of the music that I listened to, they heard that music in a club and went crazy."[95] Dave Gahan of Depeche Mode said about Siouxsie: "She always sounds exciting. She sings with a lot of sex–that's what I like".[101]

Siouxsie has been hailed by many female singers. PJ Harvey selected Anima Animus album by Siouxsie's second band The Creatures, in her top 10 favourite albums of 1999.[8] Sinéad O'Connor said that when she started, Siouxsie was one of her favourite singers.[102] Tracey Thorn of Everything But The Girl wrote in her autobiography that Siouxsie was one of her heroines.[103] Thorn paid homage to Siouxsie in the lyrics of her 2007's song "Hands Up to the Ceiling".[104] Garbage singer Shirley Manson cited her as an influence: "I learned how to sing listening to The Scream and Kaleidoscope."[105] Manson also mentioned that Siouxsie embodied everything she wanted to be as a young woman.[106] Manson would later write the foreword to Siouxsie & The Banshees: The Authorised Biography.[107] Gossip cited her as one of their influences for their 2009's Music For Men.[108] Ana Matronic of Scissor Sisters named Siouxsie as a source of inspiration and the Banshees as her favourite band.[109] Siouxsie was also namechecked by Kim Deal.[110] Courtney Love cited her positively while talking about the band Savages : "They are amazing. ... It's kind of very Siouxsie Sioux."[111] FKA twigs named her as a main influence : "every bit of music that I made sounded like a pastiche of Siouxsie [...] but through that I discovered myself".[112]

Electronica singer Santigold has said:

“ I keep a Rolodex of the women that vocally inspire me. There aren't that many, but she's definitely one of them. I remember one of the first times I heard "Red Light" it was at a party, and I remember going up to the DJ and being like, "Who's this?". It was that good. I kind of stopped and was like ... wow. There's not a tremendous amount of women who are bold and forward thinking as artists. I feel like her music, at the time especially, was pretty unique in the way that it sort of matched her style. The freedom of experimenting with this dark place that doesn't have a place often in modern music.[80] ”

Personal life

Siouxsie married Budgie in May 1991. The following year, they moved to the southwest of France.[113]

In an interview with The Sunday Times in August 2007, she announced that she and Budgie had divorced.[114] In an interview with The Independent, she said, "I've never particularly said I'm hetero or I'm a lesbian. I know there are people who are definitely one way, but not really me. I suppose if I am attracted to men then they usually have more feminine qualities."[115]

Discography

For her works with Siouxsie and the Banshees, see Siouxsie and the Banshees discography.

For her works with The Creatures, see The Creatures discography.

Solo album

Year Album details Peak chart positions
UK
[116]		 FRA
[117]
2007 Mantaray 39 132

Solo singles

Year Single Peak positions Album
UK
[118]
2007 "Into a Swan" 59 Mantaray
"Here Comes That Day" 93
2008 "About to Happen" 154
2015 "Love Crime (Amuse-Bouche Version)" — single only

Collaborative singles

Year Single Artist Peak positions Album
UK
[119]
1994 "Interlude" Morrissey & Siouxsie 25 Non-album song

DVD

Collaborations with other artists

In studio

Live

Film appearances of songs include The Punk Rock Movie (Don Letts, 1977); Jubilee (Derek Jarman, 1977); Out of Bounds (Richard Tuggle, 1986); Batman Returns (Tim Burton,1992); Showgirls (Paul Verhoeven, 1995); The Craft (Andrew Fleming, 1996); Grosse Pointe Blank (George Armitage, 1997); The Filth and the Fury (Julien Temple, 2000); 24 Hour Party People (Michael Winterbottom, 2002); Marie Antoinette (Sofia Coppola, 2006); Monster House (Gil Kenan, 2006); Notes on a Scandal (Richard Eyre, 2006); Doomsday (Neil Marshall, 2008)

Notes

  1. ↑ Paytress, mark. p3
  2. ↑ Morrissey & Siouxsie released the single "Interlude" on August 1994 on EMI Records in Europe.
  3. 1 2 Siouxsie and John Cale in duet. "Murdering Mouth". Amsterdam, Paradiso (With the Metropole Orchestra). 25 February 1998
  4. ↑ Stone, Doug. "Siouxsie'biography" Allmusicguide.com. Retrieved 30 May 2014. "One of the most influential British females in rock"
  5. 1 2 "Killing Time" by Jeff Buckley (a Siouxsie and The Creatures song 1999). Untiedundone.com. Retrieved 20 January 2014. "Killing Time" at the radio WFMU Studios, East Orange, NJ, 10 November 1992. "Killing Time" is a Siouxsie song from The Creatures' Boomerang album
  6. ↑ "Moon-palace.de". Moon-palace.de. Retrieved 28 September 2014.
  7. ↑ Cohen, Jonathan. "Billboard Bits: CMT Awards, The Cult, LCD Soundsystem". billboard.com. LCD Soundsystem covered "Slowdive" (from 1982's A Kiss in the Dreamhouse) on the Introns cd.
  8. 1 2 "7th January 2000 PJ selects her Top 10 Albums of 1999". Pjharvey.net. Retrieved 28 September 2009.
  9. ↑ "Icon: Siouxsie", The Fader Magazine, The Icon Issue 67, April/May 2010. Page 71: Dave Sitek (David Andrew Sitek) TV on the Radio. "I've always tried to make a song that begins like "Kiss Them for Me". I think songs like "I Was a Lover" or "Wash the Day away" came from that element of surprise mode where all of a sudden this giant drum comes in and you're like, what the fuck?! That record was the first one where I was like, okay, even my friends who don't know who The Cure or Sonic Youth are, they're going to fall for this. I feel like that transition into that record was a relief for me. Really beautiful music was always considered too weird by the normal kids and that was the first example where I thought, we've got them, they're hooked! I watched people dance to that song, people who had never heard of any of the music that I listened to, they heard that music in a club and went crazy.
  10. ↑ "Siouxsie Sioux: 'There plenty more new material to come from me". Qthemusic.com. 25 October 2011. Archived from the original on 3 February 2014. Retrieved 2 November 2011.
  11. ↑ "The Ivor Novello Awards". NME. 17 May 2012. Archived from the original on 2 February 2014. Retrieved 18 May 2012.
  12. ↑ Paytress, Mark. p.3
  13. 1 2 Johns, Brian. P.8
  14. ↑ Paytress, Mark. P.19
  15. 1 2 Bracewell, Michael (19 August 2005). "Her Dark Materials". The Guardian Weekend Magazine.
  16. ↑ Paytress, Mark. P.20
  17. 1 2 3 4 5 Shaw, William. "In at the Deep End". Word. September 2005
  18. ↑ Paytress, Mark. P. 21–22
  19. ↑ Paytress, Mark. P.23
  20. ↑ Paytress, Mark. P.30
  21. ↑ Paytress, Mark. P.42
  22. ↑ Paytress, p. 32
  23. ↑ Paytress, p. 104
  24. ↑ Paytress, pp 49, 53-54
  25. ↑ Savage, Jon. Spin. June 1986. Page 66
  26. ↑ Queens of British Pop. BBC One. Air Date : 1 April 2009.
  27. ↑ "Sex Pistols on Bill Grundy's 'Today' show most requested clip". NME.com. 28 July 2008. Archived from the original on 3 March 2012. Retrieved 2 August 2008.
  28. ↑ Paytress, Mark. pp 47–48
  29. ↑ Johns, Brian. p. 94
  30. ↑ Birch, Ian (19 August 1978). "Single of the Week: Hong Kong Garden". Melody Maker.
  31. ↑ Pete Silverton (14 October 1978). "If Screams could kill [The Scream – review]". Sounds: 33.
  32. 1 2 Chris Westwood (14 October 1978). "Siouxsie's Stampede [The Scream – review]". Record Mirror: 16.
  33. ↑ Watson, Don. "Siouxsie's Sombrero Bolero". NME. 15 December 1984. "After Patti Smith's 'Horses', 'The Scream' is the best debut LP of all time. Was it 1978 or ten years on? From the underwater claustrophobia of its cover, through the fractured monochrome scenarios to the morbid fascination of 'Switch's' final flickers, its poetry in sound and splinters."
  34. ↑ Savage, Jon (1 September 1979). "A Scream in a Vacuum [Join Hands – review]". Melody Maker.
  35. ↑ Simpson, Dave (12 March 2004). "Obituary – John McGeoch: Innovative and influential guitarist of the post-punk era". The Guardian. Archived from the original on 4 May 2013.
  36. ↑ Paulo Hewitt (26 July 1980). "Siouxsie's sketches". Melody Maker. Rock's Backpages (subscription required). Archived from the original on 27 June 2012. Retrieved 2 January 2012.
  37. ↑ Petridis, Alexis. "The Guardian, 1000 albums to hear before you die". Guardian.co.uk.21 November 2007. "Perennial masters of brooding suspense, the Banshees honed their trademark aloof art-rock to its hardest and darkest pitch on Juju. With their musical alchemy at its peak and Siouxsie at her most imperious, pop marvels such as Spellbound and Arabian Knights were poised, peerless exercises in magic realism that you could dance to." Archived 13 November 2012 at the Wayback Machine
  38. ↑ Sutherland, Steve. "Awakening Dreams" [A Kiss in the Dreamhouse review]. Melody Maker. 6 November 1982. "The Banshees achieve an awesome, effective new pop without so much as a theory or qualm. "Dreamhouse" is an intoxicating achievement."
  39. ↑ Cook, Richard (6 November 1982). "A kiss in the Dreamhouse review". NME. Rock's Backpages (subscription required). Archived from the original on 28 December 2011. Retrieved 1 October 2012.
  40. ↑ Cleary, David. "A Kiss in the Dreamhouse – Siouxsie and the Banshees". AllMusic. Retrieved 1 September 2012.
  41. ↑ "Right Now" was remastered in 1997 for The Bestiary of the Creatures
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  44. ↑ Quantick, David. "Peek-A-Boo" review. NME. 23 July 1988.
  45. ↑ Mathur, Paul. "Born Again Savages". Melody Maker. 9 July 1988.
  46. ↑ Cooper, Mark. "Peepshow" review. Q Magazine. September 1988. "Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom."
  47. ↑ Murphy, Kevin. Peepshow review. Record Mirror. 10 September 1988
  48. ↑ Morton, Roger. "Peek-A-Boom [Boomerang review]". NME (11 November 1989).
  49. ↑ Ken Hunt. "Bhangra and Giddha". allmusic.com. Archived from the original on 25 October 2010. Retrieved 2 December 2011.
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  52. ↑ Southwell, Tim. "Superstition" review. NME, 15 June 1991. "With the delicious 'Kiss Them for Me' gracing the Gallup Top 40 with a touch of real class, the release of Siouxsie and the Banshees' 10th studio LP could not have come at a better time. 'Superstition' is a giant of a record, casting a sinister shadow over the listener in true Banshee style."
  53. ↑ Craven, Art. "Suede The Grand London 12 July 1993". Spin. October 1993. page 112
  54. ↑ Goddard, Simon (September 2012). Mozipedia: The Encyclopaedia of Morrissey and the Smiths. Ebury Press. p. 393. ISBN 0091927102.
  55. ↑ "Split in the Dreamhouse". Melody Maker. 13 April 1996.
  56. ↑ Chansons des Mers Froides - Hector Zazou [CD - liner notes], Sony France, 1995
  57. ↑ Paytress, pp 267, 268
  58. ↑ "Anima Animus" review. The Times. 2 February 1999.
  59. ↑ "100 Women Who Rock The World" Q magazine. January 2002 Archived 17 October 2013 at the Wayback Machine
  60. ↑ Wratts, Peter. "Hai!" review. Time Out. "Her voice is the dominant instrument here, snaking and curling around the bouncing drumming backdrop, elegiac and inhuman as she chants, purrs and whispers her way around the album. The centrepiece is the tense, sensual, whirl of 'Tourniquet', a spellbinding nine minutes around which the rest of the album hangs, awed but not unbowed but it is presence. 'Landlocked/ wind and bind/you grind and grind', growls Siouxsie with a seductive sneer. It's a virile, sultry salute to lust and bondage, and will cure anybody of their hangover. A spine-tingling achievement."
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  62. ↑ "Siouxsie Number One in UK Music DVD chart". Web.archive.org. Retrieved 28 September 2014.
  63. ↑ 'Abebe, Nitsuh (4 September 2007). ""Mantaray" review". Pitchforkmedia. Retrieved 3 December 2015.
  64. ↑ Segal, Victoria (September 2007), "Mantaray review", Mojo, p. 102
  65. ↑ Siouxsie Sioux and Angelo Badalamenti. "Who will take my dreams away" Gent, the World Soundtrack Awards 2008
  66. ↑ "Finale The Last Mantaray & More Show by Siouxsie" [Siouxsie interview - bonus dvd]. Fremantle Home Entertainment. 2009
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  68. ↑ Price, Simon (29 June 2013). "Yoko Ono's Meltdown finale". TheIndependent. Archived from the original on 23 January 2014. Retrieved 29 June 2013.
  69. ↑ "Siouxsie on the cover of Mojo November". Greatmagazines.co.uk. 25 September 2014. Retrieved 1 October 2014.
  70. ↑ Siouxsie and the Banshees interview, Mojo, November 2014
  71. ↑ Kreps, Daniel. "Hear Siouxsie Sioux's Haunting Hannibal Finale Song Love Crime". Rolling Stone. 31 August 2015. Retrieved 1 September 2015
  72. ↑ Prudom, Laura. "Hannibal' Final Postmortem Bryan Fueller". Variety. 29 August 2015. Retrieved 1 September 2015
  73. ↑ Seghers, Christine. "Hannibal unleashes the red dragon". Ign.com. 11 July 2015. Retrieved 16 August 2015
  74. ↑ "Siouxsie - Love crime (Amuse-Bouche Version)". Siouxsie H-Quioux. Retrieved 4 December 2015.
  75. ↑ "Icon: Siouxsie", The Fader Magazine, The Icon Issue 67, April/May 2010. Page 66
  76. ↑ "Cover me - Tricky". Moon-palace.de. Retrieved 28 September 2014.
  77. ↑ "Superpredators Massive Attack Discography". Inflightdata.com. Retrieved 28 September 2014.
  78. ↑ "JeffBuckley-fr.net" list of songs covered by Jeff Buckley including "Killing Time" composed by Siouxsie for The Creatures. Archived 13 February 2012 at the Wayback Machine
  79. ↑ "LCD Soundsystem iTunes Remix Album". Jackson Free Press. Retrieved 4 June 2012.
  80. 1 2 "Icon: Siouxsie", The Fader Magazine, The Icon Issue 67, April/May 2010. Page 73
  81. ↑ Lapatine, Scott. "Earlash". April 2004. Retrieved 1 October 2012. "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 and the Banshees's "Painted Bird" from the album A Kiss in the Dreamhouse.
  82. ↑ ""Saunalahti.fi" (Red Hot Chili Peppers' site)". Saunalahti.fi. Retrieved 28 September 2014.
  83. ↑ Frenette, Brad. "DeVotchKa finds joy in the sadness – interview". Nationalpost.com. 7 March 2011. Retrieved 20 January 2014. "We were playing in Montreal, and Arcade Fire stopped by, back in the earlier days. We were doing this covers album and Win [Butler] recommended that we record The Last Beat of My Heart"
  84. ↑ Blade, Richard. "KROQ interview" Morrissey-solo. air date: 6 July 1997. Archived 20 November 2012 at the Wayback Machine
  85. ↑ Maconie, Stuart. "Hello Cruel World". Q Magazine. April 1994. "Weren't The Smiths supposed to be the reaction of beauty and charm after the snarling negativity of punk?" Yes, they were beauty and charm but if you listen to songs like Sweet And Tender Hooligan ... well, I don't like The Smiths being categorised as folk music. It wasn't like that. The appearances were extremely, expressively violent. And I wouldn't have had it any other way. But if you study modern groups, those who gain press coverage and chart action, most of them aren't actually as good as The Angelic Upstarts, aren't as exciting as Sham 69. None of them are as good as Siouxsie And The Banshees at full pelt. That's not dusty nostalgia, that's fact. Most modern groups as far as I can see are Creedence Clearwater Revival."
  86. ↑ Mitchell, Pete. "Spellbound : the story of John McGeoch" BBC2. February 2008. About McGeoch's contribution of the single "Spellbound", Marr states: "It's so clever. He's got this really good picky thing going on which is very un-rock'n'roll and this actual tune he's playing is really quite mysterious." Radio 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.
  87. ↑ "Radiohead Official Biography – Capitol Canada". MuchMcapitolmusic.ca. Archived from the original on 29 June 2006. Retrieved 10 February 2012. 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.
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  103. ↑ Thorn, Tracey (January 2014). Bedsit Disco Queen: How I grew up and tried to be a pop star. Virago. ISBN 978-1-84408-868-3. My Heroines wer Billie Holliday, Lesley Woods, Siouxsie. ... [Morrissey] reminded me more of a male version of the female singers I liked – Patti Smith and Siouxsie – than any previous male rock star
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  106. ↑ Simpson, Dave. "Rebellious Jukebox". "Garbage's Shirley Manson reveals what rings her bell". Melody Maker. 28 March 1998. 2 Siouxsie & the Banshees "The Scream". Primal Howl from the psychotic darklands of seventies punk. "Siouxsie embodied everything I wanted to be when I was a freaky adolescent. She was really articulate and string; there's so much power in songs like 'Jigsaw Feeling'. Siouxsie was my first schoolgirl crush. I always wanted black hair and black eyebrows but I couldn't have been further from that whole look because I was ginger! I still listen to 'The Scream' to this day and it's amazing." Archived 17 October 2012 at WebCite
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  108. ↑ Fitzmaurice, Larry. "Gossip Q&A" Spin.com. 28 April 2009. "What bands influenced the new album's sound? Everything from the Birthday Party to house music and Siouxsie and the Banshees." Archived 5 November 2013 at the Wayback Machine
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