May 22, 2013

RhoDeo 1320 Aetix


Hello, come on let's twist again, like we did last summer. A megatwister raises a town to the ground following the same path it had 13 years before..go figure. i suppose, as did was a bigger twister and much bigger destruction but with less victims, the safety precautions have had effect. Clearly after living centuries with tornado's one would think people would build brickhouses and distribute electricity underground, but none of that. Could it be the indian spiriit still rules the land, allowing just semi permanent wooden houses ?

Meanwhile Aetix continues with females in the lead, now some of you may have wondered where the Queen of Goth went, well she's right here and she will pay us more visits in the weeks to come ....N'Joy

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Throughout its numerous lineup changes and textural shifts, Siouxsie and the Banshees remained under the leadership of vocalist Siouxsie Sioux, born Susan Dallion on May 27, 1958. She and the Banshees' initial lineup emerged from the Bromley Contingent, a notorious group of rabid Sex Pistols fans; inspired by the growing punk movement, Dallion adopted the name Siouxsie and formed the Banshees in September 1976. In addition to bassist Steven Severin and guitarist Marco Perroni, the band included drummer John Simon Ritchie, who assumed the name Sid Vicious; they debuted later that year at the legendary Punk Festival held at London's 100 Club. Soon after, Vicious joined the Sex Pistols, while Perroni went on to join Adam & the Ants. The core duo of Sioux and Severin, along with new guitarist John McKay and drummer Kenny Morris, reached the U.K. Top Ten with their 1978 debut single, "Hong Kong Garden"; their grim, dissonant first LP, The Scream, followed later in the year. Two days into a tour for their 1979 follow-up, Join Hands, both McKay and Morris abruptly departed, and guitarist Robert Smith of the Cure (the tour's opening act) and ex-Slits and Big in Japan drummer Budgie were enlisted to fill the void; although Smith returned to the Cure soon after, Budgie became a permanent member of the group, and remained with the Banshees throughout the duration of their career.

Siouxsie Sioux and Steven Severin elected to soldier on with ex-Slits drummer Budgie and two guitarists, ex-Sex Pistol Steve Jones and John McGeoch of Magazine as guest Banshees. Despite the personnel upheaval, the result is a surprisingly strong record: Kaleidoscope. While a number of the songs here are still dark-hued and feature bleak lyrics, they are made very palatable by extraordinarily imaginative production values featuring intricate synthesizer-flecked arrangements; psychedelic touches in "Christine," spaceship synthesizer swoops in "Tenant," and rhythmic camera clicks in "Red Light" all enliven their respective songs. Kaleidoscope was a make-or-break album for Siouxsie and the Banshees, and happily the band came through strongly. A year later, the Banshees released the psychedelic Juju, along with Once Upon a Time, a collection of singles; at the same time, Sioux and Budgie formed the Creatures, an ongoing side project. Following 1982's experimental A Kiss in the Dreamhouse, McGeoch fell ill, and Smith temporarily rejoined for the group's planned tour. Also in 1983, Severin and Smith teamed as the one-off project the Glove for the LP Blue Sunshine.

After his recovery, McGeoch opted not to return, so the Banshees recruited former Clock DVA guitarist John Carruthers after Smith exited following the sessions for 1984's dark, atmospheric Hyaena. With 1986's Tinderbox, Siouxsie and the Banshees finally reached the U.S. Top 100 album charts, largely on the strength of the excellent single "Cities in Dust." After 1987's all-covers collection Through the Looking Glass, Carruthers took his leave and was replaced by guitarist Jon Klein and keyboardist Martin McCarrick for 1988's Peepshow, a techno-inspired outing that gave the group its first U.S. chart single with "Peek-a-Boo." In 1991 -- the year in which Sioux and Budgie married -- the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition was their most commercially successful, spawning, "Kiss Them for Me." Another singles collection, Twice Upon a Time, followed in 1992 before the group returned after a long absence with 1995's stylish The Rapture, produced in part by John Cale. A year later, the nostalgia surrounding the reunion of their former heroes the Sex Pistols prompted Siouxsie and the Banshees to finally call it quits; Siouxsie and Budgie turned to the Creatures as their primary project, while Severin composed the score for the controversial film Visions of Ecstasy.

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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. It's the concluding "Switch" that fully demonstrates just how solid the band was then, with McKay's saxophone adding just enough of a droning wild card to the multi-part theatricality of the piece, Siouxsie in particularly fine voice on top of it all.



Siouxsie And The Banshees - The Scream  (flac 316mb)

01 Pure 1:51
02 Jigsaw Feeling 4:38
03 Overground 3:47
04 Carcass 3:49
05 Helter Skelter 3:47
06 Mirage 2:50
07 Metal Postcard (Mittageisen) 4:14
08 Nicotine Stain 2:57
09 Suburban Relapse 4:13
10 Switch 6:53

Siouxsie And The Banshees - The Scream  (ogg 115mb)

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Siouxsie And The Banshees - The Scream (Rarities, Sessions and Singles)  (flac 342mb)

Riverside Session
01 Make Up To Break Up 4:34
John Peel Session 1
02 Love In A Void 2:40
03 Mirage 2:41
04 Metal Postcard 3:35
05 Suburban Relapse 3:07
John Peel Session 2
06 Hong Kong Garden 2:42
07 Overground 3:14
08 Carcass 3:44
09 Helter Skelter 3:35
Pathway Demos
10 Metal Postcard 4:05
11 Suburban Relapse 3:55
12 The Staircase (Mystery) 3:08
13 Mirage 2:55
14 Nicotine Stain 3:13
Single A-Sides
15 Hong Kong Garden 2:55
16 The Staircase (Mystery) 3:14

Siouxsie And The Banshees - The Scream (Rarities, Sessions & Singles)  (ogg 120mb)

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The songs on this early release are almost uniformly grim, with dragging tempos, bleak lyrics, long and wandering free-form structures, static and often unfocused harmony, and thick, colorless arrangements. The best selection here is "Icons," which survives an unpromising beginning to open out into a faster main section with fuller vocal sound and gutsier guitar work. The notorious number "The Lords Prayer" is a major punk landmark, featuring stream-of-consciousness lyrics that digress in every imaginable direction from the basic devotional text. Some of these selections appear to strongly anticipate the work of Joy Division's second album, Closer, especially "Placebo Effect," whose guitar sound was a clear inspiration for that of the Manchester band's song "Colony." Sound quality here is drab and squelched. Despite the group's laudable attempts to take some risks, it's hard to enjoy Join Hands it isn't an easy album.



Siouxsie And The Banshees - Join Hands (flac 294mb)

01 Poppy Day 2:02
02 Regal Zone 3:47
03 Placebo Effect 4:37
04 Icon 5:26
05 Premature Burial 5:57
06 Playground Twist 2:59
07 Mother / Oh Mein Papa 3:22
08 The Lords Prayer 14:14
Remaster Bonus Tracks
09 Love In A Void (7" AA-Side) 2:35
10 Infantry (Unreleased Track) 3:16

Siouxsie And The Banshees - Join Hands ( ogg 107mb)

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earlier ( 5/03/08) re-rip extended

Siouxsie and The Banshees - Kaleidoscope (flac 480mb)

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1 comment:

Anonymous said...

Could you please re-up The Scream?

Much appreciated.