Siouxsie and the banshees biography
Siouxsie & the Banshees: The Authorised Biography by Mark PaytressBiographies of musicians always have to walk a tightrope between covering the personal lives of the musicians and their careers as artists, the ideal way being show how each of the two influence the other. If I have to prefer one of the two rather than the middle ground, I have to take the path focusing on the music so Im surprised how much I enjoyed this one, which takes the middle ground but with a definite focus on the personal lives of not just Siouxsie Sioux but also her bandmates.
This book is structured around a series of interviews arranged by the time chronologically referred to and discussed. It starts out with some rather disturbing stuff, as Siouxsie had an extremely traumatic childhood which in part formed her outlook on life and also her philosophy when it comes to music writing. What I suppose will make or break this for most people will be her infamously trollish sense of humour, from dressing in Fascist and Soviet regalia on alternating days of the week over intentionally acting creepily towards strangers in order to scare off potential rapists to her eagerness to share embarrassing anecdotes about the private lives of musicians she had toured with and fellow scenesters in generally. While Siouxsie comes across as a somewhat difficult person to be around especially to people who arent longtime acquaintances, as readily attested by the Banshees high turnover rate of guitarists and the testimony of other bands she toured with, I find her interviews as entertaining as her music output. Shes a paragon of virtue next to Mark E. Smith from The Fall anyway.
There is also plenty of interesting sociological information about S&TB and the context of their place in music history: The amount of influence the Banshees took not just from 1960s psychedelia in general and the German Kosmische Musik scene even before they moved away from their early noisy punky sound to a poppier and more overtly psychedelic style, but also horror/science-fiction film soundtracks with much of the groups musical outside-the-box-thinking coming from an attempt to adapt the avant-garde compositional techniques found there into the context of rock instrumentation; Siouxsie feuding on a personal level with almost every foundational Oi! band, when I was surprised to know they even had been on each others cultural radars; the aforementioned shift in style on A Kiss in the Dreamhouse being motivated in a large part by the bands dislike of most musicians citing them as inspiration. Indeed, one gets the impression that Siouxsie and the Banshees always kind of felt like outsiders to the musical cultures they were categorized under. Quite a bit of time is also spent on the sideproject The Creatures, which I need to listen to more.
Ive been informed elsewhere that Siouxsie has a reputation for exaggerating, embellishing or otherwise having a rather creative approach to the bands past in interviews - something that does not surprise me considering her aforementioned trollish (bansheeish?) sense of humour. As necessary as it might have been to keep a proverbial intellectual saltshaker handy, this book has nonetheless made a satisfying companion piece to my appreciation of yet another post-punk group Im kind of regretting not hearing earlier.
Punk Girls Documentary
Siouxsie and the Banshees: The Authorised Biography by Mark Paytress
By the time they had disbanded in , they had developed an entirely individualistic brand of ornate, theatrical rock. Siouxsie Sioux real name: Susan Dallion was a music fan early on and after completing secondary school and a little college, she started hanging out with a group of friends that shared her interest in music, more specifically many of the harder-edged glam rock bands that were around in the early 70's, including Roxy Music, T. Siouxsie and Severin got along especially well, sharing much of the same musical taste. The shop featured 50's-style attire and bondage clothing, which flew in the face of the prevailing rock uniform of long hair and flare jeans. Many of the people who hung around the store became Sex Pistols fans, and many of them went on to form bands, including Sioux and Severin.
Siouxsie and the Banshees were among the longest-lived and most successful acts to emerge from the London punk community; over the course of a career that lasted two decades, they evolved from an abrasive, primitive art punk band into a stylish, sophisticated unit that notched 18 Top 40 hits in the U. Throughout its numerous lineup changes and textural shifts, the group remained under the leadership of vocalist Siouxsie Sioux , born Susan Dallion on May 27, She and the Banshees ' initial lineup emerged from the Bromley Contingent, a notorious group of rabid Sex Pistols fans; inspired by the growing punk movement, Dallion adopted the name Siouxsie and formed the Banshees in September In addition to bassist Steven Severin and guitarist Marco Pirroni , the band included drummer John Simon Ritchie , who assumed the name Sid Vicious ; they debuted later that year at the legendary Punk Festival held at London's Club, where their entire set consisted of a savage, minute rendition of "The Lord's Prayer. Two days into a tour for their follow-up, Join Hands , both McKay and Morris abruptly departed, and guitarist Robert Smith of the Cure the tour's opening act and ex- Slits and Big in Japan drummer Budgie were enlisted to fill the void; although Smith returned to the Cure soon after, Budgie became a permanent member of the group, and remained with the Banshees throughout the duration of their career.
Siouxsie & The Banshees - Biography
Siouxsie and the Banshees were a British rock band, formed in London in by vocalist Siouxsie Sioux and bass guitarist Steven Severin. They have been widely influential, both over their contemporaries and with later acts. Initially associated with the punk scene, the band rapidly evolved to create "a form of post-punk discord full of daring rhythmic and sonic experimentation".