A Kiss In The Dreamhouse (1982), the fifth Banshees album, is probably their best.  Given a magnificent shimmer by Mike Hedges, it's where the group mesh best.  Guitarist John McGeoch was replaced by Robert Smith for 1984's Hyaena, a showcase for the band's post-punk psychedelia, as was Tinderbox (1986).  Nocturne, recorded in 1983 at the Royal Albert Hall, captures them in the their majestic, ominous pomp.

4/5

Paul Lester

Goth's year zero.  Best of a bunch of '80s reissues.  Released in 1982, A Kiss In The Dreamhouse is arguably, Goth's founding and indeed finest moment - though this is Goth coloured in with brilliantly calibrated neo-psychedelic flourishes, from the pan-like flutes of 'Green Fingers' to the treated loops of 'Circle'.  Steve Severin's bass, in true post-punk style, is dominant, carrying the melody and creating cavernous possibilities in which the music can fly about.  Siouxsie herself is in total control, pacing about like some Amazonian torch singer on 'Obsession' or stopping to conquer on 'Slowdive'.  1982 was a high point for post-punk pop and today this sounds, if anything, more evolved than at the time when this kind of thing was more commonplace.  Also re-released are 1983's live Nocturne, 1984's Hyaena and 1986's Tinderbox, but none quite measure up to this.

4/5

David Stubbs