Label
HIP-O (PG)/Fontana
Release date
10 Jan 2006
Running length
26 tracks
Running time
91:36

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Tracklist

    Track     Duration Listeners
1 Pure 1:51 42,684
2 Jigsaw Feeling 4:38 44,800
3 Overground 3:47 49,817
4 Carcass 3:49 41,035
5 Helter Skelter 3:41 51,043
6 Mirage 2:50 69,004
7 Metal Postcard (Mittageisen) 4:15 16,739
8 Nicotine Stain 2:57 34,192
9 Suburban Relapse 4:13 35,009
10 Switch 6:57 32,048
1 Make Up To Break Up (Riverside Session) 4:31 1,787
2 Love In A Void (John Peel Session) 2:38 25
3 Mirage (John Peel Session) 2:40 26
4 Metal Postcard (John Peel Session) 3:33 8
5 Suburban Relapse (John Peel Session) 3:03 24
6 Hong Kong Garden (John Peel Session) 2:41 205
7 Overground (John Peel Session) 3:12 27
8 Carcass (John Peel Session) 3:43 22
9 Helter Skelter (John Peel Session) 3:28 30
10 Metal Postcard (Mittageisen) (Pathway Session) 4:04 64
11 Suburban Relapse (Pathway Session) 3:54 103
12 The Staircase (Mystery) (Pathway Session) 3:06 81
13 Mirage (Pathway Session) 2:55 115
14 Nicotine Stain (Pathway Session) 3:07 98
15 Hong Kong Garden 2:55 230,836
16 The Staircase (Mystery) 3:08 29,449

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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