EXPOSED NERVE
Think of heat. Think of intensely searing heat
coating the Spanish countryside while blasting the sky into the earth
and scotching both into blinding whiteness. Into this heat blends
the past and the future, as the setting of an ancient convent plays host
to two modern music innovators, Siouxsie Sioux and Budgie, a pair of
exotic Creatures dancing off from a pack of wild Banshees to create
stunning new musical textures.
Back from their brutal stay in the Spanish heat, the
two survivors of this sojourn are not only a pleasing sight to the eye
but they're also eager to describe the atmosphere of the passionate,
alien setting that inspired their latest album Boomerang.
The album is a rich tautly elegant experience that veers from the
feminist aggression of 'Standing There' to the playful tones of 'Speeding',
often haunting the air with only the refined sounds of the dexterous
Budgie on varied percussion and Siouxsie on vocals, making the album the
luscious creation of a white hot merging of the Banshees' exotically
erotic rhythms with its unique vocal soul.
"It was much like going camping," jests
Siouxsie as she relaxes back on the couch, resplendent in a gauzy teal
blue outfit. "Like doing a field recording. It was much
more of a brutal place, just because it was steeped in so much
history. It (Penuela) was a working ranch, an old convent steeped
in religious iconography that the owner was a collector of. And
also in conflict to this were these trophies from his bullfighting days
of the 60's: it was a bit like some atrocity exhibition. It
was quite an odd place, but very good for churning things around.
The actual countryside... the light was so bright, you had to wear
shades, it hurt not to wear shades," she describes with a
remembered squint. "The white buildings, the stone everywhere
and the sand... someone mentioned the songs reminded them of J.G.
Ballard, like a science fiction film where they land on the dry sea bed,
and it pretty much felt like that! There were fields of sunflowers
but they looked alien and eerie, and the wheat fields... the wind when
it whipped up went," as she imitates a harsh buzzing noise, her
long fingers gracefully describing the motion. "It was
completely desolate, very dry: not barren but very bleached
looking as opposed to Hawaii which was so rich, so lush and
green, everything dripping, where here was parched and dry."
Need a tall cool one yet? Siouxsie refers to
Hawaii in contrast as it was there the Creatures created their initial
album, the wild Feast, a complex affair of tribal rhythms and
wailing vocals that came to be in 1982 and was released in 1983.
There are many differences the span of years, locations, artistic
differences, but in their minds what is the key factor in the
difference?
Siouxsie holds with the atmosphere. "The
situation of the two is extremely different. They're very
conflicting places to be in, they aren't at all similar in what they
inspired. The Feast album was quickly put together, it was
the first time, that we had been anywhere exotic like that. We
behaved in a very hyper way," she chuckles, "I remember when
we came back to London we had everything and it had only been two
weeks!"
"And we couldn't wind down," describes
Budgie, "We were running around for another week afterwards going 'it's
great, it's great, we've
done it!" he laughs.
"We almost felt like we hadn't done it, it
was done so quick," remembers Siouxsie. "And I think
everything went down as we thought of it. As with Boomerang
we gave ourselves a couple of days," she grins with dry humour.
"It's almost like after all these years we grew
and and wanted to be a bit more prepared... we considered things a bit
more," notes Budgie as Siouxsie, adds, "And we picked
somewhere: Europe, and we took a mobile desk with us so we wouldn't
be in the studio."
These two have an excellent rapport with each other,
one following the other's thoughts without hesitation, with the
enthusiastic Budgie visibly restraining himself at times just waiting
for Siouxsie to finish. The rapport obviously came in good steed
out in the makeshift studio setting in the Andalucian fields. But
pity poor Mike Hedges, the Creatures/Banshees producer, unknowing
technical victim on this exotic "camping" trip.
"Oh, he had his work cut out for him!"
emphasises Siouxsie with a wicked grin.
"In Hawaii we had an assistant and another guy
running around, but in Spain it was just the three of us. We had some
technician out just to set up, and then everybody left!" chuckles
Budgie. "If anything went wrong Mike had to sort all that out
before we could work. So we actually only recorded 18 out of the
30 days we were there!"
"I don't think Mike realised everything he had to
do. It was all very basic and the tension was just that: oh
God, it's gonna blow up any minute!" Siouxsie declares with
dramatic emphasis. "We were confronted with the crudeness of
the situation we were in but again it worked to create something
different."
Budgie's mouth quirks into another playful grin as he
jests, "We've kept our distance from him since we got back!"
as Siouxsie bursts into laughter, nodding in full agreement.
"Yeah! It's almost like now I don't want to see you two for another
year! But no hard feelings!"
"He went right into other projects but it's taken
us ages to digest what happened," relates Budgie. "It's
not that you just come out of it with a bit of a record, you come out
with a mass of emotions and mixed feelings, and we still have to figure
out what went on."
Siouxsie: "It's a lot to take in, and then
you replay things when you're back and go did this really
happen?"
Budgie adds, "And you end up doubting
everything: at first it's all great and then the doubts set
in. And then things begin to develop again in a different
light."
Siouxsie points out, "Also, when we got back to
London we decided that some of the tracks needed something else."
These exotic interview participants are such excellent
conversationalists that topics come up effortlessly. This was a
point I had in my mind, given that there is instrumentation on the album
that goes beyond what happened with just the two Creatures in Spain.
"Yes, we called in the brass players," notes
Siouxsie. "They sort of put a bridge between what we did last
as the Creatures and somehow linked it to the present day. And
just a few things we enhanced, and we also mixed it: we didn't mix
it out there. We just spent three weeks back in the studio on
that."
Budgie notes, "The record was like two halves in
the making."
But there's the magic in it... Boomerang is
seamless, as the parts come together without songs declaring their mixed
origins. The flavour from the initial experience saturated the
whole with a glowing warmth.
"Yes, they came together, the two physical
working areas," agrees Budgie.
"Well, all the drumbeats to the songs done in
London were done in Spain," reasons Siouxsie, explaining, "'cos
we had to work like the devil 'cos the last few days there they started
processing the wheat they had collected and there were power
surges! So it was," as she once more gives a demonstration,
imitating a buzzing vibrating machine, "like Frankenstein but the
machine was going bzzzt 'cos the lightening wasn't hitting
right!" she laughs. "So we said let's quickly finish and
let's not do anything crucial otherwise we may lose it all!"
"So we did the photographs instead and nearly died!"
deadpans Budgie, "110 degrees at half past ten in the
morning!"
So those wicked Creatures not only tortured their poor
producer but they also took their premier photographer Anton Corbjin
through a little hell on earth.
"Oh poor Anton! He came out and he's always
worked in black and white, he's never liked colour. And we had
such a shock cause he's going on 'oh yes, I want to work in colour, I've
discovered colour'. And it was great, as he had started
painting and had a good eye which was a surprise. We thought'd
it be a shame if he dulled the colours, but instead they were almost
poster-like," enthuses Siouxsie.
Here he is with a bleached, parched setting saturated
with intense light perfect for high contrast black and white and he
wants to use colour which prefers dull light! But the shots do
look very rich... so that's
the two of you on the front cover in those alien sunflower fields!
"Yes, those are the real sunflower fields!"
grins Siouxsie as Budgie describes, "The colours are like just
blue, yellow, the colour of us and green flower stems."
"But you couldn't
see those colours 'cos you were like that," as Siouxsie screws her
face up in an elaborate squint, "all the time! But we
saw the proofs and went great colours!"
"It filled your field of vision - phenomenal
acres and acres of sunflowers and massive blocks of colour, all going
white due to the sun," emphasises Budgie.
I certainly am glad I have a soda before me! I
can feel the grit in my throat and the glare in my eyes! But was
all the music done in this barren setting or were there reference points
drawn up in England? It was mentioned earlier that time was given
beforehand on this album for some pre-production.
"It was pretty much done there," begins
Siouxsie but Budgie interrupts politely to sidetrack. "My
lyrical input to me was something I've
had in notebooks and on little jots of paper and due to having time and
being able to think clearly I actually made an effort to do something
with them, as some of them have been around for six year. I made
the effort to control the words and express myself that way as
well. That was a big deal for me," he states with justified
pride. "So in that sense for me it feels like a long time growing
album for me. It's got
a lot more depth to it."
Siouxsie nods, commenting, "I think that is why
it is so diverse, much more diverse than Feast. I just
rediscovered Feast, and enjoy playing it. And it's
very much of the place that we were. I think it soaked up a lot
more."
Feast is far more unbalanced, almost out of
control with chants and primitive rhythms.
"It goes with where we were, that exoticness
about it, whereas this is more exposed, more like an exposed nerve, very
glaring," is Siouxsie's
point.
"And this setting allowed us to find those
feelings between us and get them out," reveals Budgie.
So anything that was done in England aside from the
lyrical bits were mainly a sorting out of ideas. "Emptying
out the brain!" agrees Siouxsie as she drops her head to one side, pantomiming
her brain falling out with a soft plopping noise. It is a
wonderfully curious gesture coming from someone who always seems so
...elegant!
Budgie takes the description further after grinning at
Siouxsie's actions.
"We set up drums and got a drum machine clicking and a mike in the
middle of the room set on tape and I let the machine go and altered
tempos and rhythms. There weren't
too many words at that point but ideas mainly, phrases and
melodies. And then we played that tape back and worked on top of
that." He is clearly excited with his descriptions.
Siouxsie relaxing with a smile as he rapidly continues.
"'You'
was an idea which came out of Siouxsie singing to a taped feed with the
speakers loud. She had a little dictaphone thing with a compressor
microphone. So each time Siouxsie went "you" the sound,"
as he imitates Siouxsie singing, concluding, "it was like Captain
Beefheart!"
"I said I really like that, as far as voice recording
goes!" agrees Siouxsie. "You think God, that's
awful, it's all condensed
but I really like the sound of it."
It turned out perfectly on the album, being so tense
and eerie, conveying an obsessive quality.
"We wanted to retain that quality, and it's
things like that where we retained the initial impetus of the
idea," declares Budgie.
Recording in special settings obviously had an heavy
impact on the Creatures. Both Siouxsie and Budgie agree that it
would be impossible to drag the Banshees into such unique recording
situations.
"We found it difficult to keep everyone within 20
miles of London even with writing Peepshow!" ridicules
Siouxsie, she falling practical. "And actually we would never
be allowed into that situation with guitars and amplifiers. When
we described what we were and how we would do it they thought 'oh
yes, no problem', because
there was no element of 'what,
a group?' They didn't
want that kind of thing there, but as soon as they realised it was only
voice and drums..."
Budgie can't
help but interrupt here. "But they got a shock! They
thought it was like bongo drums! And I arrived with this 22 piece drum
kit, a huge thing which is SO LOUD, and there was no sound proofing, it
was just a stone barn, so it was phenomenally loud! They probably
heard it 20 miles away over in the next village!" he laughs.
They probably thought it weird thunder rolling across
the sunflower fields! Siouxsie grins, acknowledging, "But
people were really great, although they were very curious."
"But then technically..." begins Budgie,
Siouxsie exclaiming, "We found it hard technically with just two
people..."
Budgie cuts her off, pointing out, "But
definitely there are some ways of working which we could carry through,
like the new positivity in the way we approached things now, which we
started with Through The Looking Glass and carried into Peepshow,
really the kind of impatience, of wanting to retain the germ of an
idea..." as he laughs, "Like a wheat germ, not a virus!
The smallest first idea you get, and to try and hold onto that as much
as possible. It happened with 'Peek-A-Boo' and that really benefited
from that. And 'Burn Up' as well, the essence of the beginning of
the song, although..." as he looks a bit put off, "the
group always wants more and more."
That is a main difference with the Creatures and the
Banshees... the simplicity in the direction and the music itself being
less layered and entangling.
"Right! And if you've
got a guitar... and I'm not
just picking on the guitarist 'cos it always seems to be the poor
guitarist getting it with us..." as he begins to laugh, Siouxsie
snickering along with him, waving for him to get on with it.
"But even I've found
when I played most of the instruments on the record... I did a marimba
part which I was quite proud of and Siouxsie went 'Well, it doesn't
really need that right there... loose the marimba part!' and I went 'Hold on, I
spent two days on that!'"
he self-mocks with an indignant bristle. "So I can understand
what a guitarist can feel like when all he's
got is guitar and the song is written on bass and piano and we decide 'we
don't need guitar on this
one!'"
Siouxsie wants to clarify,
stating, "Or more importantly, we don't
need it right there!"
"So the guitarist goes 'Well,
what am I supposed to do!' That's
the hardest thing to deal with and you know it's
going to upset a little bit. But you eventually realise it's
for the better of the song. And it's
easier to realise that when it's
just the two of you, as you both have the idea together. That's
the hard thing about the group, when you stop being the four piece that
plays together." he remarks, "when you start to be a bit more subtle,
to do things in a simpler way that's
when it becomes less bravado and much more subversive."
So that translates into the Creatures are more
subversive than the Banshees. An interesting point. And from
the sound of what you're
telling me the album was recorded very quickly, with just the two of you
holding onto those initial ideas.
Siouxsie nods, admitting, "Well, I'm
very impatient, I'm forever
saying 'come on, come on,
come on' I really am... that's
something I need to get better at, because everyone needs to take it
easy."
Budgie can't
resist this one, he murmuring with sweet sincerity. "Oh don't
change, please don't
change: its drives us all mad but don't
change!" as Siouxsie playfully aims for him with a clenched fist,
laughing as he continues, "The only time that Siouxsie is not
impatient is in the morning."
Ah ha! I knew there had to be a time when she
turned down that fierce energy! She defends, "I just think
that... I mean once I get up I go! I'm
up till three or four in the morning! But I'm
not the sort of person that soon as the light has risen I'm
la-la-la... not me!"
Budgie keeps up his gentle needling. "Not
me... I bounce out! You can't
keep me still!"
Siouxsie gives him a fond smile, declaring, "He's
like Tigger," laughing as he begins to bounce about, chanting,
"Let's go, let's
go!"
I love watching these two act like little kids.
But since we have a genuine pause I should act business-like and bring
up something relevant. Would the Creatures have suffered a further
set back if the Banshees had come back for another few months of touring
America as planned? I won't
go into why they didn't come
back because it isn't appealing: record company politics and that
rot.
Siouxsie claims, "I sort of forced the Creatures
to happen. But also, there were a few things we were wanting to do
and they sort of fell through. We wanted to film Peepshow,
cause of what it looked like."
This time I am the one doing the interrupting... don't
say it, Siouxsie, that marvelous spectacle never made it to film?
A grim frown appears as she describes, "Well, we
had a great live in concert thing for Radio One, and it sounded great,
and we said can we use that, and they said no!"
"That was because we were going to erect the
stage posthumously and do a show but maybe what we'll do is the next
time we go out well combine elements of that and other ideas we
have..." muses Budgie hopefully.
A bitter glance from Siouxsie lends doubt to his
words. "I don't
know, it's really a
shame. I was so up for it being documented... 'cos
it was a good show and in reality we probably won't
go back to it," she states resignedly. "It's
very frustrating, to come up against a brick wall like that.
Suddenly after that they said yes we could use it but for ridiculous
money and we couldn't afford
it! It was mean, really mean!" she complains angrily.
That is really mean, considering it is the bands
artistry they taped.
"There was a big management fuck-up as well at
that point," admits Budgie.
That sounds typical. But hopefully the Creatures
own tour will be more faithfully documented. Budgie describes the
intricate technical end of his part onstage for a few minutes. He
begins to bounce anew, finally admitting, "I'm
getting nervous already!".
"Oh yeah, Tigger's
just raring to go!" mocks Siouxsie playfully, thumping imaginary
drums on the couch for emphasis.
I wonder what other Banshees think of this tour, one
main Banshee in particular. They both laugh, Budgie mock
whispering "I don't
think Steve knows yet! No, seriously, he was prepared for
it. I spoke to him over Christmas and he thought that people would
want this."
"Also to do it with just the two of us...again,
that's the right way to do
it. And it's possible
so... Budgie had met up with someone who's
taught him how to use sequencers in a very responsive way,"
describes Siouxsie.
"And it's
great coming into all that technical area... we used a bit of it on Peepshow,
to add to the brass parts, and it's
allowing me to grow with it," Budgie explains.
The Creatures are exciting for Budgie in that not only
are his lyrics utilised but what a responsibility his job is
onstage! It's a
challenge!
He shrugs lightly with a smile, reasoning, "But
nobody said oh, you have to use all this stuff, 'cos
I've always steered clear of
it before. Until a need arose to use it, and you want to use it, 'cos
you know how you're going to
use it, and not let it use you. So I am really up for it, and it
will be good! It will be more like Suicide than the Pet Shop
Boys!"
We chat about Suicide for a bit, as they opened for
the Banshees on their last British dates. Budgie manages to go
from how bad the weather was to how bad the British press is in a
dexterous feat of conversation, he finally stabilises his ideas.
"We wanted to go straight back to America 'cos
we loved it so here, he claims. "And for example one of the
first things you said was how different this album was from Feast,
whereas in England some of the journalists came at us with 'so,
it's pretty much the same as
the first one, isn't it'.
They didn't even
listen!" he decries with vehement disgust, his annoyance
mounting as he exclaims, "It's
so dead! No incentive, no feedback. There's
only a handful of journalists who really have anything to say and there's
no outlet for it. Radio is terrible!"
"They're
just so wrapped up in their own little star trips... it's
all very boring. They always go for the surface, that's
as far as it goes," dismisses Siouxsie.
Well, here comes a topic that isn't
just skin deep. Sorry Budgie, this one's
largely for Siouxsie. Her stance on women has been most
interesting throughout the years. In initial songs like 'Hong
Hong Garden', 'Red
Light', 'Circle', 'Obsession'
or 'Carnival'
women's traumas were
documented and described, but now with 'Peek-A-Boo'
and 'Standing There'
there's a strongly accusing
tone, with a more aggressive stance taken.
"Well, I suppose I should!" she
declares. "With more women being involved in music there's
almost a resurgence of women singing songs that are written from a male
point of view: the men are back writing for the women.
Although there is a great section of women doing it for themselves, the
thing is now, with dance music, this mini-skirted image, very
transparent. And with the younger female singers, and this is what
is really lacking in them, they're
very soft. I won't
name names but there's a
bunch of new bands with female fronting singers who are very fey.
It's the thing where they
should make me look like a ninny! They should be really
socking something into someone's
face and really assert themselves like 'we're
the new overlords'.
There should be some pride going on here. But again they're
playing the female game and I think it's
a real shame.
That's why
I like someone like Michelle Shocked and there are other women that are
doing good things but they're
not in the pop context."
That's all
too true, I won't name any
names either but there are too many clichéd female images for the
letchs to drool on.
"And I love pop music, and I thought, say with a
song like 'Standing There',
it should be a pop song that has an onslaught!" is her strong
statement.
"It's
a battle in itself," muses Budgie.
"And with 'Peek-A-Boo'
it should be a pop song and it should be heard on the charts, not just
on an album where people already in the know will agree with it,"
she continues.
It's like
you discussed before about indie bands, how they relate to the same
audience over and over without taking their message to the public at
large. But that development in your lyrics is obvious, with your
frustration making these songs quite affective.
"I think I thought, well, dammit, someone has to
do it! And I am still shocked. When you travel a lot and you
return to London you're not prepared
with it reverting back to the same thing you were trying to
escape. Coming back from America the last time I was going out
shopping and I was getting abuse screamed at me just because I was a
girl not walking around with a sack on my head. And they think
everyone is there to attract some comment on how sexually provocative
they look and I said fuck this!" she spits out, her voice breaking
in anger. "I was so angry, God, it really pissed me
off! And there was an instant when my cab had stopped at a traffic
light and over the road were these villains and I thought 'why
should I be taking this'
so I started yelling 'fuck
you!'" and she
demonstrates her scenario complete with hand gestures. "The
cab driver went 'hey that
was great what you did!'
"And I thought this is something that needs to be
said, and they really need to be made that small. Don't
make a big deal but let them know they're
so pathetic," she sneers.
Ridicule always works best. That's
why the context of the video for 'Standing
There' is so fascinating:
setting it in Spanish culture which is incredibly repressive and
degrading towards independent women.
"Yes, but the amusing thing is in the dance it's
very equal... it's almost
like the women are practically beating their chests and going I'm
going to come there and bite your nose off!" she laughs, lightening
up her serious mein.
If Siouxsie begins stamping those heels and clicking
her nails in a Spanish fury the unwary male who dares to heckle her
better run for cover with his hand over his nose! And
elsewhere! These Creatures mean business!
Sandra A. Garcia 04/90
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