Journey’s End - Siouxsie and The Banshees 1987-1996
Seiten
2026
Wymer Publishing (Verlag)
9781918419061 (ISBN)
Wymer Publishing (Verlag)
9781918419061 (ISBN)
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From 1988
with tranches of time between activities becoming increasingly prolonged, it
begs the question: have Siouxsie and The Banshees, a band that have stayed the
course against often insurmountable odds since 1976, finally reached their
journey’s end?
With Jon
Klein and Martin McCarrick now full-blown members, Siouxsie and The Banshees embark
on one of its most creative and ambitious odysseys, culminating in the
multidimensional complexities of the 1988 album Peepshow. Both lyrically
and musically, the Banshees continue to confound expectation with their
progressively sophisticated and erudite artistry, yielding the groundbreaking
single ‘Peek-A-Boo’ and propelling the Banshees to number one on the American
Billboard Modern Rock Tracks chart.
Live, the Banshees continue to be a breathtaking entity;
the theatricality of their stage shows paralleling the grandiosity of their
songs. However, the revolving door of personnel changes again threatens to
derail the band, this time in the form of their (mis)management, until Tim
Collins starts to unpick and stabilise the Banshees’ shambolic financial
affairs.
Amplifying the strained relations, the first major
rupture between founder members Siouxsie and Steven Severin, while on tour,
leads to the Banshees’ hiatus between the end of the Peepshow gigs in December
1988 and the release of ‘Kiss Them For
Me’ in May 1991, reaching the Modern Rock Tracks number one slot for the second
time; a noticeable divergence from their volatile chart fortunes in the UK.
There is a resurgence of The Creatures’ activity, and the
album Boomerang is released in 1989. At the same time, Severin composes
the film score for director Nigel Wingrove’s Visions Of Ecstasy film.
Invited to play the inaugural Lollapalooza tour in July
and August 1991 alongside bands such as Nine Inch Nails, Jane’s Addiction and
Butthole Surfers, the Banshees consolidate their growing popularity in the USA
and go down a storm!
Convening for two more studio albums, Superstition
(1991) and The Rapture (1995), as well as the 1992 Twice Upon A Time:
The Singles compilation album, the Banshees go to Hollywood, co-writing the
song ‘Face To Face’ with composer Danny Efman for the 1992 Tim Burton-directed
film Batman Returns. With tranches of time between activities becoming
increasingly prolonged, it begs the question: have Siouxsie and The Banshees, a
band that have stayed the course against often insurmountable odds since 1976,
finally reached their journey’s end?
with tranches of time between activities becoming increasingly prolonged, it
begs the question: have Siouxsie and The Banshees, a band that have stayed the
course against often insurmountable odds since 1976, finally reached their
journey’s end?
With Jon
Klein and Martin McCarrick now full-blown members, Siouxsie and The Banshees embark
on one of its most creative and ambitious odysseys, culminating in the
multidimensional complexities of the 1988 album Peepshow. Both lyrically
and musically, the Banshees continue to confound expectation with their
progressively sophisticated and erudite artistry, yielding the groundbreaking
single ‘Peek-A-Boo’ and propelling the Banshees to number one on the American
Billboard Modern Rock Tracks chart.
Live, the Banshees continue to be a breathtaking entity;
the theatricality of their stage shows paralleling the grandiosity of their
songs. However, the revolving door of personnel changes again threatens to
derail the band, this time in the form of their (mis)management, until Tim
Collins starts to unpick and stabilise the Banshees’ shambolic financial
affairs.
Amplifying the strained relations, the first major
rupture between founder members Siouxsie and Steven Severin, while on tour,
leads to the Banshees’ hiatus between the end of the Peepshow gigs in December
1988 and the release of ‘Kiss Them For
Me’ in May 1991, reaching the Modern Rock Tracks number one slot for the second
time; a noticeable divergence from their volatile chart fortunes in the UK.
There is a resurgence of The Creatures’ activity, and the
album Boomerang is released in 1989. At the same time, Severin composes
the film score for director Nigel Wingrove’s Visions Of Ecstasy film.
Invited to play the inaugural Lollapalooza tour in July
and August 1991 alongside bands such as Nine Inch Nails, Jane’s Addiction and
Butthole Surfers, the Banshees consolidate their growing popularity in the USA
and go down a storm!
Convening for two more studio albums, Superstition
(1991) and The Rapture (1995), as well as the 1992 Twice Upon A Time:
The Singles compilation album, the Banshees go to Hollywood, co-writing the
song ‘Face To Face’ with composer Danny Efman for the 1992 Tim Burton-directed
film Batman Returns. With tranches of time between activities becoming
increasingly prolonged, it begs the question: have Siouxsie and The Banshees, a
band that have stayed the course against often insurmountable odds since 1976,
finally reached their journey’s end?
| Erscheint lt. Verlag | 22.5.2026 |
|---|---|
| Verlagsort | Bedford |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Gewicht | 450 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Pop / Rock |
| ISBN-13 | 9781918419061 / 9781918419061 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
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Buch | Softcover (2024)
Halvmall (Verlag)
CHF 38,90
