Hello, no shocking news this week, however I am trying out a new host for ogg files, Mirrorcreator, as about a third of my visitors still choose my hi quality lossy rips, I hope this will enhance the experience. That said i might extend it to flac files smaller than 400mb. Some hosts are set, I choose to add bitshare, deposit and freakshare, note bitshare has the highest free downloadspeed up to 300kps.

Meanwhile Aetix continues with females in the lead,  the Queen of Goth's last visit and one in two guises no less ...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 Extasy.

In 2002 Siouxsie, Severin, Budgie and Chandler reunited for the so-called Seven Year Itch tour, eventually leading to a live album, Seven Year Itch, and a DVD concert film in 2003. Universal Music began releasing the band's albums remastered with bonus tracks in 2006. Voices on the Air: The Peel Sessions, drawn from live recordings made for the John Peel radio show between 1978 and 1986, appeared that same year.

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The Creatures first surfaced in 1981 as a side project of Siouxsie and the Banshees frontwoman Siouxsie Sioux and the band's drummer, Budgie; after debuting with the EP Wild Things, they returned two years later with the full-length Feast. With their work in the Banshees remaining the duo's top priority, however, they did not assume the Creatures guise again until issuing the album Boomerang in late 1989; after the Banshees dissolved in the wake of 1995's The Rapture, Sioux and Budgie -- who had since married -- announced The Creatures would now be their primary creative vehicle, issuing the EP Eraser Cut in 1998. The full-length Anima Animus followed the next year, as did the remix collection Hybrids. In 2000 the band issued U.S. Retrace, a collection of previously unreleased tracks from the time of the Anima Animus sessions. Sequins in the Sun, a live recording from the June 1999 Glastonbury Festival, was released in 1999, followed by Hai!, a studio recording featuring KODO drummer Leonard Eto, in 2003. In 2007 Siouxsie announced that she and Budgie had been divorced, which effectively brought their musical collaboration under the Creatures moniker to a close.

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The debut appearance from the duo unsurprisingly continued the basic Banshees aesthetic to a large degree; Sioux's singing differs not at all, and her subject matter on fractured urban/societal scenarios again takes precedence. The key difference is the entirely percussion-based music, including vibes and tambourines. Budgie's brisk, full-bodied work is marvelous; anyone familiar with his Banshees' work will appreciate his complex, constantly varied approaches throughout, taking a clear cue from tribal drumming traditions. The opening "Mad-Eyed Screamer" is the most immediately breathtaking, with both Sioux and Budgie in full command, but the number that gained the project the most notice was the creative revamp of "Wild Thing" itself, which is indeed the old Troggs-performed classic. The quick roil of "But Not Them," with its sudden, additional stabs of extra clattering and pounding, and the low-key, slow moodiness of "Thumb" also are worthy of note. Released by the Creatures in 1983, Right Now remains the highest charting single from the band, reaching the Top 20 in the U.K. and becoming an underground hit in the U.S. as well. "Weathercade," the band's own original contribution, sounds a bit like something from Feast crossed with a more bluesy, sassy approach, in part due to the wailing harmonica/brass sound buried in the mix behind Budgie's rolling drums. It's the title track that's the real winner, though, and deservedly so. Originally a Mel Tormé flop from the '60s, the Creatures tackle it with warmth and playfulness. Sioux has rarely sounded so straight-forwardly pop, even if there's still more than a little of her characteristic cool, while Budgie's swinging percussion work is brilliantly matched with a brass section. It's big band/swing nostalgia years before it occurred, and much better than most of what would follow.

Recorded in Hawaii between Banshees activities, Feast lives up to its surroundings -- at least the way most people want to imagine it -- as a lush, tropical experience. Almost a tribute to the exotica of acts like Martin Denny but well before the cloying rush of mid-'90s hype around such items, Feast is just that, a chance for the duo to marry Sioux's often cutting lyrics to a different musical brew. Waves crashing on beaches, found-sound effects from nature, and on three cuts the backing vocals of a hula academy's chanters add to the dreamy, mysterious flow of the album. Longtime Banshees producer Mike Hedges assists once again with the proceedings, helping to carry over the dark undertow of the main group to the duo's work here. Budgie varies the more frenetic drum assaults found on Wild Things in favor of a variety of speeds and tempos, but always with a crackling energy, whether low-key and tense or more outwardly rollicking. Sioux's singing succeeds as well as her work in the Banshees, her strong, instantly recognizable voice and lyrics often draped with a gentle reverb that increases the hazy, narcotic feeling of the album. "Miss the Girl," the concise number chosen as a single from the album, has a brisk, catchy feeling to it that avoids straightforward pop for the Creatures' own stripped-down, unexpected approach. Other strong cuts are "Dancing on Glass," a shuddering combination of drum and handclaps that achieves an almost ritualistic groove; the playful, gentler "Gecko"; and "A Strutting Rooster," a strong, rumbling number with one of Sioux's best performances. The backing choir gets an individual chance to shine on "Inoa'Ole," their interwoven voices blending into evocative drones and whines as well as Budgie's slow, forceful percussion and Sioux's own wordless chants.

The early Creatures material had fallen out of print in most locations for quite a while before Bestiary made its long overdue appearance. Only Feast had made a regular appearance in certain record stores thanks to Japanese pressings; Bestiary topped that by including the contents of the Wild Things and Right Now EPs as well as "Hot Springs in the Snow," the B-side from "Miss the Girl." The result collects everything originally put out in the first phase of the Creatures' existence, making for a convenient and very well remastered collection.

The Creatures - A Bestiary Of The Creatures  (flac 410mb)

01 Mad Eyed Screamer 1:52
02 So Unreal 2:15
03 But Not Them 3:20
04 Wild Thing 3:10
05 Thumb 3:59
06 Morning Dawning 4:03
07 Inoa' Ole 3:50
08 Ice House 2:47
09 Dancing On Glass 2:16
10 Gecko 3:50
11 Sky Train 3:15
12 Festival Of Colours 3:34
13 Miss The Girl 2:36
14 A Strutting Rooster 5:05
15 Flesh 4:26
16 Hot Springs In The Snow 3:51
17 Weathercade 2:48
18 Right Now 2:14

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Tinderbox is the most musically up-tempo of all Siouxsie and the Banshees' albums and the most stylistically consistent one since The Scream and Join Hands. Most of the selections here feature urgently rocking drumming, drivingly aggressive yet fully textured guitar playing, and masterful, gutsy singing. The songs here are intense and unfold slowly, some starting off less vigorously but becoming hard rockers further along. There is of course a fine line between consistency and lack of contrast, but this album stays firmly on the side of the former; in fact, there's a certain satisfying feel to the musically uniform wall of sound here. The arrangements are less complex than in immediately preceding albums, but there are still plenty of subtle, effective production touches to be found throughout, most notably in the song "Cannons." "Cities in the Dust," a dance-pop number with a bell-like synthesizer opening section, stretches the above-mentioned boundaries the most, though typically bleak lyrics keep this selection from any sense of vacuity.

Siouxsie And The Banshees - Tinderbox  (flac 400mb)

01 Candyman 3:44
02 The Sweetest Chill 4:07
03 This Unrest 6:21
04 Cities In Dust 3:51
05 Cannons 3:14
06 Party's Fall 4:57
07 92° 6:02
08 Land's End 6:14
Bonus Tracks
09 Cities In Dust (12" Eruption Mix) 6:51
10 The Sweetest Chill (Chris Kimsey 12" Remix) 5:57
11 Song From The Edge Of The World (JVC Version) 4:04
12 Starcrossed (Demo) 4:07

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Following Tinderbox's success a covers collection, much in the vein of band inspiration David Bowie's Pin-Ups. Through the Looking Glass is more than a time killer but less than a total success But there have been far worse efforts from other performers in this vein, and there's a cool, giddy fun at work throughout that makes it a fine listen. The inspired range of covers reaches from glam-era landmarks (Roxy Music's "Sea Breezes," John Cale's "Gun") to Billie Holiday's sorrowful touchstone "Strange Fruit" to, in one of the best such efforts ever. Some takes are more or less direct clones without much to add -- Sparks' "This Town Isn't Big Enough for Both of Us" misses the sheer hysteria that Russell Mael brought to the original, but Iggy Pop's "The Passenger" adds a bit of horn-section punch and lets Siouxsie demonstrate her ability with calm, dismissive cool. Turning Kraftwerk's empty, haunted "Hall of Mirrors" into a much more propulsive, Morricone guitar-tinged number makes for a fine reinvention, though, while Bob Dylan-via-Julie Driscoll's "This Wheel's on Fire" made for an enjoyable, string-touched single from the album. And if anyone needed proof that the Banshees were obsessive fan types when they started, the concluding cover of Television's debut obscurity "Little Johnny Jewel" would provide it.

Siouxsie and The Banshees - Through The Looking Glass (flac 287mb)

01 This Town Ain't Big Enough For Both Of Us 3:09
02 Hall Of Mirrors 5:02
03 Trust In Me 4:06
04 This Wheel's On Fire 5:16
05 Strange Fruit 3:51
06 You're Lost Little Girl 2:57
07 The Passenger 5:09
08 Gun 5:06
09 Sea Breezes 4:14
10 Little Johnny Jewel 4:56

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

Siouxsie and The Banshees - Kaleidoscope (flac 480mb)

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