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All Souls

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Goods that are faulty or sent in error must be returned to Crash Records Limited, 35 The Headrow, Leeds, LS1 6PU within 7 working days of the item being received by the customer. As such examples show, Siouxsie And The Banshees were never for the faint-hearted. Though certainly not devoid of beauty, much of their music was dark and intense – and created in the pursuit of artistic endeavor rather than commercial gain. Yet this singular approach to the craft ensures they exert an influence on successive generations of left-field pop stars. The collection features new and unique artwork directed by Siouxsie featuring a marigold; the symbolic flower of the Mexican Day of the Dead/All Souls Day festivities. One of that first Peel session’s high points, the aggressive “Love In A Void,” immediately turned heads (initially a B-side, the song later reappeared on 1981’s Once Upon A Time: The Singles). That initial BBC exposure – along with an eye-catching ‘Sign The Banshees’ graffiti campaign in and around London – led to Polydor doing just that early in 1978.

The cover design was directed by Siouxsie and features a marigold, a symbol of the Mexican Day of the Dead festivities. [6] Marigolds are also mentioned in the lyrics of "El Dia De Los Muertos". One of the finest moments in Kiss In The Dreamhouse, the majestic “Melt!” is a good illustration, as it evoked the spirit of 19th Century French poet Charles Baudelaire. Siouxsie’s graphic vignettes, such as “Handcuffed in lace, blood and sperm/Swimming in poison, gasping in the fragrance,” brilliantly evokes the heady temptations provided by sex and opium – among the decadent subjects explored in depth in Baudelaire’s first (and most famous) volume of poetry, Les Fleurs du mal ( The Flowers Of Evil).a b Gilbert, Pat. "Siouxsie And The Banshees' All Souls Reviewed". Mojo . Retrieved 25 October 2022. Budgie also showed off his tom-heavy rhythmic skill on Ju Ju’s legendary trailer hit, “ Spellbound,” where John McGeoch too came into his own. Instead of the expected guitar overload this dramatic song would seem to require, McGeoch instead set the scene by playing phased arpeggios and inventive chord patterns before propelling the song ever onwards with some breathtaking 12-string acoustic guitar work. When we were growing up, Siouxsie And The Banshees were the best at making great pop music with really heavy topics,” Primal Scream frontman and lifelong fan Bobby Gillespie told Vogue in a 2016 interview. The band’s seminal catalog of original studio albums began with 1978’s The Scream and concluded with their 11th and final release, 1995’s Rapture. Their Once Upon A Time/The Singles – 1978 to 1981 retrospective was reissued on vinyl in December 2020.

Innovation remained the watchword throughout Siouxsie and company’s career, but they didn’t just strive to challenge themselves while writing their own material; they also had a talent for working their inspirational magic on the songs they chose to cover.

Tracklist

Siouxsie has often distanced herself from the term “goth.” “‘Juju’ had a strong identity, which the goth bands that came in our wake tried to mimic, but they simply ended up diluting it,” she wrote in the sleeve notes for the album’s 2006 reissue. Yet there’s no doubt she transformed the role of a female frontwoman into something powerful, mysterious, and dominant. She may have been ambivalent about “goth” as a movement, but her fascination for the supernatural and the darker side of film and literature often bled into the Banshees’ best songs. Longevity was never part of punk’s DIY manifesto, but a handful of the bands it spawned achieved it regardless. The Jam and The Clash secured their legends after living through intense, yet finite five-year careers, while The Police hung around a little longer and became one of the biggest bands in the world. However, one notable act sired by punk, Siouxsie And The Banshees, became masters of reinvention throughout a spectacular 20-year career, during which they evolved from a primitive art-punk outfit into one of the UK’s most stylish, sophisticated, and truly singular acts.

In keeping with the theme of death, rebirth, and the arrival of the autumn season, Siouxsie and the Banshees have announced a brand new archival album, All Souls. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Ultratop.be – Siouxsie and the Banshees – All Souls" (in Dutch). Hung Medien. Retrieved 30 October 2022. Buoyed up by the success of “Dear Prudence” and further inspired by another of their collective favorites, David Bowie’s Pin-Ups, Siouxsie and company later decided to take the concept a stage further by recording a whole album’s worth of covers. Such an undertaking can often be risky at best, yet 1987’s sublime Through The Looking Glass showed that the concept was in safe hands with the Banshees.

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Hart, Ron (29 November 2022). "10 Gift Ideas For The Discerning Vinyl Enthusiast". Spin . Retrieved 30 November 2022.

John McGeoch was my favorite guitarist of all time,” Siouxsie told the UK’s The Independent in 2004. “He was into sound in an almost abstract way. I loved the way that I could say, ‘I want this to sound like a horse falling off a cliff,’ and he would know exactly what I meant. He was easily, without a shadow of a doubt, the most creative guitarist the Banshees ever had.” The latter’s frontman Robert Smith was particularly enamored of the record. He told Melody Maker in a 1983 interview, “When The Scream came out, I remember it was much slower than everybody thought it would be. It was like the forerunner of the Joy Division sound, it was just so big-sounding.” A Banshees album celebrating all things witchy, macabre, and otherworldly in the autumn months may not have required the keenest imagination to dream up. This is, after all, the group who made their live debut 46 years ago at the 100 Club Punk Festival defiling The Lord’s Prayer with a beat provided by Sid Vicious. Throughout the ’80s, dark gothic vibrations and Lewis Carroll weirdness was their default: eerie tendrils of chiming guitar, Siouxsie’s frosty yelp, Budgie’s tribal thump – every day could be Halloween in Banshees world, if you so wished.

Siouxsie continued to highlight issues primarily affecting women throughout the Banshees’ career. Living up to its title, their 1981 hit “Arabian Knights”’ dark, brooding vibe was matched by an especially visceral lyric about the exploitation of women in the Middle East (“Veiled behind screens/Kept as your baby machine”), while the chilling “Obsession” (from A Kiss In The Dreamhouse) related to Siouxsie’s own experience with the wayward behavior of her former partner and manager, Nils Stevenson.

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