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Her dark
materials
Growing up in the
suburbs, Siouxsie Sioux realised she wasn't like everyone else. Then she
discovered music and clothes ... and became a punk icon. She tells
Michael Bracewell how she did it
A black and white photograph of
Siouxsie Sioux taken at a Sex Pistols concert in August 1976 still
retains its ability to shock. She is dressed in nothing more than an
asymmetrical ensemble of fetishistic latex underwear, finished off with
a cupless bra that leaves her breasts bare. Her expression is aloof,
inscrutable.
That same night, Siouxsie and
her friend Steve Severin approached Malcolm McLaren, then manager of the
Sex Pistols, with the idea of forming their own group. Siouxsie And The
Banshees, named after the Vincent Price film Cry Of The Banshees, went
on to become one of the most celebrated products of the punk era. It's
now almost 30 years since the band's first performance, where Siouxsie
intoned The Lord's Prayer over a wall of feedback at London's 100 Club -
a set described at the time by one journalist as "unbearable".
She now spends most of her time in south-eastern France, where she lives
with former Banshees drummer Budgie (the pair have their own band, the
Creatures), but we meet at a London hotel. Siouxsie is wearing an
elegant white trouser suit, and her black hair - more of an Elvis-style
raven blue, in fact - is slicked back to reveal features that seem
virtually unchanged since she appeared as a post-punk geisha on the
cover of The Face magazine in 1983.
Like her peers among the founding
figures of British punk - Vivienne Westwood, Johnny Rotten, Howard
Devoto and Mark E Smith - Siouxsie regards the labelling of
"punk" as being the death of its vital energy. "Before we
were on the Bill Grundy show with the Pistols," she says, "and
before punk had been seized on by the tabloids, there was a healthy fear
of our appearance. And it's funny how that fear turned to hatred once
the phenomenon had been identified - or once it was considered to have
been identified and contained. When I hired a costume from Berman's
& Nathan's to go and see Roxy Music at Wembley Arena in 1975 (it was
a cross between a mermaid and a chorus girl - purple sequins with a
fish-tail train), I didn't get changed in the toilets at Charing Cross
station, I travelled up to town in that outfit. I got odd looks, but if
they saw you looking they'd turn away. I think that people sense that
kind of single-mindedness and don't dare approach you. But all that
really did change once punk was picked up on in the media. Then the
public reaction was abusive."
It wasn't until 1978 - well
after the initial shock waves of punk - that the Banshees released their
first record. Something about their attitude, their refusal to conform
to the increasingly commodified idea of punk, had kept the major record
companies at a distance, but when their first album, The Scream, finally
came out, its originality, edge and sheer energy provoked instant, near
fanatical acclaim. It was one of those records that immediately summoned
up a world view - dark, tense, eerily erotic.
"Looking back on those
days, nothing can really capture quite how out on a limb the primary
people were," says Siouxsie. "How brave it was, I suppose -
without it really seeming brave at the time; more a kind of
recklessness. But the term 'punk' was so lazy and easy and inaccurate.
The Pistols were different because they had Rotten - without him, who
knows? And the Clash went at it in a way that was far more traditional -
a kind of Keith Richards thing. I wasn't trying to be masculine and
getting down with the boys, so the main difference between us and the
rest was that it wasn't a solely male perspective. I think a certain
amount of anger has been a fuel of mine, if you want - but also some
sort of sadness, and plain mischief, of course."
Siouxsie, originally Susie
Ballion, grew up in suburban Chislehurst with her parents, brother and
sister. Her mother worked as a bilingual secretary; her father was a lab
technician. "I think that just because of the kind of family we
were, there was definitely a sense of not feeling a part of the
community, or of being neighbourly. I was very aware of us being very
different. My father had a drink problem, which also sensitised that
feeling.
"Where we lived was very
residential, and our house seemed different. It wasn't red brick, to
begin with - it was white stucco with a flat roof, and with trees.
Everyone else had gardens with patios and neatly cut lawns, and we had
these massive copper beech trees at the front, and a huge privet hedge.
You couldn't look in to our house. All the others were almost inviting
you to look in - life in all its normality was being paraded. Which
probably wasn't the case behind closed doors, but that was the
perception."
The suburbs, she says,
"inspired intense hatred. I think the lure of London was always
there. I remember my sister taking me to Biba on Kensington High Street;
I bought a coat and used to gravitate towards going there on my own
later. But the suburbs were also a yardstick for measuring how much we
didn't fit in."
Together with Severin and
another early Banshees member, Billy Idol, Siouxsie was part of the
"Bromley Contingent", a small collection of friends and
acquaintances from south London. They met at the earliest concerts by
the Sex Pistols and then, discovering they were all from the same place,
began to go out en masse - English descendants of Andy Warhol's
heroically dysfunctional superstars. Their defining moment, perhaps, was
Bertie Marshall's infamous "Berlin's Baby Bondage party" in
1976, held at his parents' house. The Sex Pistols came, and legend has
it that the Styrofoam tiles on the ceiling were for ever scarred by
Siouxsie's whip.
In many ways, Siouxsie And The
Banshees became the contingent's ultimate statement about outsiderdom.
Siouxsie and Severin went on to record many tracks that centred on
disturbed childhoods, paranoia and personality disorders - singles such
as Happy House, Playground Twist and Christine. "I would definitely
say that our early material, for at least the first two albums, was
suburbia - where I grew up, and the circumstances."
Her own childhood and teenage
experiences of music were liberating. "Certainly music was the one
big thing that made everything seem OK. It was a cause of happiness
within the family, and laughter, and fun. My first love affair with a
record was with John Leyton's Johnny Remember Me. It had these amazing,
ghostly backing vocals, a great melody, and it was about a dead
girlfriend, basically. I was three or four when it came out, in 1961,
and I used to have to get somebody to put it on the record player for
me.
"As I got older, I loved a
lot of the Tamla Motown and a lot of R&B. Then there was the usual
Beatles and Stones. I really got into The White Album. Pop music for me
was definitely escapist, but never studious. I was never attracted to
being a very proficient singer or player. I suppose I was interested in
creating a vision; in the same way I was very drawn to tension within
cinema. Hitchcock was my other early obsession - Psycho, and its score.
So there was the sense of trying to create an atmosphere: how a sound
resonates and makes an effect. That has always been very important for
me."
Listening to a bootlegged early
demo tape from 1977, you are immediately struck by its jagged, jarring
energy. Severin says a powerful early influence was seeing the German
group Can play their first UK show at Brunel University in 1973.
"They came on and just
played nonstop for two hours, each piece merging straight into the next.
It had the most mesmerising effect on the audience. That's what I wanted
to achieve with the Banshees." Two career-defining singles -
Staircase Mystery and Playground Twist - led the group to their second
album, Join Hands. And it was at this point, in 1979, just as Siouxsie
And The Banshees were being recognised as one of the most original
groups to emerge from punk, that guitarist John McKay and drummer Kenny
Morris left - choosing to depart just hours before a concert in
Aberdeen. Siouxsie told the disappointed crowd: "If you've got one
per cent of the aggression we feel towards them, if you ever see them,
you have my blessings to beat the shit out of them."
A quarter of a century later,
Severin describes their departure as "a tragic waste" but an
event that, in his words, was "the single key event" in the
group's history. "It forced us to re-evaluate ourselves," he
says. "We had to grow up in public very, very fast, and I had to
come to terms with what had always been my crippling shyness." In
the event, this sudden change gave the band new energy, repositioning
them in the slick, fashion-conscious 1980s as purveyors of richly
atmospheric, gorgeously dramatic music - the memorably intense singles
Dazzle, Swimming Horses and Peek A Boo, as well as their intoxicating
cover of the Beatles' Dear Prudence.
"I've come to realise that
the Banshees would have happened regardless of the 'punk'
explosion," says Severin. "While most of the protagonists of
punk looked to American garage bands - Flaming Groovies, MC5, the
Stooges, the Dolls - or to the New York scene of Patti Smith,
Television, Heartbreakers and the Ramones as a benchmark, we,
perversely, saw ourselves as taking on the baton of glamorous art rock -
Bowie and Roxy Music - while incorporating a love for Can, Kraftwerk and
Neu."
Entering their second decade,
Siouxsie And The Banshees occupied an unusual position, somewhere
between "cult band" and "iconic". With inimitable
style, they finally disbanded in 1996, on the day the Sex Pistols
announced their first reunion tour. Siouxsie and Budgie moved to France,
pursuing their work together as the Creatures. Both Siouxsie and Severin
loathed the way they were sometimes linked to goth music. Like their
musical heroes the Velvet Underground and Roxy Music, Siouxsie And The
Banshees had created a back catalogue and a mythology that was as much a
burden as an achievement.
"The music press tried
very hard to make us unfashionable in the 90s, certainly in
England," says Siouxsie. "For me, timelessness is what counts;
sometimes you can only really tell after a long time how timeless
something will be. With the Banshees, we had a way of just allowing our
music to happen. There was a lot of space; it wasn't cluttered, and was
hardly embellished. It evoked isolation, but in quite a euphoric way. At
a signing the other day, someone asked me how it felt to be the queen of
goth. I said, 'That's rather like being known as the Prince Regent of
Fools.' I hate all that. There is a fun, flippant side to me, of course.
But I would much rather be known as the Ice Queen."
Siouxsie
And The Banshees' first album, The Scream, will be re-released by
Polydor on October 3, followed by the rest of the back catalogue.
Michael Bracewell 19/08/05
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