Daily reminder to be nice to Siouxsie

Daily reminder to be nice to Siouxsie

fuck this cunt

What's their best album?

who would be mean to her...yum

the first just like any other (punk) artist

so edgy...
do you actually have a problem with Siouxsie or are you just being contrary?
Personally, you bet, I would love to fuck her, she still looks great

Morrissey apparently

I like Juju, Dreamhouse, and Tinderbox

happy coincidence, because i cant stand him...weird tho cause he actually started a cramps fanclub...i've seemed to have lost a thread

this board is nice only to goblins and kate bush

And Tay Tay
And Carly Rae
Does Bjork count as a goblin?

these threads are sad living girls arent waifus

nice devil trips
waifu is just a sad concept, living, dead or make believe, but theres nothing wrong with enjoying a picture of an attractive person


I miss alice threads, she was the sexiest out of any of Sup Forums's waifu spam and had the most entertaining pictures

would siouxsie look down on this? almost certainly. anime girls dont. and with alice fame clearly damaged her thats what I'd think of if one of these was about her.

sorry if this is raining on the parade im tired

Well Siouxsie has always marketed the hell out of her looks and I'm sure enjoys any form of attention towards her attractiveness

But yeah the whole waifu obsession is just stalkerish and sad and creepy

on that note:
Favorite Siouxsie song?

mine would be Land's End. I can listen to that on repeat for hours I bet

Night shift

her look is the most iconic of any female musician gawking at it doesnt do justice

Someone post the pic of her fat ass

see how these posts are the same?

I'm gonna pat Syooksie's head and mispronounce her name on purpose

>Dark-punk's most overrated artist, Siouxsie has left behind very few compositions that deserve to be remembered. Most of her "music" was actually attitude, and therein lies her importance. She was an icon, and undoubtedly influenced bands worldwide. Goth-rock would not be a widespread phenomenon without her. But, unlike her model Nico, she was "only" an icon, and never a musician. Thanks to heavy promotion from major labels since the beginning of her career, she did achieve a bigger commercial success that the rest of dark-punk's emaciated ranks but at the expense of sacrificing whatever little originality her music had. If nothing else, the commercial scam helped give the genre some credibility with labels, which in turn materialized in a broader acceptance of gothic music worldwide. That is what Siouxsie will be remembered for.

>Favorite album
Kaleidoscope

>Favorite song
Love In A Void

Is that nice enough?

choa is better and i'm pretty sure that's a man wearing a wig

>Favorite Siouxsie song
Swimming Horses

I know its not her best, but I could listen to it on repeat and never get tired
The Scream might be my favorite for how experimental it was. It should be considered proto-shoegaze at times, except for the "punkier" songs that are good as well

Why can't we be friends?

The Scream [Polydor, 1978]

Hippies were rainbow extremists; punks are romantics of black-and-white. Hippies forced warmth; punks cultivate cool. Hippies kidded themselves about free love; punks pretend that s&m is our condition. As symbols of protest, swastikas are no less fatuous than flowers. So it's not surprising that Siouxsie Sioux, punks' exemplary fan-turned-artist, should prove every bit as pretentious as model-turned-rocker Grace Slick or film-student manqué Jim Morrison. Nor is it surprising that while the spirit is still upon her she should come up with a tunefully atonal, modestly sensationalistic album. B+

Once Upon a Time/The Singles [PVC, 1981]

Like Jim Morrison, greatest of the pop posers, Siouxsie Pseud disguises the banality of her exoticism with psychedelic gimmicks most profitably consumed at their hookiest, and voila. Although two of the four unavailable-on-album 45s on this compilation go nowhere, most of these nightmare vignettes are diverting placebos, of a piece even though they span three years of putative artistic development. B+

Twice Upon a Time--The Singles [Geffen, 1992] *bomb*

Subjects for Further Research [1980s]: She has her cult--an army of black-clad college students eagerly waiting for the world to end. But though many Johnny Rotten fans proved smarter than Johnny Rotten, Siouxsie Pseud wasn't one of them. Since like Jim Morrison she disguises the banality of her exoticism with psychedelic gimmicks best consumed at their hookiest, the nightmare vignettes on her 1981 best-of were of a piece even though they spanned three years of putative artistic development. After that I kept waiting for Siouxsie to end. But she left a lot of product in her wake, and for all I know it conceals another best-of.

Why anyone takes Christgau seriously confuses the fuck out off me. Why does he almost never write about the music it self? Why is he so pretentious? Why does he basically, in a very verbose way, call an album dogshit and then goes on to give it a fucking B+?

That looks like a fish

anyone who says anything other than join hands is a fucking idiot

>being this contrarian
pls, I love that album but no way its her best. Literally 50% is intentional filler.

>implying he isn't right
>implying Siouxse wasn't just an orbiter for the Sex Pistols

they pretty much invented that chorused guitar sound that the cocteaus and every other band used in the 80s from dif juz to simple minds
but yeah focus on the singer and her looks, why are american punks so disingenuous, always obsessed with image and signifiers
complete lack of understanding of punk

So was Billy Idol and at least Siouxse didn't whore herself to MTV.

British punk was working class music, American punk was for pretentious, deliberately ironic art school dropouts.

Join Hands is mostly garbage

chris is a huge faggot

that's the nature of "critics" like scaruffi and chistgau. write smarmy little quips to showcase how wise and uber-tasteful they are. They are narcissistic faggots, the lot of them.

Pretty much the only quality reviews I ever read are on forums like thegearpage.net or sites like allaboutjazz.com

Critics who try to make a name for themselves as "critics" are pure cancer, as are the people that follow them.

The Banshees came from the same boutique in London run by Malcolm McLaren where the Sex Pistols were born a few months before. The singer Susan Dallion, better known as Siouxsie Sioux (pronounced "Susi Su") and bassist Steve Severin (Havoc) played with Sid Vicious in drummer guise at a punk festival in 1976. Siouxsie appeared as an ossianic version of Patti Smith, a nightwalker intonating lugubrious songs of graveyards. The Banshees music had little to do with the punk rock of their cousins: arcane texts, hypnotic melodies, annoying distortions, martial arts and dark atmospheres. The terror of punk is found in Siouxsie's epic inflections as a secondary venting vehicle.

The single Hong Kong Garden launched them with a rhythm marked by a Chinese pace. The Scream (Polydor, 1978), released with great fanfare, had little else place one's trust in. Siouxsie's lieder, John McKay's distortions and Severin and Kenny Morris's rhythms represented more of an emblem than a personal style.

Join Hands (Polydor, 1979) made light of their technical shortcomings. It overwhelms with existential depression, sloppiness really became a style, and a very influential style on contemporary dark-punk. Playground Twist exhibited an anguished atmosphere with a funeral ritornello of saxophone and mourning bells immersed in a turbulence of distortion, and the dazzling suspense of Staircase inscribed the passage from the wild rock and roll of their origins (still present in Love In A Void) to a more psychedelic horror. The album is however fundamental to Siouxsie's discography because it contains the long "macabre danse" of The Lord's Prayer (14 minutes) which had been their war horse at lives from the start.

Their sceneggiata was dominated by the glacial lament of Siouxsie, a modulated recitation in a wicked and rebellious register, aseptic and emphatic, which imposes itself in chorus shouts from beyond the grave.

The rest of the harmonies are limited to the kaleidoscope of John McKay's abrasive riffs, a monotonous and unremitting drumming, and Steve Severin's dark bass lines.

Thanks to new training with the entry of fanciful drummer Budgie (Peter Clark) and guitarist John McGeogh of Magazine, Kaleidoscope (PVC, 1980) was a much more musical album, capable of a more lyrical and sensationalistic macabre licking the psychodrama of the Doors. Severin conducts music with dozens of evocative Hawaiian and vaginal effects, often echoing in mystical phrases. The hypnotic and tribal Happy House is joined by the melodious and almost Indian Christine which scatters with a loud rhythm and a "Manzarekian" organ riff in liturgical model. The disc culminates in the epic crescendo of Israel where a mixed choir and polyphonic acappella is intertwined with intermittent echoes of Doors.

Ju-Ju (Polydor, 1981) is even more mature. Siouxsie is perhaps at the height of her grotesque vocal ability and the supporting cast accompany this with truly satanic fervor.The threatening tribalism of Spellbound comes to the archaic melody of Arabian Knights. McGeogh's atmospheric guitar performs small acrobatics which embellish the sound. The disk slips into Voodoo Dolly's grand guignol apotheosis. Siouxsie has to overcome a fundamental contradiction in her music: these are the excesses that make the group a unique phenomenon in the dark-punk landscape, since their songs are infinitely more conventional than those of Public Image Ltd, Joy Division or even the Cure. The group makes sense through its obstinate perversion. At the same time, winking at Oriental litanies and African tribalism, started on the previous record and continued here, the band attempts to liven up a sound that has been too long prisoner of the bewitching image of the leader. This scenario is liable to ending up losing one's identity. Just when she reached her musical peak, Siouxsie entered into a dead end.