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Siouxsie and the Banshees

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Siouxsie and the Banshees
Company typeBand
IndustryMusic
Founded1976 in London, England
FounderSiouxsie Sioux, Steven Severin
Headquarters
London
,
England
ProductsMusic albums, singles

Siouxsie and the Banshees () emerged as a British rock ensemble originating in London in 1976, founded by lead singer Siouxsie Sioux alongside bassist Steven Severin. As trailblazers of the post-punk movement, they left a significant mark on their peers and future musicians alike. According to The Times, they stood out as "one of the most daring and uncompromising musical explorers of the post-punk period."

Although initially associated with the punk rock movement, the group—which included guitarist John McKay and drummer Kenny Morris—rapidly progressed toward crafting inventive post-punk compositions characterized by bold rhythmic and sonic experimentation. Their first album, The Scream (1978), garnered widespread critical praise. Following lineup adjustments with the addition of guitarist John McGeoch and drummer Budgie, their sound evolved, positioning them as one of the most prominent alternative pop acts throughout the 1980s. Their third record, Kaleidoscope (1980), climbed to number 5 on the UK Albums Chart, while Juju (1981) also secured a place in the UK top 10, playing a pivotal role in shaping the nascent Gothic rock style.

In 1988, they achieved recognition in North America with the critically acclaimed album Peepshow. Supported by alternative rock radio airplay, tracks such as "Peek-a-Boo" and "Kiss Them for Me" reached number one on the US Billboard Modern Rock Tracks chart, with "Kiss Them for Me" maintaining its top position for six consecutive weeks in 1991. This accomplishment marked their mainstream breakthrough within the United States.

Throughout their career, Siouxsie and the Banshees produced 11 studio albums and released 30 singles. Despite numerous personnel changes, Siouxsie and Severin remained the band's core members. The group dissolved in 1996; subsequently, Siouxsie and Budgie continued collaborating under the Creatures, a side project initiated in the early 1980s. Siouxsie embarked on a solo career starting in 2004.

Formation (1976–1977)

Siouxsie Sioux crossed paths with Steven Severin at a Roxy Music concert in September 1975 during a period when glam rock was fading and new musical directions were scarce. Beginning in February 1976, they, along with several friends, followed the unsigned Sex Pistols. Journalist Caroline Coon coined the term "Bromley Contingent" to describe this group due to their origins in south-east London—a label Severin disliked. Motivated by the Sex Pistols' uncompromising ethos, Siouxsie proposed that they perform at the 100 Club Punk Festival after another band canceled. On 20 September 1976, they took to the stage with two borrowed musicians, Marco Pirroni and Sid Vicious, delivering a twenty-minute improvisational piece inspired by "The Lord's Prayer."

Although they initially intended to disband following this performance, invitations to return led them to recruit drummer Kenny Morris and guitarist Peter Fenton. After several shows in early 1977, Fenton was replaced by John McKay in July due to differences in musical style. Their television debut occurred in November on Granada Television's So It Goes, hosted by Tony Wilson. That same month, they recorded their first session for BBC radio's John Peel show, introducing "Metal Postcard," which featured "motorik austerity" in its drumming,[1] "spacious soundscapes," and "jagged guitar tones".[2] The band described their sound as simultaneously "cold," "mechanical," yet "passionate." When featured on the cover of Sounds, journalist Vivien Goldman likened their music to "a futuristic industrial complex." [3]

The Scream and Join Hands (1978–1979)

Early in 1978, the band achieved sold-out shows across London but encountered difficulties securing a recording deal that offered "full artistic freedom." Polydor Records eventually signed them in June, providing this assurance. Their debut single, Hong Kong Garden, distinguished by a unique xylophone riff, broke into the UK top 10 and garnered praise for its innovative guitar style.

Released in November 1978, their first album, The Scream, received acclaim from NME for its distinctive sound, which fused influences from the Velvet Underground and Can, while adopting an unconventional take on the classic three-piece setup.

The Banshees' sophomore album, Join Hands (1979), was characterized by Melody Maker as a powerful reflection on war themes and deemed by Record Mirror as an essential and compelling listen. During the promotional tour for this album, founding members Morris and McKay departed unexpectedly. Drummer Budgie joined from the Slits, and after unsuccessful auditions for a new guitarist, Robert Smith of the Cure—who was supporting them on tour—temporarily filled in to complete the remaining dates before returning to his own band.

Kaleidoscope, Juju and A Kiss in the Dreamhouse (1980–1982)

With Budgie now a permanent addition, the band recorded the single "Happy House" featuring guitarist John McGeoch, then associated with Magazine. Their third studio effort, Kaleidoscope (1980), broadened their sonic palette by incorporating synthesizers, sitars, and drum machines. The album focused on creating varied and distinctive tracks without concern for live playability. Described by Melody Maker as "a kaleidoscope of sound and imagery," it achieved commercial success by reaching number 5 on the UK albums chart. This lineup also embarked on their inaugural US tour in November 1980.

For Juju (1981), the band rehearsed extensively before recording. Severin noted it evolved into an unintended concept album with darker thematic content. The magazine Sounds lauded its intensity and mood. The record peaked at number 7 on UK charts and became one of their best-selling albums. McGeoch’s guitar contributions on Juju earned admiration from notable musicians such as Johnny Marr of the Smiths.

During the 1981 tour cycle, Siouxsie and Budgie began a personal relationship and launched a side project called the Creatures, debuting with the EP Wild Things.

In 1982, the band released the psychedelic-tinged A Kiss in the Dreamhouse, which incorporated string arrangements and marked a conscious stylistic departure. Severin described it as a "sexy album," which was met with enthusiastic reviews from British music press. Around this period, McGeoch struggled with alcohol-related problems that led to his hospitalization following promotional activities in Madrid. Consequently, he was dismissed from the group. Severin invited Robert Smith to return as guitarist in November 1982.

Hyæna, Tinderbox and Through the Looking Glass (1983–1987)

In 1983, members explored side endeavors: Siouxsie and Budgie produced the first Creatures album, Feast, while Severin and Smith collaborated under the name the Glove. Smith advocated documenting his time with the Banshees, resulting in their cover of the Beatles' "Dear Prudence" released in September 1983; this became their highest-charting UK single, peaking at number 3. That year they also issued a live double album and video titled Nocturne, alongside completing their sixth studio record, Hyæna. Shortly before its release in May 1984, Smith departed due to health concerns stemming from an overwhelming workload.

Replacing Smith was former Clock DVA guitarist John Valentine Carruthers. The band reimagined four tracks with orchestral strings for The Thorn EP, which received praise from NME for its fusion of classical elements with their signature sound. Most of 1985 was devoted to recording Tinderbox, preceded by the single "Cities in Dust" and followed by their longest UK tour to date. Released in April 1986, Tinderbox earned commendations from Sounds magazine for reinvigorating their characteristic style. Seeking a more spontaneous approach after extensive sessions, they recorded an album of covers titled Through the Looking Glass in 1987. The magazine Mojo later praised their interpretation of "Strange Fruit". Afterward, feeling Carruthers no longer suited their direction, they decided to continue as a trio.

Peepshow (1988–1990)

Following a period of inactivity, the group expanded their lineup by incorporating multi-instrumentalist Martin McCarrick alongside guitarist Jon Klein. Their 1988 release, Peepshow, showcased atypical rock instrumentation such as cello and accordion. Receiving a 5-star rating from Q magazine, it was described as a "distorted fairground of the mind." The album’s lead track, "Peek-a-Boo", integrated horn sections and dance music influences, marking the band's significant breakthrough within the American market. After completing the tour, the band entered another hiatus; during this time, Siouxsie and Budgie concentrated on their side project, the Creatures, who released the critically praised Boomerang, while Severin and McCarrick pursued separate collaborations.

Superstition, The Rapture and break-up (1991–1999)

In 1991, Siouxsie and the Banshees made a comeback with the single "Kiss Them for Me", which combined string arrangements with dance beats and featured Indian tabla virtuoso Talvin Singh. This single climbed to number 23 on the Billboard Hot 100, broadening their fanbase in the United States. The follow-up album, Superstition, was promoted through a US tour where they served as second headliners at Lollapalooza. In 1992, director Tim Burton personally requested them to compose "Face to Face" for the soundtrack of his film Batman Returns.

By 1993, after creating string-focused material and touring internationally, they enlisted former Velvet Underground member John Cale to produce their subsequent album. Released in 1995, The Rapture received acclaim from Melody Maker, which praised it as a "transcontinental journey through danger and exotica." Shortly after its release, Polydor ended their contract; during the ensuing tour, guitarist Knox Chandler, formerly of The Psychedelic Furs, replaced Klein. In April 1996, after twenty years together, the band officially disbanded. Siouxsie and Budgie continued their work as the Creatures, issuing Anima Animus in 1999.

2000s–present

Universal Music began remastering Siouxsie and the Banshees' catalogue in 2002 with the release of The Best of Siouxsie and the Banshees. That April, Siouxsie, Severin, Budgie, and Chandler briefly reunited for the Seven Year Itch tour, which resulted in both a live album and DVD titled The Seven Year Itch. After concluding their final performance in Tokyo, Siouxsie and Budgie resumed recording as the Creatures, releasing their fourth and final studio album, Hái!, in 2003.

On 4 March 2004, John McGeoch passed away at age 48 due to an epileptic seizure. Prior to his death, Siouxsie and Budgie had contemplated inviting him for a guest appearance on stage. Later that year saw the release of the Downside Up box set compiling all B-sides along with The Thorn EP; The Times commended the band for treating B-sides as platforms for experimental work.

In 2006, remastered editions of their first four albums appeared alongside previously unreleased bonus tracks. A collection of John Peel session recordings from 1978 to 1986 was issued as Voices on the Air: The Peel Sessions, garnering critical praise. Eleven years after disbanding, Siouxsie launched her solo debut album Mantaray in 2007. The second remaster series covering material from 1982 to 1986 was released in April 2009, including A Kiss in the Dreamhouse. That June brought forth the At the BBC box set featuring live television appearances and concert recordings.

In April 2014, a double 7-inch vinyl reissue of their debut single "Hong Kong Garden" was released as part of Universal’s three-year reissue initiative. October saw remastered editions of their last four studio albums (1987–1995) with added bonus tracks. In September of that year, Siouxsie and Severin curated It's a Wonderfull Life, a compilation CD for Mojo magazine celebrating film scores and classical composers who influenced them.

Following the release of compilation Spellbound: The Collection in 2015, they reissued their 1979 album Join Hands on vinyl for Record Store Day featuring new artwork. Beginning August 2018, Polydor launched a vinyl reissue campaign remastering all eleven studio albums from original tapes by Miles Showell at Abbey Road Studios.

The curated ten-track compilation All Souls, featuring "Spellbound" licensed for season four of Stranger Things, was released on black and orange vinyl in 2022. In 2023, both The Rapture received a double colored vinyl reissue and Siouxsie's solo album Mantaray was reissued on remastered vinyl and CD formats.

October 2024 saw a crystal-clear vinyl reissue of Through the Looking Glass, including "The Passenger", accompanied by new mirror-effect artwork. In 2025, All Souls was issued as a limited edition CD featuring an obi strip within Japanese mini-LP style packaging.

That same year marked John McKay's debut solo album release titled Sixes and Sevens, available on vinyl and CD. This collection includes tracks recorded between 1980 and 1989; some early pieces hint at what direction the band might have taken had McKay remained involved. The CD titled Additions contains "People Phobia", an early rendition of "Hong Kong Garden" presented by McKay prior to formal band recording sessions.

Following a UK tour in October, John McKay's group John McKay's Reactor announced a new performance date to present Banshees Mk 1 material at The Deadinburgh Festival in Edinburgh on Saturday, 11 July 2026.

Musical style

Siouxsie and the Banshees are widely acknowledged as trailblazers of the post-punk movement, celebrated for their bold experimentation with rhythms and soundscapes. The Times praised them as "among the most fearless and uncompromising musical explorers of the post-punk period." Their shadowy and intense compositions played a pivotal role in the development of the gothic genre, while they are also identified as part of the new wave movement.

They rank among the earliest alternative acts, with historian Peter Buckley emphasizing their status "at the forefront of the alternative-rock scene." Their 1988 single "Peek-a-Boo" was notably the inaugural chart-topper on the US Modern Rock chart when it debuted. Journalist Simon Goddard observed that the "Banshees – Mk II evolved into one of the most prominent alternative pop bands during the 1980s." During their Top 40 achievements, Spin labeled them as "alternative rockers," and their involvement in Lollapalooza solidified their importance within the alternative rock sphere. Later, Mojo recognized them as one of "alternative rock's emblematic bands."

Bassist Steven Severin remarked that their initial lyrics explored subjects such as insanity, youth, and breaking free from suburban life—areas rarely touched upon in rock or pop before.

Influences

The early inspirations for Siouxsie and the Banshees blended elements of "glamorous art rock" exemplified by David Bowie and Roxy Music with an enthusiasm for experimental groups like Can, Kraftwerk, and Neu!.

Legacy

Siouxsie and the Banshees significantly influenced a range of genres including post-punk, new wave, synth pop, gothic rock, alternative music, shoegaze, and trip hop, impacting artists such as Joy Division, the Cure, the Smiths, Depeche Mode, PJ Harvey, Radiohead, Jeff Buckley, Tricky, and LCD Soundsystem.

Peter Hook of Joy Division credited their debut album as a crucial influence, praising the distinctive combination of guitar and drum work. Stephen Morris, Joy Division’s drummer, highlighted their ominous sound and inventive percussion techniques, particularly Kenny Morris’s emphasis on tom-toms. Producer Martin Hannett noted how their vocal harmonies set them apart from other bands emerging in 1977. Robert Smith from The Cure admired both Siouxsie and Wire, attributing a shift in his musical direction to their 1979 Join Hands tour. Geordie Walker of Killing Joke commended their chord progressions on The Scream.

Morrissey of The Smiths regarded them as one of the standout groups from the late 1970s and early 1980s, while guitarist Johnny Marr praised both versions of the band, especially John McGeoch’s inventive guitar playing on "Spellbound." U2 recognized Siouxsie and the Banshees as a major inspiration; The Edge personally awarded Siouxsie a Mojo Icon Award in 2005. Dave Gahan from Depeche Mode listed them among his favorite bands, admiring their abstract and artistic approach.

Jim Reid from The Jesus and Mary Chain chose "Jigsaw Feeling" as a preferred track; Thurston Moore of Sonic Youth included "Hong Kong Garden" among his top selections. Kevin Shields of My Bloody Valentine cited them as an early influence. Dave Navarro from Jane's Addiction likened his band to a masculine counterpart to Siouxsie and the Banshees. Bobby Gillespie of Primal Scream praised their fusion of pop sensibilities with subversive themes.

Thom Yorke credited watching Siouxsie perform live in 1985 as a catalyst for his own stage ambitions; Radiohead referenced McGeoch-era Siouxsie during production of "There There." Jeff Buckley acknowledged her vocal influence by covering "Killing Time" and collecting all their albums. Brett Anderson from Suede named Juju among his favorite records. Red Hot Chili Peppers performed "Christine," with guitarist John Frusciante citing Siouxsie and the Banshees as an influence. Shirley Manson of Garbage learned vocal techniques from The Scream and Kaleidoscope. PJ Harvey admired Siouxsie's live presence and ranked Anima Animus among her top albums.

The band also impacted key figures in trip hop: Tricky covered "Tattoo," inspired by its proto-trip-hop sound; Massive Attack sampled "Metal Postcard." Jean-Benoît Dunckel from French group Air named them a primary influence. Billy Corgan of Smashing Pumpkins acknowledged their imprint on his music. Faith No More performed a live cover of "Switch" and cited The Scream as influential.

Emerging artists continue to draw upon their heritage: James Murphy of LCD Soundsystem favored Join Hands, covering "Slowdive"; The Beta Band sampled "Painted Bird"; TV on the Radio sought to emulate the unexpected qualities found in "Kiss Them for Me"; Santigold incorporated elements from "Red Light" into her track "My Superman." Indie folk ensemble DeVotchKa covered "The Last Beat of My Heart" following encouragement from Arcade Fire's Win Butler. Gossip identified them as a significant influence during promotion of "Heavy Cross." Bloc Party’s Kele Okereke described "Peek-a-Boo" as uniquely futuristic guitar-pop. Billy Howerdel from A Perfect Circle ranked them among his top three bands. The Weeknd sampled "Happy House" on "House of Balloons."

In 2022, guitarists John Frusciante, Johnny Marr, and Ed O'Brien contributed interviews for The Light Pours Out Of Me: The Authorised Biography Of John McGeoch, published by Omnibus Press, which also included fresh perspectives from Siouxsie and Severin.

Band lineup

Core members

  • Siouxsie Sioux – lead singer, occasional guitarist (1976–1996, 2002)
  • Steven Severin – bass guitar, keyboards (1976–1996, 2002)
  • Budgie – drums, percussion, harmonica, keyboards (1979–1996, 2002)

Additional members

Studio releases

Bibliography

  • Paytress, Mark. Siouxsie & the Banshees: The Authorised Biography. Sanctuary, 2003.
  • Johns, Brian. Entranced: the Siouxsie and the Banshees story. Omnibus Press, 1989.

Further reading

  • Sullivan-Burke, Rory. The Light Pours Out of Me: The Authorised Biography of John McGeoch. Omnibus Press, 2022.
  • Bennett, Samantha. Siouxsie and the Banshees' Peepshow (33 1/3). Bloomsbury Publishing, 2018.
  • Ethaire, Étienne. Diva Siouxsie. Le Camion Blanc, 2008.
  • Heylin, Clinton. Babylon's Burning: From Punk to Grunge. Penguin, 2006.
  • Reynolds, Simon. Totally Wired: Postpunk Interviews and Overviews. Penguin, 2009.
  • Savage, Jon. England's Dreaming. Faber and Faber, 2021.
  • Stevenson, Ray. The Siouxsie and the Banshees Photo Book. Omnibus Press, 1983.
  • West, Mike. Siouxsie and the Banshees. Babylon Books, 1982.

External links

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