Label
Universal Music Special Imports
Release date
10 Jan 2006
Running length
26 tracks
Running time
91:41

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Tracklist

    Track     Duration Listeners
1 Pure 1:51 41,593
2 Jigsaw Feeling 4:38 43,486
3 Overground 3:52 49,001
4 Carcass 3:49 40,021
5 Helter Skelter 3:41 49,935
6 Mirage 2:50 67,774
7 Metal Postcard (Mittageisen) 4:15 16,049
8 Nicotine Stain 2:57 33,216
9 Suburban Relapse 4:13 34,153
10 Switch 6:57 31,183
1 Make Up To Break Up (Riverside Session) 4:31 1,740
2 Love In A Void [John Peel 29/11/77] 2:38 5,278
3 Mirage [John Peel 29/11/77] 2:40 4,097
4 Metal Postcard [John Peel 29/11/77] 3:33 3,680
5 Suburban Relapse [John Peel 29/11/77] 3:03 3,078
6 Hong Kong Garden [John Peel 6/2/78] 2:41 3,907
7 Overground [John Peel 6/2/78] 3:12 2,907
8 Carcass [John Peel 6/2/78] 3:43 2,681
9 Helter Skelter [John Peel 6/2/78] 3:28 2,836
10 Metal Postcard (Mittageisen) (Pathway Session) 4:04 61
11 Suburban Relapse (Pathway Session) 3:54 95
12 The Staircase (Mystery) (Pathway Session) 3:06 78
13 Mirage (Pathway Session) 2:55 111
14 Nicotine Stain (Pathway Session) 3:07 92
15 Hong Kong Garden 2:55 225,491
16 The Staircase (Mystery) 3:08 28,799

About this album

After building up an intense live reputation and a rabid fan base, Siouxsie and the Banshees almost had to debut with a stunner — which they did, “Hong Kong Garden” taking care of things on the singles front and The Scream on the full-length. Matched with a downright creepy cover and a fair enough early producing effort from Steve Lillywhite — well before he found gated drum sounds — it’s a fine balance of the early band’s talents. Siouxsie Sioux herself shows the distinct, commanding voice and lyrical meditations on fractured lives and situations that would win her well-deserved attention over the years. Compared to the unfocused general subject matter of most of the band’s peers, songs like “Jigsaw Feeling,” “Suburban Relapse,” and especially the barbed contempt of “Mirage” are perfect miniature portraits. John McKay’s metallic (but not metal) guitar parts, riffs that never quite resolve into conventional melodies, and the throbbing Steven Severin/Kenny Morris rhythm section distill the Velvet Underground’s early propulsion into a crisper punch with more than a hint of glam’s tribal rumble. The sheer variety on the album alone is impressive — “Overground” and its slow-rising build, carefully emphasizing space in between McKay’s notes as much as the notes themselves, the death-march Teutonic stomp of “Metal Postcard,” the sudden near-sunniness of the music (down to the handclaps!) toward the end of “Carcass.” The cover of “Helter Skelter” makes for an unexpected nod to the past — if it’s not as completely overdriven as the original, Siouxsie puts her own definite stamp on it and its sudden conclusion is a great moment of drama.

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