Siouxsie And The Banshees

Siouxsie and the Banshees
Steven Severin, Siouxsie Sioux y Budgie.
Datos generales
Origen	Londres, Inglaterra,  Reino Unido
Estado	Disuelto
Información artística
Género(s)	Post-punk Rock alternativo[1]​ Rock gótico New wave[2]​
Período de actividad	1976 - 1996 / 2002
Discográfica(s)	Polydor Records Geffen Records Sanctuary Records
Artistas relacionados	The Creatures The Cure Magazine The Glove
Web
Sitio web	siouxsieandthebanshees.co.uk
Miembros
Siouxsie Sioux Steven Severin Budgie
Exmiembros
Marco Pirroni Sid Vicious † Kenny Morris Peter Fenton John McKay John McGeoch † Robert Smith John Valentine Carruthers Jon Klein Martin McCarrick Knox Chandler
[editar datos en Wikidata]

Siouxsie and the Banshees (pronunciado [suːzi æn ðə ˈbænʃiːz]) fue una banda británica formada en 1976 por la vocalista Siouxsie Sioux y el bajista Steven Severin. Pioneros del movimiento post-punk, su música evolucionó hacia el rock alternativo, con sencillos pop. Siouxsie and the Banshees fue una de las bandas más importantes, innovadoras e influyentes del movimiento post-punk.^[3]​

Lanzaron su primer sencillo, «Hong Kong Garden», en 1978; la canción, con una melodía original del guitarrista John McKay, fue un éxito en el Reino Unido, con una entrada en el top 10. Su álbum debut, The Scream, fue aclamado por la crítica británica. Con la llegada del guitarrista John McGeoch en 1980, la banda graba canciones más coloridas y pop, con los sencillos «Happy House» y «Christine»; el álbum Kaleidoscope recibe el fervor del público y ocupa el quinto lugar en las listas de Inglaterra. Con Juju, que también llegó al top 10 en 1981, la banda tuvo una influencia importante en el movimiento gótico emergente. El álbum Peepshow, con el sencillo «Peek-a-Boo», permiten al grupo convertirse en uno de los representantes de la escena alternativa a finales de la década de 1980. Tienen mucho éxito en los Estados Unidos en 1991 con la canción «Kiss Them for Me». La banda se disolvió en 1996. Siouxsie continuó grabando con The Creatures, una segunda banda que fundó con el baterista Budgie. Tras el final de The Creatures en 2004, la cantante se convirtió en solista.

Siouxsie and the Banshees fueron citados como influencias por bandas coetáneas como Joy Division,^[4]​ The Cure,^[5]​ Depeche Mode,^[6]​ U2,^[7]​ y The Smiths.^[8]​ Sus canciones fueron versionadas por Jeff Buckley («Killing Time»),^[9]​ Tricky («Tattoo»),^[10]​ Massive Attack («Metal Postcard»)^[11]​ LCD Soundsystem («Slowdive»),^[12]​ y The Weeknd («Happy House»).^[13]​ La cantante recibió elogios de otros artistas como Radiohead,^[14]​ PJ Harvey,^[15]​ Sonic Youth,^[16]​ y TV on the Radio.^[17]​

1. ↑ Peter Buckley, "The Rough Guide to Rock". 2003. Penguin books. "Siouxsie and the Banshees began to build a wider audience and it was the vastly influential "Juju" (1981) that propelled them to the very front of the alternative-rock scene".
   «Siouxsie Sioux Lifts Lid On Banshees “Power Struggle"». Mojo.com. 25 setembro 2014. Archivado desde el original el 14 de diciembre de 2017. Consultado el 2 setembro 2015. «one of alternative rock’s iconic groups». 
2. ↑ Hazel Cillshow, "How Marie Antoinette's Soundtrack Became a Classic". Mtv.com. 10/10/2016. "Coppola paired the pretty, pale luxury of Versailles with the sound of new wave acts like [...] Siouxsie and the Banshees"
3. ↑ Nigel Williamson. "Siouxsie & the Banshees". The Times. 27-11-2004. "The Banshees stand proudly alongside PiL, Gang of Four and the Fall as the most audacious and uncompromising musical adventurers of the post-punk era."
4. ↑ «Playlist – Peter Hook’s “Field recordings [Bajista de Joy Division]». Q magazine. 23 de abril de 2013. Archivado desde el original el 18 de enero de 2018. Consultado el 10 de enero de 2017. «Siouxsie and the Banshees were one of our big influences [...] The Banshees first LP was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing». 
   Morris, Stephen (2019). Record Play Pause: Confessions of a Post-Punk Percussionist: The Joy Division Years Volume I [Baterista de Joy Division]. Constable. ISBN 1472126203. «It would be Siouxsie and the Banshees to whom I most felt some kind of affinity. [...] the bass-led rhythm, the way first drummer Kenny Morris played mostly toms. [...] The banshees had that [...] foreboding sound, sketching out the future from the dark of the past. [...] hearing the sessions they'd done on John Peel's show and reading gigs write-ups, [...] they sounded interesting.» .
5. ↑ Oldham, James (August 2004). «Siamese Twins - The Cure and the Banshees». Uncut. p. 60. «a massive influence on me [...] They were the group who led me towards doing Pornography. They drew something out of me.»  Falta la |url= (ayuda)
   Oldham, James (February 2000), «Bad Medicine», Uncut, «I think the final straw came when I played Michael the demos for the next album and he hated them. He wanted us to be XTC part 2 and – if anything – I wanted us to be the Banshees part 2.» .
   Rob Fitzpatrick (August 2012). «Robert Smith interview». The Word. Consultado el 15 de agosto de 2016. «I played with the Banshees through our first tour [1979], and it allowed me to think beyond what we were doing. I wanted to have a band that does what Steve Severin and Budgie do, where they just get a bassline and the drum part and Siouxsie wails.» .
   Mark Paytress. "Siouxsie and the Banshees the Authorized Biography". Sanctuary publishing. 2003. Robert Smith: "Siouxsie and the Banshees and Wire were the two bands I really admired. They meant something. On stage that first night with the Banshees, I was blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with the Cure. Before that, I'd wanted us to be like the Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing.
6. ↑ «Collect-a-Page (Dave Gahan's questionnaire)». Look-In. 5 de diciembre de 1981. Archivado desde el original el 27 de noviembre de 2008. Consultado el 4 de mayo de 2017. 
7. ↑ «U2 Jukebox». U2wanderer.org. Consultado el 1 de noviembre de 2010. 
8. ↑ Gibson, Donald. "An interview with Johnny Marr". Seattlepi.com. 17 de diciembre de 2014. Consultado el 1 de diciembre de 2015.
   Horner, Al (19 de septiembre de 2014). «Johnny Marr On Working With Noel Gallagher, Scottish Independence And More – Twitter Q&A». NME. Consultado el 2 de noviembre de 2016. 
   Mitchell, Pete. "Spellbound : the story of John McGeoch" BBC2. February 2008. Retrieved 1 November 2010. About McGeoch's contribution to the single "Spellbound", Johnny Marr stated: "It's so clever. He's got this really good picky thing going on which is very un-rock'n'roll and this actual tune he's playing is really quite mysterious". Radio 2's Pete Mitchell talks to Howard Devoto, Siouxsie Sioux and Johnny Marr among others, as he shines a light on the life of this unsung guitar hero.
9. ↑ Jeff buckley site. Lista de canciones recogidas por Jeff Buckley : "Killing Time", (canción de The Creatures el segundo grupo de Siouxsie)
10. ↑ Tricky en el CD "Nearly God" versionan "Tattoo" de Siouxsie & the banshees
11. ↑ Superpredatos credits Massive Attack site.inflightdata.com. Retrieved 1 November 2010. Massive attack versioneó la canción "Metal Postcard" de Siouxsie & the banshees en 1997 para la música de la película "The Jackal"
12. ↑ "LCD Soundsystem iTunes Remix Album". jacksonfreepress.com. Retrieved 1 November 2010. cd de LCD Soundsystem en 2006 : versionaron el tema "Slowdive" de Siouxsie & the banshees
13. ↑ D'Souza, Shaad (22 de diciembre de 2022). «The Weeknd: Dawn FM». The Guardian. Consultado el 22 de diciembre de 2022. 
14. ↑ «Radiohead Official Biography – Capitol Canada». MuchMcapitolmusic.ca. Archivado desde el original el 29 de junio de 2006. Consultado el 10 de febrero de 2012. «Colin Greenwood remembers: "The first single we're releasing is actually the longest song on the record. ("There There"). It was all recorded live in Oxford. We all got excited at the end because Nigel was trying to get Jonny to play like John McGeoch in Siouxsie and the Banshees. All the old farts in the band were in seventh heaven.» 
    Jeff, Klingman (22 de julio de 2013). «10 Bullet Points from the Thom Yorke Interview on WTF with Marc Maron». Thelmagazine.com. Archivado desde el original el 14 de octubre de 2013. Consultado el 2 de septiembre de 2013. «The band that really changed my life was R.E.M. and Siouxsie and the Banshees...". "My favourite show I ever saw then was Siouxsie and she was absolutely amazing. ... She's totally in command of the whole audience.» 
15. ↑ Appleford, Steve (29 de octubre de 2000). «Checking In With . . . PJ Harvey In a New York State of Mind». Los Angeles Times. Archivado desde el original el 24 de julio de 2016. Consultado el 10 de mayo de 2016. «Q: Was there any figure who connected with you when you were just a listener? A: It's hard to beat Siouxsie Sioux, in terms of live performance. She is so exciting to watch, so full of energy and human raw quality.» 
    "7th January 2000 PJ selects her Top 10 Albums of 1999". Pj Harvey.net. Fecha: 7th January 2000 - PJ selects her Top 10 Albums of 1999. LP of The Creatures(aka Siouxsie). Pj Harvey seleccionó el álbum "Anima Animus" del The Creatures = el segundo grupo de Siouxsie]
16. ↑ Kaye, Ben. "Here are Thurston Moore's favorite songs of all time". ConsequenceofSound.com. 17-01-2014. Consultado el 1 de febrero de 2014
17. ↑ Siouxsie Sioux, The Fader Magazine, The Icon Issue 67, Avril/Mai 2010. Page 71: Dave Sitek (David Andrew Sitek) TV on the Radio. "I've Always tried to make a song that begins like "Kiss Them For Me". I think songs like "I Was a Lover" or "Wash The Day away" came from that element of surprise mode where all of a sudden this giant drum comes in and you're like, what the fuck?! That record was the first one where I was like, okay, even my friends who don't know who The Cure or Sonic Youth are, they're going to fall for this. I feel like that transition into that record was a relief for me. Really beautiful music was always considered too weird by the normal kids and that was the first example where I thought, we've got them, they're hooked! I watched people dance to that song, people who had never heard of any of the music that I listened to, they heard that music in a club and went crazy.