#siouxsie and the banshees tribute band

[thebean-17]

[libertineangel]

Maybe it's just my London privilege but it does annoy me when Spotify emails me saying a band's playing nearby and it's actually a tribute act, like don't tell me Siouxsie and the fucking Banshees are playing the 100 Club if I'm gonna click on the link and find some other people

[rabbitechoes]

didn't listen to as much new music as I wanted to this month, but there was still plenty that i loved! i was captivated by Sprain's new album The Lamb as Effigy all month which didn't help lol. also the new yeule album was amazing as i expected. two albums from this month that are in my top ten for the year!! feel free to follow me on rate your music and twitter (i’m not calling it X)

"Born For Loving You" - Big Thief

◇ genre: folk rock

Another great single from Big Thief! This band is just so incredibly consistent while also raising the bar higher and higher for themselves. They're making some of the finest folk rock of today. Can't wait to hear their next full-length project!

"The Passenger" - Xiu Xiu

◇ featured on Spellbound - A Tribute to Siouxsie & The Banshees ◇ genres: darkwave, post-industrial

Xiu Xiu does a cover of the Siouxsie & The Banshees cover of an Iggy Pop classic. Like with all of their covers, Xiu Xiu put their own sinister little spin on it. Definitely worth a listen. (sidenote, i don't think this was released in september, but shhh apple music told me it was new)

"Will Anybody Ever Love Me?" - Sufjan Stevens

◇ featured on Javelin - Sufjan Stevens (not yet released) ◇ genres: singer-songwriter, indie folk

I'm extremely excited for this new Sufjan album. Both of the singles have been absolutely excellent. He fits this sound and style like a glove. Everything feels so familiar. Could be a strong album of the year contender. (I would also like to wish Sufjan a very speedy recovery <3)

‧₊˚✧ BEST SONG OF THE MONTH ✧˚₊‧ "Margin for Error" - Sprain

◇ featured on The Lamb as Effigy - Sprain ◇ genres: drone, post rock, neoclassical darkwave

This was the biggest surprise of the month. The Lamb as Effigy is probably my current album of the year. It is a colossal achievement and one of the finest post rock releases in recent memory. This track in particular floored me. A near 25 minute epic that never puts you down for even a second. Reminds me of Soundtracks for the Blind-era Swans with a more modern twist to it. This whole album is an essential listen.

"lacy" - Olivia Rodrigo

◇ featured on GUTS - Olivia Rodrigo ◇ genre: singer-songwriter

I was pleasantly surprised by Olivia Rodrigo's sophomore album! I enjoyed the singles leading up to it, but the album feels like a step-up from her last in almost every way. This track was one of my favorites. Definitely a different vibe than the rest of the album, but she knocks it out of the park.

"Meringue Doll" - Ichiko Aoba

◇ genres: chamber pop, singer-songwriter

This might've been released in August, but I'm gonna throw it on here. Whenever I hear a new song from Ichiko Aoba, I am blown away. I'm also reminded that I need to do a deep dive into her discography soon. This track is gorgeous as is to be expected.

"Nothing Left to Love" - James and the Shame

◇ genre: country

Its still wild to me that Rhett from the popular internet duo Rhett & Link is making some of the finest country music of the decade so far. This new single is further proof of that. Like his debut album from last year, this song is very introspective and personal. It feels like he's making these songs more so for himself rather than an audience. Really enjoyed this one and I can't wait to hear what he does next!

[freaxs-blog]

🎉 Happy Birthday, Siouxsie Sioux! 🖤🎂

Today, we raise our voices to celebrate, one of my favorite female artist, the extraordinary Siouxsie Sioux on her special day! As we honor her remarkable journey, let's dive into the captivating story of her childhood, groundbreaking career, and her lasting impact on the music world. ✨🎵

Born Susan Janet Ballion on May 27th, Siouxsie's childhood in England nurtured her artistic spirit. Influenced by the vibrant punk scene emerging in the 1970s, she embarked on a musical journey that would shape her life forever. 🌟

Siouxsie's career began when she formed the iconic band Siouxsie and the Banshees in 1976. With her fierce vocals and mesmerizing stage presence, she became a trailblazer in the post-punk and gothic rock genres. The band's pioneering sound, blending elements of punk, art rock, and dark atmospheres, pushed boundaries and challenged conventions. Their hits like "Spellbound" and "Peek-a-Boo" showcased Siouxsie's distinct voice and the band's innovative approach to music. 🎸

Inspired by the Native American Sioux tribe, she adopted "Siouxsie" as a tribute to their strength and resilience. It became a symbol of her artistic identity, embodying her fierce spirit and unconventional approach to music. 💫

Siouxsie Sioux's influence on the music genre cannot be overstated. Her distinct vocal style, intense lyricism, and striking fashion sense challenged the norms and paved the way for countless artists who followed in her footsteps. She fearlessly pushed boundaries, embracing the unconventional and inspiring generations to express themselves authentically. Her impact is immeasurable. 🌹

Siouxsie and the Banshees were instrumental in shaping the gothic subculture. Their music and unique aesthetic continue to inspire artists across various genres, leaving an indelible mark on alternative music. 🖤

The moment I heard the captivating melodies of Siouxsie and the Banshees, the world of music opened up to me. The haunting and thought-provoking song that introduced me to their genius was "Israel." Siouxsie's mesmerizing vocals intertwine flawlessly with the band's atmospheric soundscapes, immersing listeners in a world of raw emotion. Released in 1980 as part of their influential album "Kaleidoscope," this masterpiece delves deep into themes of political turmoil, unearthing the human struggle for freedom and identity. The band's ability to weave poetic lyrics and ethereal melodies together creates a powerful musical reflection that lingers in your soul. From that moment on, I was hooked forever. 🎶✨

Today, let's join together in celebrating Siouxsie Sioux, an icon whose impact on music and culture reverberates through the ages. Happy birthday, Siouxsie! 🖤✨ 

[maximuswolf]

Soda Stereo

Soda Stereo This band is the most influential and commercially successful in Latin America. Their members were: Gustavo Cerati (vocals, guitar, songwriting), Charly Alberti (drums), Zeta Bosio (bass).They were the only Latin American band that could have a relatively high success in the United States.Their influences were varied and mostly British (among certain American bands and artists). For example: The Police (especially in the beginning), The Cure (especially the look they had in the mid-80s), XTC, Men At Work (Australian, if you will pardon the redundancy), Squeeze, The Beatles, David Bowie (Gustavo used a blue electric guitar in reference to the blue acoustic guitar that Bowie used); also the guys from Soda Stereo collaborated with Carlos Alomar (the famous Puerto Rican producer and musician) on their antepenultimate album Doble Vida (Double Life)), The Specials, Madness, Echo and The Bunnymen, Siouxsie and the Banshees, The Jesus and the Mary Chain, The Bloody Valentine, etc.A band whose lyrics were loaded with poetic eroticism but were written and sung in a way that didn't sound unpleasant or sexist.They played all over Latin America, also the United States (as I said) and some countries in Europe.Even musicians like Bono and Chris Martin have paid tribute to Gustavo, after his death.Their first album was influenced by ska and 2-tone from British bands, then they continued down a gothic rock path, until they went through a New York phase (on Doble Vida), and then their last 2 albums had electronic tints. Submitted August 31, 2024 at 04:16PM by Advanced_Tea_6024 https://ift.tt/nQDdCgj via /r/Music

[cianeto666]

Something that really offends the Infernal Hordes is this thing about the cute gothic girl - who doesn't know if she wants to be a model or a vampire, she wears lace and leather because she's sexy (romrom...), sometimes she's Emo (whatever 'that shit is...), misunderstood but also doesn't want to offend anyone. Well, here is a tribute from the Hidden Circle, to the Women who inspired the idea of the Gothic Beast, they were not tame. A very incomplete selections and with glaring flaws but the images were fine. From left to right, top to bottom (I don't even know why I say this, everyone knows how to read, damn it!).

NICO (The Velvet Underground; Nico)

PATTI SMITH

SIOUSXSIE SIOUX (Siouxsie & The Banshees, The Creatures)

POISON IVY (The Cramps)

COSEY FANNI TUTTI (Throbbing Gristle)

JENIFFER MIRO (The Nuns)

TOYAH WILLCOX (Toyah)

SUSIE BICK - ok, she's not a singer, but she is Nick Cave's wife and there is no photo that better represents the (there it is) beautiful goth woman than the cover of Phantasmagoria by The Damned

MRS. FIEND (Chrissie Wade - we must never forget that the sonic insanity of Alien sex Fiend owes a lot to Nik Wade's voice, but that all the hallucinogenic electronics that maintained the band's sound were courtesy of Mrs Wade)

PATRICIA MORRISON (Bags; The Gun Club; The Sisters of Mercy; The Sisterhood; The Damned)

BRIX SMITH (The Fall)

DIAMANDA GALÁS

MAITRI (Christian Death, Lover of Sin) - Many people may disagree, but Christian Death were never as consistent as after Maitri's entry (in 1992). The band was, perhaps, more metal but it was a new breath of fresh air and Val Kandor found a musical soulmate in Maitri.

- line below, intermediate-

JARBOE (Jarboe; Swans; Skin)

EVA O (Christian Death; Eva O)

MYLÈNE FARMER - a pop singer, this is a strange entry, but anyone who is more familiar with French pop/rock will understand what she is doing here (besides being half-naked, of course)

LYDIA LUNCH - (Teenage Jesus & The Jerks; Lydia Lunch - very briefly...)

DINAH CANCER - (45 Grave)

CHELSEA WOLFE - A girl!!! Old enough to be the daughter (or granddaughter) of the others represented. But, for her music and attitude, the place is more than deserved - she is not a starlet like Amy Lee, from Evanescence; nor a symphonic heavy metal diva. It has the same level of hardness as the others represented.

GITANE DEMONE - (Christian Death - and we know that the band is represented about three times, but even though these devils have attracted an incredible number of diabolical divas to their festivities, it is a complaint to present in one of the wings of the Second Circle - it has nothing to do with the rocker department that poor Dante still couldn't foresee.​

[invisiblepunk]

I used to strum for an all black siouxsie and the banshees tribute band.

[contrast339]

alrighy so as i said in the comments ill put some examples for my favorite genres

Post-punk

After punk rock made a huge impact on society and music in the 70’s, certain bands like Joy Division, Bauhaus, Siouxsie And The Banshees, The Smiths, The Cure, etc. decided to take a more experimental approach with making more of an atmospheric sound along with complex songwriting than normal punk rock where the lyrics may be blunt and the music is loud and angry. Post-punk is sort of like New Wave, if you’ve ever heard of that, but New Wave has more pop elements and Post-punk has more serious topics and sometimes is seen as depressing.

Metal

This is very vague but ehh my favorite subgenre is black metal. And if I’m being honest, I don’t think you’d like it😭, it’s very extreme and just has a…interesting sound. Not saying you shouldn’t try it! But it’s very extreme and I can see why certain people don’t like it.

But anyway, black metal is a subgenre derived from extreme metal, which isn’t really a subgenre but more of a sound I suppose. Like it’s sibling, death metal, it’s very extreme and both can be considered “sinister” in different ways. Death metal contains down-tuned guitars, guttural vocals, palm-muted and alternate picked riffs, aggressive percussion, abrupt changes to tempo, and usually lyrics about..well..death and topics that cover it. But black metal is highly distorted, alternate picked guitars, blast beats, double kick drumming, shrieking vocals, and usually underproduced sound that creates more or an atmospheric type of sound. Oh also, usually lyrics about Satanism. Some bands are doing this to be edgy and piss off Christians but depends on the band. So if you’re really religious, probably be cautious when wandering around this subgenre.

Psychedelic Rock

This should be a little bit self explanatory but this rised in the 60’s creating certain sounds which emulated what music sounded like while on psychedelic drugs.

Punk Rock

Punk is more of a movement and a subculture than a genre but it sort of originated from punk rock and heavily relied on music when spreading messages. Punk rock contains fast tempos, loud and distorted riffs, and very loud and yelling/shouting vocals. There’s a lot of subgenres of punk rock like Hardcore Punk, Anarcho-punk, Post-punk, Art Punk, and I suppose Post-hardcore kinda counts. Then there’s pop punk, we don’t talk about that one.

I could also explain the punk movement and subculture if you’d like me to 👍.

hi mono its mae and i just saw your profile now and holy shit there’s lots of asks so i thought i’d ask some questions maybe

but if you do know, what are your favorite genres in music? im a huge music nerd and i NEED to know what kind of music you like,,,

get your reading glasses on you activated my trapcard (being really autistic about music)

OKAY OKAY so generally speaking there's no specific genre I tend to stick by to some religious degree. More often than not any generated playlist from wherever I'm listening from is destined to be the least consistent thing imaginable.

To generally answer this question would be trickier than just tossing a bunch of random songs at people but I'm gonna do my damn best to keep it relevant. I am gonna add some examples so I'm putting this under a read-more to keep from making the post needlessly long for passer-byers. (Some genres may not be 100 accurate, in the examples, but they're along the same lines I think).

EDM

I don't know exactly how much this description gets the point across but like, this music sounds like industrial iron, steel and bullets, and in the good way! Can't pinpoint exactly when or why but the general sound of the genre is very nostalgic to me (and in an almost comical way every artist that I've seen fall under that genre or orbit around it happens to have an incredibly deep voice 9 times out of 10. Absolutely not a complaint. Fucking gorgeous sound. Would highly recommend listening to at night outside in a lit-up city area.

NINTENDOCORE

I proceeded to make this genre into my entire personality. Surprise surprise, a lot of the music uses 8-bit sound effects to hell and back. And y'know what? Nothing scratched the itch in my brain better than that ever did.

Tumblr only allows 10 audios per post! i just learned. I'm gonna list a bunch of MISC stuff because i'm running out of steam to type.

Prophecy of the Dragon - The Voidz

Losing Touch - Circus of Dead Squirrels

Meaningless - The Nighty Nite

I Don't Wanna Be Me - Type-O-Negative

Loose Cannon - Puzzle

So Pretty - Kid Dakota

Мрак - DenDerty

Ghost - Gouge Away

Blood and Rockets - The Claypool Lennon Delirium

Guts - MATH The Band

The Air Conditioned Nightmare - Mr Bungle

A.M 180 - Grandaddy

Happy listening ! 👍

[stillunusual]

Helden (issue #4) YEAR: 1986 CREATED BY: Maurice Maxwell, William Maxwell and various contributors LOCATION: Dundonald SIZE: A4 WHAT'S INSIDE.... Helden was one of the Northern Irish fanzines that followed in the footsteps of punk and post-punk pioneers like No Fun and Alternative Ulster, and ensured that zines continued to be an integral part of the local music scene during the 1980s. This issue features Cruella De Ville (a post-punk band from Belfast that split up the year before) and a band from Derry called Tie The Boy. There's also an interview with Keith McCormick who ran local independent label One By One, which emerged to fill the gap left by Terri Hooley's Good Vibrations (although Hooley's label went out of business in 1982, the Good Vibrations record shop was still up and running according to an ad on page 27). The "Local News" section mentions the commercial success being enjoyed by Feargal Sharkey, That Petrol Emotion and Andy White. The zine was also successful and had even released a cassette compilation called "A Cut Above The Rest" featuring tracks by six Northern Irish bands. The rest of Helden's musical content is very diverse and it's clear from the playlist on the back page that the Maxwells and their friends had wide-ranging tastes. The most interesting articles feature the enfant terribles of mid-1980s indie rock, The Jesus And Mary Chain (who make it clear that they are not the new Sex Pistols) and original punks Siouxsie And The Banshees, whose post-punk musical adventures had already cemented their legacy as an incredibly influential band, while Siouxsie herself had become a female style icon that generations of edgy teenagers would want to look like. According to William Maxwell, the setlist of the Banshees' recent gig in Belfast included their 1981 single "Spellbound", which was given a new lease of life four decades after its original release by being played over the closing credits of season 4 of "Stranger Things". Madness (who had come a long way from their original 2-Tone roots by this time), The Long Ryders (described as "the frontier men of American rock") and Lloyd Cole are also featured. There's an excellent four page Van Morrison retrospective and a tribute to Phil Lynott, who had recently died. Several pages of reviews include a brief dismissal of "Cut The Crap" - the execrable last album by The Clash, which brought the band's career to an embarrassing end. Fanzines reviewed include Rouska, Ooz, Rumble, What A Nice Way To Turn Seventeen and Another Empire. The authors refer to Helden as a magazine rather than a fanzine throughout. My copy came with a little note from Maurice. Click on the title above to see scans of all the zine's pages.... my box of 1980s fanzines flickr

[jourdepluie91]

Skinheads in the Hong Kong Garden

In 1978, Siouxsie and the Banshees released their debut single, ‘Hong Kong Garden’. Here’s what Siouxsie said about the song in an interview with Uncut magazine in 2005:

“I’ll never forget, there was a Chinese restaurant in Chislehurst called the ‘Hong Kong Garden’. Me and my friend were really upset that we used to go there and like, occasionally when the skinheads would turn up it would really turn really ugly. These gits would just go in en masse and just terrorise these Chinese people who were working there. We’d try and say ‘Leave them alone’, you know. It was a kind of tribute”.

That’s very noble of you, Siouxsie. Let’s check out the lyrics, though:

Harmful elements in the air…

Junk floats on polluted water

An old custom to sell your daughter

Would you like number twenty three?

Leave your yens on the counter please…

Slanted eyes meet a new sunrise

A race of bodies small in size

Hold on, Siouxsie – it almost seems as if the “harmful element” here aren’t racist skinheads, but a “race of bodies small in size” who “sell their daughters”…

Come to think of it, do some of your other lyrics not contain similar sentiments ? Let’s have a listen to ‘Arabian Knights’:

Veiled behind screens

Kept as your baby machine

Whilst you conquer more orifices

Of boys, goats and things

That’s right, Siouxsie says that Arabs are kiddie fiddlers and goatfuckers. Maybe that’s just her skinhead-defying ‘tribute’ to the Middle East, though… Need we go into the original version of ‘Love in a Void’ with its subversive line, “too many Jews for my liking”? Probably not.

Needless to say, it’s unlikely that any skinhead band would get away with these lyrics. Siouxsie is a respected punk artiste, though, which why liberal papers buy her mealy-mouthed explanations wholesale. The Independent, for example, really believes that Siouxsie “turned her anger [about racism] into song”.

As late as 1991, Siouxsie felt free to recount how she “worked in pubs and clubs in the West End: the Valbonne. At night it was disgusting, full of Arabs”. However, come the new century it was time for some historical revisionism. How convenient for Siouxsie to have shaven-headed yobboes to point her finger at…

Unexpected plot twist: despite all this vileness, I really like Siouxsie’s music. Even her early work stands out from among an avalanche of mediocre punk bands such as Sex Pistols. Her dishonesty, however, is staggering.

Written by Crombieboy

[a-pirate-my-hearties]

Words can’t describe what I felt when I listened to this cover of Siouxsie and the Banshees’ song for the first time. Of all things Atsushi and his band could do with this, they did all the right ones I think. I had goosebumps. And the idea with translating the lyrics to Japanese and only leaving the chorus in English - simple yet brilliant. The slower tempo and the gloomier mood - the mood of despair - they set for this arrangement also makes the cover even more interesting than the original song, in my opinion (and I love Siouxsie and the Banshees).

“But oh, your city lies in dust, my friend” - when he sings that line it’s dramatic, spine-tingling and overwhelming. I adore.

Overall a beautiful interpretation and tribute to the band.

[fayewongfuzao]

Podcast: In Our Nineteen-Nineties

Ep. 11: Faye Wong - 浮躁 (Anxiety) | Siouxsie & the Banshees - Superstition

Every week, your hosts Natalie and Hadrian review and rank the alternative albums of the 1990s.

This week we take a trip into the dreamier side of '90s music, with Anxiety, Faye Wong's ambitious tribute to the Cocteau Twins, which scored contributions from the band themselves. Then we dive into Siouxsie & the Banshees' voluptuous (and ahead of its time) goth-pop crossover, Superstition.

(SOURCE)

[theeverlastingshade]

Heaven Or Las Vegas- Cocteau Twins: 30th Anniversary

Of all the bands who couldn’t be better primed for a comeback from a cultural standpoint while being highly unlikely to ever reunite in any sort of compacity whosever, Cocteau Twins occupy a peculiar place within the musical landscape of 2020. Even if all touring wasn’t completely postponed due to the COVID-19 pandemic, Cocteau Twins (the predominant trio being vocalist Elizabeth Fraser, guitarist/synth programmer Robin Guthrie, and bassist Simon Raymonde) seem unlikely to ever reunite for the kind of festival comebacks that have brought back many a legacy act due to the implosion of Fraser and Guthrie’s marriage. And yet while they were largely unheard of up until their 1990 sixth LP and masterwork, Heaven or Las Vegas, their run from their highly promising 1982 debut Garlands through HoLV has continues to prove incredibly influential with each passing year on a multitude of underground and mainstream acts alike, influencing acts as diverse as SIgur Ros, Arca and so many more. While Cocteau Twins have never released a record that’s less than good, HoLV still stands as the pinnacle of their creative output, and the defining landmark statement of the increasingly ubiquitous sub-genre widely tagged as dream pop.

Since emerging as a gothic rock band at the beginning of the 80s, Cocteau Twins have cultivated a singular stain of pop/rock informed by the contemporary gothic rock and post-punk of the last several preceding years like The Birthday Party and Siouxsie and the Banshees of and the transcendent vocal harmonies of The Beach Boys and Kate Bush. Emerging originally as a three piece for Garlands, Cocteau Twins then stripped things back to just the two piece of Fraser and Guthrie for their great sophomore LP, Head Over Heels, before landing on Raymonde to lock down the low-end on their spectacular third LP, Treasure, solidifying their lineup for all future output. By the time that Cocteau Twins were gearing up to record HoLV, the band was simultaneously on the precipice of legitimate international success and complete implosion. Raymond had just gotten married, and he lost his father in the midst of recording the record, while Fraser and Guthrie had just had a daughter named Lucy Belle, and their marriage remained teetering on the brink of dissolution due to Guthrie’s frequent mood swings and paranoia as a result of his increased drug use. They had also just signed to the revered indie label 4AD after Victorialand, and following the lukewarm reception of their great fifth LP, Blue Bell Knoll, the stakes had been heightened for them to release a record that hit. There had been obvious populist sensibilities coursing throughout the music of Cocteau Twins as early as HOH, but Treasure was the last time that they sounded completely unabashed about their undeniable populist sensibilities until HoLV.

 The records that followed the glossy, populist propulsion of Treasure scaled back the immediacy while doubling down on the overall sense of immersion. Victorialand and Blue Bell Knoll, the two records between Treasure and HoLV, are positively meek with respect to the stratospheric heights reached on the former and latter, but they’re far from underwhelming, and showcase the inimitable trio refining their approach to melody while demonstrating a heightened sense of suspending tension. On HoLV, the band draw from everything that they attempted prior onto their largest canvass yet, and as soon as opener “Cherry-Coloured Funk” kicks off in earnest you can hear the warm immediacy of Treasure rushing forth in even greater force. Victorialand is their most insular, ambient-adjacent record, defined primarily by Fraser’s voice being mixed into the greater wall of sound instead of high in front leading the arrangements. The guitar work is some of their most gorgeous to date, but it lacked the immediacy that made Treasure pop. The same is true for BBK, but that record marks a notable shift in their trajectory towards more conventionally structured songs, even though there’s a sense of restraint that keeps a lot of the songs here from truly soaring. Regardless, BBK is still a great record from start to finish, and the highlights like life-affirming “Carolyn’s Fingers” and the exhilarating title track set the stage for where they were about to go with HoLV.

On HoLV, Cocteau Twins shift their gears from the ambient-leaning direction of Victorialand and BBK back to the ethereal pop of Treasure, but with a much tighter focus. On HoLV, songs barely dip past the 3 and a half minute mark, and not a second is wasted on anything other the absolute barest arrangements necessary to convey each song’s emotional heft. As is the case with pretty much every Cocteau Twins record, it’s Elizabeth Fraser who really steals the show throughout the course of HoLV. Her wildly acrobatic vocal runs shift from ecstatic, to wistful, to seductive, to empathetic on a dime, and while always a remarkably expressive vocalist she had never gone for broke with her vocal runs quite the way she does on HoLV. The instrumentation consists of lush, kaleidoscopic guitar/synth arrangements richer, and more melodic than anything that Guthrie had previously recorded. While Raymonde has always been a bit of the band’s secret weapon, there’s no mistaking this sublime basslines as the major grounding force that keeps everything tight throughout the course of the record. Raymonde’s bass lines are immediate yet forceful, providing a sharp sense of momentum even at the music’s most cathartic.

 Cocteau Twins aren’t a band that are generally regarded first and foremost because of their lyrics, but on HoLV Fraser pens the band’s most heartfelt, and urgent writing of her career, focused primarily around the birth of her daughter. While some of the songs are more literal in their depictions of her newfound love (“Laughing on our bed/Pretending us newly wed/Especially when/Our angel unleashed that head” from “Wolf in the Breast” comes to mind), some of the songs like “Fifty-Fifty Clown” present more cryptic allusions to the exact nature of her feelings “And is this safe flowing, love, soul, and light/Motions in all motion, emotions all”. Throughout the chorus of the title track, one of the most spellbinding moments of the band’s career, Fraser delivers what seems to scan as the album’s thesis “Singing on the most famous street/I want to love, I’ve all the wrong glory/Am I just in Heaven or Las Vegas?”, proclaiming her desire for love above all else, and questioning whether the band’s success has brought them closer to bliss or oblivion. The vocal melody is her the strongest on any Cocteau Twins song, and her examination of success rings universal for anyone with the self-awareness to question why and how they got where they are, and where the path that they’re can lead if they get too caught up in the thralls of success. And the closer “Frou-Frou Foxes in Midsummer Fire” has lyrics that seem sung in tribute to Ramonde’s father “And day from night take all/Bad thoughts and soothe/All he was/Knows you” effectively ending the record with the cycle of life and death.

In spite of the immense cohesion that holds it together in its intended sequencing, HoLV almost plays like a greatest hits record thanks to the filler free, 10 tight compositions that make up its runtime. Although each of their first five records are great in their own right, most have a few songs that overstay their welcome. Each song holds its own within the greater whole, with strong dynamics, hooks, melodies, infectious rhythms, and guitar/synth arrangements that are taut and immediate, but never dull or simplistic. The songs are bursting with color, but there’s never a sense of indulgence on display, and none of the songs waste anytime not building towards something or delivering some kind of release, all the more impressive given the brevity of each song. Highlights like the one-two punch of intro “Cherry-Coloured Funk” and “Pitch the Baby” are downright disarming in their succinct, yet dense arrangements coupled the wide-screen scale of the production which had never before sounded so rich and clear on any of their prior records. The title track and “Fotzepolitic” are the two strongest songs that the band have ever released, and propel HoLV to heights greater than it being just a spectacular pop record. The title track is propelled by funky basslines, a minimal electronic drum beat, radiant synths, and an squealing electric guitar lead that congeal into a sublime carnival that Fraser gets terrific mileage out of by belting out with more urgency than she ever had before, or has since. And on “Fotzepolitic��� the band gradually build up a jangly, galloping guitar lead over a strutting bassline and those ever present gleaming synths. Fraser’s delivery is at her most playful, built throughout the last bridge she teases a palpable sense of flight and then her voice drops out of the mix as Guthrie delivers a solo that spirals into stratospheric, euphoric release. It's the grand culmination of everything that the band had done up to that point, and still exudes a legitimate sense of catharsis that very few other songs I’ve listened to have achieved,

Despite the fact that Cocteau Twins were almost completely unknown outside of the UK until the release of HoLV you can hear the angelic undertones of their singular strain of pop in a myriad of underground and mainstream music throughout the 90s up to the present. Any musician playing music that vaguely falls into the broader realm of dream pop likely owes Cocteau Twins an immense debt, as well as chamber pop luminaries like Julia Holter and Grouper, and shoegaze and post-rock legends like Slowdive and Sigur Ros. In addition to informing the aforementioned outre acts, the gloomy, sensual sensibilities of Cocteau Twins also went on to inform a great deal of down-tempo pop music. They’ve been namechecked by Radiohead, sampled by both Arca and The Weeknd, and you can hear their gothic stylings informing pop stars as diverse as Lorde and Billie Eilish. As poptism has completely shifted the critical music discourse towards accessibility above all else, HoLV occupies a peculiar position as a classic record. The stunning melodicism, sublime chemistry, rich instrumentation, and expansive production rendered HoLV an immediately recognized classic upon arrival, but not only has it gotten better with age, but it’s seemed to have become a notably more influential sounding record on far more than just indie music throughout the last decade. And yet for all of the attempts at reverb-addled bliss, no other musician has released a dream pop record before or since the release of HoLV that come close to matching its singular beauty.

 Although Cocteau Twins only remained active to release two good but not great records following HoLV before disbanding, the mark they left on music on the whole is indisputable. Their rich discography set a new standard for melodically rich, adventurous pop music unbeholden to the commercial realities of the music industry in a way that ever diluted their idiosyncratic sound. Although Elizabeth Fraser has played live since their split, most recently with Massive Attack while touring the 20th anniversary of their opus, Mezzanine, the possibility of a legitimate Cocteau Twins reunion has always seemed live a stretch. The creative and romantic partnership that disintegrated between Fraser and Guthrie, coupled with the lingering memories of the immense tension that bore the bulk, if not entirety of their output may always prove a barrier to great to justify reconciliation. But even in the likelihood of that sealed finality, the records that the Cocteau Twins made during their golden years of 1983-1990 sound crisper, and more refined with each passing year. With each successive act trying their hand at dreamy sounding, reverb smeared pop music propelled by thick, groovy basslines and lush choral harmonies, the potency of the music that the Cocteau Twins made during those years becomes that much more pronounced. It’s been 27 years since their last LP, and yet the sound that they helped to cultivate and then crystalize on HoLV continues to grow in relevance with each passing year.

Essentials: “Fotzepolitic”, “Heaven or Las Vegas”, “Wolfe in the Breast

[moonsandmelodies]

A Gothic Top 5

As The Banshees were my biggest gateway into my music obsession, I’ve had a fascination for gothic themes for many years now. As picky as I get with the goth rock/darkwave scenes, they generated and influenced several of my all-time favorite albums. To coincide with this Halloween, I’ve decided to look back on five of my most formative gothic, autumnal and/or 'spooky' favorites.

This is more about representing than building an exact top-5, so check out this related list and my Halloween mixes if you want more.

Lene Lovich - Shadows And Dust, 2005

Lene Lovich is new wave’s wacky witch of the west. Anyone familiar with her distinctive polka-dotted voice will know this already. Shadows And Dust is the lesser-known piece to the puzzle. Despite coming fifteen years after March, Lene sounds more witchy than ever. She tributes the Wicked One herself with all the right gleeful camp on track 9.

Mixing non-forced cabaret drama with speculative themes, SAD is a goth-pop wonderland. SAD plays like a natural step from where she left off, unfazed by time. It never lacks a new trick to show off, be it wispy synth bells (“Ghost Story”), viking-like backing vocals, a grim synth-string intro (“Remember”) or an elaborate Dracula narrative (“Insect Eater”). To top this off, every song has a bouncy hook to get you nodding along. Altogether, it brings me back to Siouxsie's Peepshow. With a bold sing-along and mutant arrangement, “Shapeshifter” makes a worthy “Peek-A-Boo” sequel. And this is coming from a fanatic!

Lene sings like she's stirring a cauldron. Her voice wears a bit on louder sections, but I love her enthusiasm. Her wild-but-warm spirit hasn’t faded a bit, and her deeper, richer tone matches her themes. The sheer thrill she takes in voicing Reinfield on "Insect Eater" is nearly contagious. Sweeter moments like "Remember" show her knack for tender romance isn't gone either.

Even beyond her ‘prime’, Lene had so much more to offer than “Lucky Number”. SAD is a major reason why; the limited release has me wishing more fans got to hear it.

Grimes - Halfaxa, 2010

In a Simpler Time (tm) before dating billionaires and romanticizing climate change with anime, Claire Boucher packed fresh creative instincts into a computer. On oft-ridiculed Halfaxa, she channeled cathedrals and haunted medieval heirlooms from what many critics dismiss as the lowest dregs in music-making: Garageband. Albums like this tell me they're wrong.

These technical limits and her isolation at the time informed these songs to unique results. Like many albums in this formative time for bedroom e-music, she’s alone with her thoughts here. Like any creative mind, I can lose myself in these thoughts. Naturally, the songs create unique emotional portraits, both vague and pointed. “Devon”, for one, is a raw, rejected love song all the way, but with other highlights like ”Dream Fortress”, I detect so many different feelings at once. It's sad nostalgia for that once-beautiful abandoned heirloom one minute and ghostly horror the next.

Halfaxa is a mind, a universe and a huge antique house. It thrives in surrealism and history’s shadows, but as other reviews stated before, you find human feelings inside. Her devotion to Mariah Carey helped; she stated Halfaxa was her attempt to capture the spacious, haunting effects of group church singing. I know well these vocals can be a bit much with the echoes and caterwauls everywhere, but I would argue the cowgirl-punk approach on Art Angels has it’s own acquired taste.

Halfaxa is ethereal wave’s digital-age niece; any fan should try it.

Bauhaus - The Sky's Gone Out, 1982

Bauhaus’ messiness was the main reason I was a ‘casual fan’ rather than worshipper. With that said, Sky’s Gone Out struck me as a thrilling mess if anything. Beyond “Exquisite Corpse”, the songs don’t lose their footing in shouty jam-outs. They had more ambitious ideas and the experience to pull them off by now. They were maturing from the faux-edgy rambling that filled their debut.

Sky’s Gone Out stands out further as the one Bauhaus album where they could pull a true ‘scare’ on me. For all the hammy drama leftover from Mask, this album allows itself to build a stronger atmosphere, one that belongs in bizarre nightmares out of an arthouse film. Sky’s Gone Out has it’s own black-and-white, surrealist world like the cover art.

Complete with piano and sax from a haunted house, “Spirit” isn’t punk as much as a wild, dancing chorus of ghosts. The "Three Shadows” trio is a journey in itself, going from quiet goth-tar disturbance to an underworld's fairground waltz.

Despite everything, the album ends on a quiet, solemn note with “All We Ever Wanted”. It’s the gentlest song to the Bauhaus name. >Peter’s fittingly spectral highs toward the end whirled around my head for years. Fun as songs like “Spirit” and “Bela Lugosi” get, it makes me wish Peter Murphy showed this vulnerable side more often.

Cocteau Twins - Head Over Heels, 1983

Head Over Heels takes place in the mountains and towering caves of your mind. As the first ’normal’ Cocteau album, this invented ethereal wave as we know it and pioneered the 4AD sound. I’d argue shoegaze’s whole color-wash approach began around here too.

HOH is a thrilling display for Cocteau's leftover goth roots in the more elemental context that would become their trademark. Liz Fraser’s voice settles a bit, sounding freer than ever as she belts, quivers and hums with equal strength. Her usual non-lyrics add to the enigma but her tone posesses incredible warmth and nobility here. The boldness in her delivery is surprising knowing her famous self-deprecation.

The spacious fuzz-guitar draws curiosity but insists to lurk in shadows. It’s a long, long gaze into said caves, where water drips quietly and huge sun rays peer inside. This is the moody, bewitching edge of nature in it’s full glory. It can be “Sugar Hiccup”’s candyland dream sequence or an intimidating divine beast emerging from it’s lair. What never fails to cast a spell on me is “Tinderbox Of A Heart”, a tie with “Fifty Fifty Clown” for my favorite CT song. it works like a travelogue for HOH’s world, where this mountain-cave turns out huge from the outside and all you can do is glare in awe.

Siouxsie And The Banshees - Peepshow, 1988

As the 33 1/3 book stresses, Peepshow emphasized SATB's art-film interests. At this point, they were more a 'goth pop' group. Far from Juju's raw impact, then, but resuming the moody elegance that graced Dreamhouse and Tinderbox. For each goth-tar you have ”Carousel”’s haunted circus organ, "Rhapsody"s chilly strings and "Peek-A-Boo"'s reversed tango.

Martin McCarrick is the one who took the Banshees (further) beyond rock. Adding cello, accordion and other new flavors, he's one of their most unique members. The result is the band's last goth album, being a few years before "Kiss Them For Me". As if predicting this change, they went all-out with it. Peepshow has all the thrill, variety and surrealism to remind you why this band was so vital to the goth scene. Q gave this apt summary: 'Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom’. In a parallel to Goldfrapp's debut made in a cottage, they recorded these songs in a 17th century mansion. It's the kind of album that puts modern dark cabaret and Hot Topic rock to shame.

Siouxsie sounds like the suave and secretive ringleader in a freakshow. Songs like “Scarecrow” and “Rhapsody” showcase her refining flair for drama. As a whole, Peepshow finds this band at a special middle ground. Yet to hit the Top 40 with “Kiss Them For Me” but on their way, with their middle era's adventurous spirits intact.

[psychedelicpotato]

1) Magnificent - U2

2) The Joshua Tree - U2

3) Top 5: U2, Echo And The Bunnymen, Switchblade Symphony, The Clash, Muse

4) U2

5) Lucifer's Hands - U2

6) U2, Muse

7) Echo And The Bunnymen

8) Infodump time (buckle up): The band U2 originated in Dublin, Ireland, and is comprised of four members: Bono (the singer), The Edge (the guitar player), Adam Clayton (the bass player), and Larry Mullen, Jr. (the drummer). The band was formed sometime in the late 1970s after Larry put up a sign on a bulletin board at the boys' high school saying "Musicians Wanted". Before landing on the name "U2", they were known as "Feedback", and later "The Hype". Both these early names for the band were suggested by Bono. Fun fact: Bono hates the name U2 because he sees it as a really bad pun. The band's first single "11 O'Clock Tick Tock" was released in May of 1980. On October 20, 1980, the band released their debut album Boy. The album's opening song is called "I Will Follow", the lyrics to which Bono wrote as a tribute to his mother who passed away when he was fourteen years old. U2's music exploded in popularity after the release of their fifth album The Joshua Tree in 1987. After that, they became the biggest rock band in the world, and were the fourth band to have the honor of being on the front cover of Rolling Stone Magazine with the headline "Rock's Hottest Ticket" written on the cover as well. U2 are still considered to this day to be one of the most influential and and prominent rock bands in history, having inspired many fans and musicians alike through their music. U2 has won multiple awards for their music including twenty-two Grammy Awards and two Golden Globe Awards. In 2005, the band was inducted into the Rock & Roll Hall of Fame. For more information, I suggest reading the book "U2 By U2".

9) Will Of The People - Muse

10) Won't Stand Down - Muse

11) I don't have a least favorite artist because I don't listen to this type of music, but I fucking HATE rap music. It's nothing but fast talking and computerized nonsense. Most of the "singing" in rap music is heavily auto tuned and basically sounds like a fucking robot trying to imitate what it thinks a human singing voice sounds like. It's not music, it's just nonsense—nonsense that I don't fucking give a shit about.

12) I don't know

13) I don't know

14) I don't know

15) The Clash

16) Either U2 or Echo And The Bunnymen

17) Sudno - Molchat Doma. To give you an example: "Enamelled vessel/Window, nightstand, bed/Life is hard and uncomfortable/But it's nice to die". The lyrics are in Russian so I had to use Google Translate to translate them, but goddamn, the music on this song is awesome!

18) Lips Like Sugar - Echo And The Bunnymen

19) Bread and Jam for Frances - Switchblade Symphony

20) I present to you, U2:

21) Monkey On The Doghouse - Legendary Shack Shakers. It's a really weird song. I dare you to listen to it for yourself:

22) Volcano - U2

23) Never - Electrafixion

24) Bad - U2

25) Songs include: Quicksand Minds - Strange Boutique; Clown - Switchblade Symphony; The Killing Moon - Echo And The Bunnymen

26) Chain - Switchblade Symphony; Chain - Then Comes Silence. One's goth and one's post-punk.

27) I play the Viola and my favorite song to play on it is called "Winter Solstice".

28) I have no fucking clue what that even is.

29) I don't have one. I don't really care for musicals.

30) Old.

31) Depends on the song.

32) Pretty Vinyls.

33) YES. I have about 100 in my collection so far.

34) No. Vinyls have always been too big for me. I prefer CDs and Cassettes.

35) I don't have one.

36) Here they are, my favorite CD cases:

37) Sadly no.

38) Yes! Echo And The Bunnymen did a cover of Soul Kitchen by the Doors, Switchblade Symphony did a cover of Night Shift by Siouxsie and the Banshees, and Muse did a cover of Hungry Like the Wolf by Duran Duran.

39) This is how much I fucking love music:

40) How do I describe this song in one image?... Oh, I got it!—a really good dance song that quote "makes no sense at all". Listen for yourself:

NOTE FOR ORIGINAL POSTER: I had SO much fucking fun doing this. When I saw it I was like "this looks so fucking chaotic, I must do it right now". So I did and like I said, it was a hell of a lot of fun. The questions were so fun to answer and the ADHD energy that I got from this post warmed my own little ADHD heart. I truly enjoyed answering these questions. Have a good day!

music ask game but it came straight out of my caffeinated brain on a wednesday morning

there’s just one rule : send some into me before you reblog!!

1. what is your favorite song. right now. tell me.

2. what is your favorite album. tell me rn.

3. who is your favorite artist or band? if you’re like me, just give your top 3 or 5.

4. what band started it all for you?

5. shuffle your playlist!!! what’s the first song that plays?

6. what bands/artists do you want to see in concert?

7. what bands/artists have you seen in concert?

8. tell me about your favorite band. go on infodump for me.

9. what’s an album that JUST came out and it’s been on repeat for like 6 days +?

10. what’s a song that literally just came out and you’ve had it on repeat forever?

11. tell me about your least favorite band or artist. go on scream about why you hate them.

12. what is one song that has irreparably damaged your social skills?

13. what is one album that has irreparably damaged your social skills?

14. what is one artist that has irreparably damaged your social skills?

15. what is one band/artist you listen to and everybody knows you listen to them but no one would expect them to have THAT genre?

16. what is one band/artist you listen to that everyone knows you for?

17. what song in your playlist sounds like this 💖❤️🥰🤩💘💕 but the lyrics are 🖤🩸⛓💣🗡🪨

18. what song in your playlist sounds like this 🖤🩸⛓💣🗡🪨 but the lyrics are 💖❤️🥰🤩💘💕

19. what is your favorite album art from one of your favorite artists?

20. SHOW ME A PICTURE OF ONE OF YOUR FAVORITE ARTISTS. RIGHT NOW. I NEED TO SEE THEM.

21. what’s the weirdest song title you can think of right now.

22. i just saw the prettiest motorcycle on the way to school tell me one song you’d blast on a motorcycle while driving one

23. what’s a song that makes you feel like a hot badass?

24. what’s a song you cry to?

25. show me your favorite playlist!!!!! what are some songs on it?????

26. show me two songs with the same title!!! same genre?? different genre??

27. if you can play any instrument, what’s your favorite song to jam to??

28. DO YOU LIKE SHOWTUNES???(((

29. WHATS YOUR FAVORITE MUSICAL)?????

30. describe your music taste in one word

31. are you a lyric analyzer or do you just listen for fun. 🫣

32. pretty vinyls or 180 gram vinyls?

33. DO YOU COLLECT CDS????

34. DO YOU COLLECT VINYLS??(((

35. show me your prettiest vinyl🥰

36. show me your favorite cd case or booklet :)

37. DO U HAVE ANY NEAT RECORD COVERS??

38. did one of your favorite bands/artists do a cover???? tell me about it!!!

39. how much do you love music? describe to me in one image.

40. shuffle your playlist and the fifth song—describe it in one image.

[brn1029]

On this date in music history. Not a lot of stuff, but some milestone moments frozen in time….

November 10th

2015 - Allen Toussaint

Allen Toussaint the American musician, songwriter, composer, record producer, and influential figure in New Orleans R&B died aged 77 while on tour in Madrid, Spain. Many artists recorded his songs including; 'Mother-in-Law', 'Fortune Teller', 'Ride Your Pony', 'Working in the Coal Mine', 'Here Come the Girls', 'Yes We Can Can' and 'Southern Nights'. Alison Krauss and Robert Plant covered 'Fortune Teller' on their 2007 album Raising Sand.

2014 - The Rolling Stones

The Rolling Stones faced a battle to win a $12.7m (£7.9m) insurance claim for concerts they postponed when Mick Jagger's girlfriend died. L'Wren Scott took her own life in March, prompting the Stones to postpone a tour of Australia and New Zealand. The group had taken out a policy to be paid in the event shows were cancelled due to the death of family members or others, including Scott. But underwriters said Scott's death may not be covered by the policy.

1997 - Tommy Tedesco

American session guitarist Tommy Tedesco died of lung cancer aged 67. Described by "Guitar Player" magazine as the most recorded guitarist in history recording with The Beach Boys, Everly Brothers, Supremes, The Monkees, The Association, Barbra Streisand, Elvis Presley, Ella Fitzgerald, Frank Zappa, Sam Cooke, Cher, and Nancy and Frank Sinatra. And played on many TV themes including Bonanza, The Twilight Zone, M*A*S*H and Batman.

1979 - Fleetwood Mac

Fleetwood Mac scored their second UK No.1 album with the double set 'Tusk', the 12th album by the British/American rock band.

1979 - Eagles

The Eagles went to No.1 on the US singles chart with 'Heartache Tonight', the group's 5th and final US No.1. It made No.40 in the UK.

1975 - David Bowie

David Bowie was at No.1 on the UK singles chart with 'Space Oddity' the track was first released in 1969 to tie in with the Apollo 11 moon landing. Rick Wakeman (former keyboard player with Yes) provided synthesizer backing. Bowie would later revisit his Major Tom character in the songs 'Ashes to Ashes', 'Hallo Spaceboy' and 'Blackstar'.

1975 - Patti Smith

Patti Smith released her debut studio album Horses. Produced by John Cale, Horses has since been viewed by critics as one of the greatest and most influential albums in the history of the American punk rock movement, as well as one of the greatest albums of all time. Horses has also been cited as a key influence on a number of acts, including Siouxsie and the Banshees, The Smiths, R.E.M. and PJ Harvey.

1973 - Elton John

Elton John started a eight week run at No.1 on the US album chart with 'Goodbye Yellow Brick Road', the singers third US No.1. The album which had the working titles of Vodka and Tonics and Silent Movies, Talking Pictures, is his best selling studio album with worldwide sales of over 15 million copies. Recorded at the Château d'Hérouville, the album contains the Marilyn Monroe tribute, 'Candle in the Wind', as well as three successful singles: 'Bennie and the Jets', 'Saturday Night's Alright for Fighting' and the title track.

1967 - The Beatles

The Beatles filmed three promotional films for their new single ‘Hello Goodbye’ at the Saville Theatre in London. Each of the three film clips featured different costumes and Beatle antics. In the first film they wear their Sgt. Pepper uniforms, for the second The Beatles are wearing everyday clothes, the third film clip features shots from the first two films, plus additional shots of (especially John) doing the twist. A Musician's Union ban on lip-sync broadcasts prevented the films being used on British television.

1955 - Elvis Presley

Elvis Presley attended the fourth Country Music Disc Jockey Convention in Nashville Tennessee. Back at his hotel Mae Boren Axton played him a demo of a new song she had written with Tommy Durden called 'Heartbreak Hotel'. Presley released the track as a single on January 27, 1956, his first on his new record label RCA Victor. The song gave him his his first No.1 one pop record.