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Webmaster 26/10/01 | ||
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Rich,
colourful, augmenting sounds I'm unable to
describe and would be at a loss to tell you how they occurred. A hodge
podge of styles and themes, that somehow gel together to make a
concurrent whole. From the opening flow of Cascade to the last beats of
the disco parody Slowdive, this album flows from one track to another
with ease. And so much sex!!!! The eroticism of Cascade and Melt! Who
would have thought the Banshees would open up like this. And the choice
for singles seems appropriately Banshee like, forging ahead, making
their own 'noise' and fuck the commercial impact. Dreamhouse is like nothing else of its time, hardly Goth, hardly synth pop, or the horror that was the beginnings of stadium rock. Once again they move away from the traditional four piece bound sound and experiment with found sounds, loops, playing things backwards, speeding them up, slowing them down to make something truly unique and their own. The Banshees have fun on this album, lyrically some themes are similar, like Obsession, and Cocoon, but it's the discovery of sex in it's most erotic form that over powers. I think it's fair to say that the Banshees finally did something they had been longing to do and would experiment with in future, that is to orchestrate their music, which would in turn make them rethink and rework some of their back catalogue. The production is clear and sharp, Siouxsie voice has never sounded better, some achievement considering the voice problems that were occurring at this time. What of Fireworks?, not meant for inclusion, but their first outing using strings and could have fit in well with the eclectic scheme of things. Once again the b-sides are gems and you are left in no doubt that they were recorded during the Dreamhouse sessions. And Siouxsie's face on the cover, unusual at this time and capturing perfectly a moment in time. |
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