HYAENA
Includes scans of LPs, cassettes, CDs, promos, imports, limited editions and adverts. Also includes track listings, catalogue numbers, release dates, chart positions, credits, liner notes and reviews. |
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REMASTERED ALBUM | |||||||||||||||||||||
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UK Promo CD | Track Listing | ||||||||||||||||||||
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Cat: 531 489-5 Click on cover for full scan
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Notes: |
All songs remastered Liner notes courtesy of Paul Morley |
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Released: | 06/04/09 | ||||||||||||||||||||
UK Chart: | No. | ||||||||||||||||||||
US Chart: | No. | ||||||||||||||||||||
Sleeve Design: | Banshees/Da Gama | ||||||||||||||||||||
Reissue Designed By: | Bold, London | ||||||||||||||||||||
Producer: | Banshees/Hedges | ||||||||||||||||||||
Digitally Remastered By: | Kevin Metcalfe | ||||||||||||||||||||
Tapes Sourced By: | Steven Severin/Pete Matthews | ||||||||||||||||||||
LINER NOTES | ||
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And
then there was the sixth Siouxsie and the Banshees studio album, Hyaena,
radiating unholy light, outwardly calm but containing a storm of
passion, it's 1984, and I was quite busy that year what with one thing
or another, but I remember when I put together my favourite albums of
the year for some publication or another, it was in the top ten along
with the ones by The Smiths, Depeche Mode, Echo and the Bunnymen, Budd
and Eno, Cocteau Twins, The Fall, Husker Du, David Sylvian and
Felt. (I was not allowed to vote for the Art Of Noise owing to an
official involvement.)
I think Hyaena was closely surrounded in the best of year list by Morrissey, Sylvian, McCulloch and Fraser, and I got the feeling that a lot of that other music, music of otherness, music battling against the anxieties of existence, featuring guitars played in a certain jingle, jangled way, voices singing about certain forbidden things in certain dramatic, sublime ways, words packed with hidden significances, intricate, convulsive arrangements that split their time between earth and space, between a psychedelic vision of pop and a punk impetus, drums that knew their own lucid but hectic mind, and melodies that seemed more than mortal, owed a lot to what Siouxsie and the Banshees had been up to since they were born, bloodily and noisily, screaming their punk lungs out, in 1976. There were no other groups from that revolutionary English 1976 still around in 1984, or if there were they certainly were not making albums that could exist alongside the new music inspired by punk. Never as loved, as glorified, as they should have been, for their influence and their continuing contemporary presence in the manic, blinding 1980s, it is true to say that the eloquent, infectious power and glory of Hyaena, which was to an extent taken for granted at the time, exists because of how the group felt neglected and unappreciated. Were they so taken for granted, and in a way so abandoned, because they dressed up for work in a particular way that might involve fortune telling, or because their singer was a girl with deliciously strong opinions who had an inexplicable hair-do, or because they sang so blackly and colourfully about the supernatural, the malignant and the surreal? Maybe they were punished for organising some of the basic principles, rules and symbols of what was now known as Goth, although Joy Division, also responsible for some of the sickly spreading gloom and doom, got off a little more lightly. For some reason, they were not totally trusted, and perhaps it was for the best, because the ignorance inspired them to respond as ecstatically and searchingly as they did on this album. Which is not just a precious Siouxsie and the Banshees masterpiece - we can count how many there actually were another day - but an extreme pop masterpice, and it's amazing to wonder how we can plot the route the blues, or maybe just thinking itself, took to get to such a place. Presumably the route passed through the eyes of Antonin Artuad and the blood of Captain Beefheart. You can also imagine a route Arthur Rimbaud and Marlene Dietrich took that tunnelled through to the intense verse of Patti Smith and the morbid nightmares of William Burroughs. Those favourite 1984 albums, with Hyaena snapping, snarling and twisting right at the lead, suggest a soundtrack to the year 1984, and a disturbed real world undergoing various transformations, that wasn't Orwell, or Thatcher, or MTV, or "new romantic", but was somehow one made up of beauty, yearning, strangeness and an implicit promise of fantastic adventure. It's a 1980s that is not often considered in the usual histories of the decade, but in the middle - or at the edge - of all the excess, and the gloss, and the super materialism, agonised, flamboyant rock music was being made by those isolated, introverted adventurers writing songs as a kind of concentrated resistance to the harassing pressure applied to the imagination by the insistent forces of mediocrity. Siouxsie was the face of this resistance, in stark contrast to Thatcher, the corrosive face of harassment. The songs on Hyaena, gliding, giddy, frantic, blissful, crumbling, determined, responding to all manner of harrowing cruelty and abuse and frustrations, gripping onto transcendent purpose in the face of the rise of violent sensationalism, is music that should be used more often when images and news events of the polarised 1980s are shown. Usually we hear Wham, Frankie, Duran Duran, but rarely the music that actually evokes the torn, turbulent atmosphere of the times. Images of head turning 1980s conflict inspired by the destructive and mean spirited Margaret Thatcher combined with the fierce, degenerate and appalled music on Hyaena would be a better way of explaining how reality was to an extent being mutilated by insidious unseen powers. A few minutes of various Margaret Thatcher edits from her most imperial phases in the 1980s cut to Blow Your House Down would explain much about what happened to the decade. Meanwhile, for those fascinated by such things, the Siouxsie and the Banshees guitarist on this album was none other than the matter of factly enigmatic Robert Smith, also known for a cryptic hair do, this one possibly brushed into shape by the ghost of Poe and containing a family of dragonflies. Smith was apparently prepared to take exceptional pains driving himself in the direction of insanity by splitting his time between his own demanding group The Cure, and the Banshees, who were not necessarily gentle on their guitarists. The Banshees are one of the great guitar groups, but their guitar sound, all those brilliant shards, the harsh, cool madness, the electric pouncing, the whirlpools of deepening surprise, the circular unwinding, the curious purity, was not as such created by one player but a sort of shadowy, volatile community of contributors, ships that passed in the night. Between them they conjured up the kind of pristine playing that flashed, crashed and smashed in the near and middle distance while the adamant Siouxsie took psychodramatic control of her words and characters and kept alienation moist. Between them they were the guitar player for Siouxsie and the Banshees, always on the verge of being dismissed, or dismissing themselves, and that is a wonderfully strange and exclusive, and evidently dangerous, little club to belong to. Smith inherited a way of doing things in these sparkling, militant settings from the first Banshee guitarist, John McKay, who disappeared as if by magic early on, and the eventual next guitarist, John McGeoch, who alchemically elaborated on McKay's sense of disordered static action. Clearly the role was a kind of curse, and McGeoch, after monetarily appearing as permanent as drummer Budgie, wandered off into the fog that was never far away from the Banshees touring caravan. Smith lost some card game, or fancied brushing up close to such fellow conspirators of pleasure, and became, shock horror, a Banshee. He played in this sonic area anyway, so that it sounded as if some of his scrupulous, questing ways with a guitar had influenced McKay and McGeoch in the first place. Sometimes it's as though all the ghosts of Banshees guitarists past, present and future are being channelled through a stunned, sleepless Smith. He fitted perfectly into the group, so perfectly that it clearly couldn't last. The ground was soon falling away from beneath his feet, and it wasn't long before Robert packed his bag, and returned under cover of night, feeling a little faint, to his other home, The Cure, which suddenly seemed a lot less calamitous. What a story he had to tell. No on really believed him, even though the look in his eye suggested the inside of his skull had been altered by the experience. This being a Siouxsie and the Banshees album, it is not too far fetched to consider the following... Siouxsie and the Banshees' songs are like daydreams which edge toward nightmare - toward our desire to be pursued, cast out, demolished, damned - daydreams undertaken, I should suppose, so that we may escape the reality of such things and protect ourselves from life. Such daydreams are certainly among the great uses of fiction; for in fiction they become fetishes or amulets, little patron images, more often of devils than saints worn to keep the wind away, which nevertheless blows as it wills and in its own severity. We use them, these fictions, like sympathetic magic or homeopathic medicine, to control our experience of what they represent. It is like sticking pins into the wax model of our disaster; and when we put the model away, we put off, having enjoyed it, the disaster. Hyaena has finished, it was a beautiful shock to the system, and who knows what will happen next. Paul Morley 18/12/08 |
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IMPORTS/PROMOS | |||||||||||||||||||||
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UK Promo CD | Track Listing | ||||||||||||||||||||
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Click on cover for full scan
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Notes: |
All songs remastered Liner notes courtesy of Paul Morley |
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Released: | 06/04/09 | ||||||||||||||||||||
UK Chart: | No. | ||||||||||||||||||||
US Chart: | No. | ||||||||||||||||||||
Sleeve Design: | Banshees/Da Gama | ||||||||||||||||||||
Reissue Designed By: | Bold, London | ||||||||||||||||||||
Producer: | Banshees/Hedges | ||||||||||||||||||||
Digitally Remastered By: | Kevin Metcalfe | ||||||||||||||||||||
Tapes Sourced By: | Steven Severin/Pete Matthews | ||||||||||||||||||||
PRESS | ||
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The Word May 09 | ||
Mid-Goth
Crisis
After their early greatness but before the percussive influence of The Creatures - Siouxsie & The Banshees' variable '80s. There's something brilliant about Siouxsie & The Banshees. Even if you don't like them, even if you blame them for goth or Tim Burton (how many songs about voodoo dolls does the world need, really?), you ought to admit that they were extraordinary. Outcasts of punk, astonishingly it seems now, heroes of Peel sessions, they instantly forgot about Nazi posing (no, they weren't Nazis, but there was an armband and that never-forgiveable lyric in Love In A Void) and released one of the most ecstatically pop-pink singles of the day, Hong Kong Garden. Then there were two brutally wonderful albums, The Scream and the under-rated Join Hands. And then two of the band left. And then John McGeoch, the greatest lead guitarist of post-punk, joined and helped Siouxsie, Severin and new drummer Budgie to turn the Banshees into a great post-punk pop band, a phase that included McGeoch's brilliant monument, Juju. And here we are now with the mid-period reissues, and it's going to get a bit wobbly from here on in. The Banshees' problems would always revolve around two things: one, they found it hard, as we shall see, to keep a stable lineup; two, the core lineup was prone to a certain stylistic saminess. So, as John McGeoch's alcholism reduced his musical contribution, the Banshees found themselves making A Kiss In The Dreamhouse, an album that would be Juju part two if it weren't for the addition of a uniquely gorgeous production style, all strings and percussion, glitter and Klimt. Dreamhouse is so lushly luscious that the Banshees song from this era I've always associated with it - the achingly lovely Fireworks - isn't even on it (it turns up now, in its excellent 12-inch version). But there is the wonderfully John Barry-like waltz of Melt and the very saucy Slowdive, a song about sex so sexy that even the normally frosty Siouxsie is compelled to pant "Oh my God!" in the middle. Dreamhouse also opens with the obligatory great "single that never was", Cascade; it ought to have been great, but it slips quickly into Banshee filler. On Hyaena, McGeoch was replaced by temporary Banshee and Severin collaborator Robert Smith, off of The Cure. ("I beat them at pool,"" Smith said during his time in the band, "and they get ratty." That's my favourite quote about Siouxsie & The Banshees). Smith couldn't stay in the band - he had to go and invent goth and Tim Burton - and a sense of marking time runs through Hyaena. If A Kiss In The Dreamhouse is Juju 2, then songs like Dazzle were Dreamhouse 2. There are some good moments here.: the tacked-on cover of Dear Prudence would have been a lovely flipside to a Banshees' White Album 45 of Helter Skelter, and Swimming Horses (the first great song about seahorses) is oddly haunting, but this is still an inessential album. Robert Smith played on Nocturne too, also reissued here. This could have been an epic live album - a double, no less, recorded at the Royal Albert Hall, the elite venue of post-punk. Nocturne is alright, and no more; Siouxsie asks fans shouting for old songs if they've come from a time tunnel, then she presents a selection of songs old and new which fit stylistically into the band's early-'80s template and don't particularly blossom live. The much, much better Seven Year Itch live album does the job better. Time passed. The Banshees entered a time tunnel and released the lovely The Thorn EP, with its orchestral versions of songs from their first two albums; then they got themselves a proper permanent guitarist, John Carruthers from Sheffield's Clock DVA. Carruthers, as well as bringing a healthy northern with to the band (when they played on The Old Grey Whistle Test, a camera zoomed in on a sticker on Carruther's guitar that read OH NO! NOT ANOTHER BORING GUITAR CLOSE-UP!) was also a robust guitarist, and on Tinderbox he took the band away from the psychedelic whimsy that sometimes threatened to infest their music. I interviewed Siouxsie and Severin in 1985 when Tinderbox came out and made the slight error of telling them that I thought it was rubbish. As Severin stared into his teacup (like all Banshees interviews, it took place at Fortnum & Mason), Siouxsie patiently explained that I was completely wrong, and later told the Melody Maker that they wouldn't be talking to the NME again (that's my most embarrassing Siouxsie & The Banshees story). Nearly 25 years later, I have to revise my judgement, Tinderbox does in fact have some great moments - the superb, chunky single Cities In Dust, for example, the horny 92 Degrees and the great Candyman - but its production sounds stodgy, and long songs like This Unrest and Sweetest Chill are Banshees by numbers. After Tinderbox, the Banshees began to incorporate the percussive brilliance of Siouxsie and Budgie's Creatures spin-off, and they got interesting again, and even worked with Tim Burton. Better was to come. |
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More press... |
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CD | |||
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UK CD | Track Listing | ||
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Cat: 821 510-2 Click on cover for full scan |
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First Released On CD: | 24/04/89 | ||
UK Chart: | N/A | ||
US Chart: | N/A | ||
Sleeve Design: | Banshees/Da Gama | ||
Producer: | Banshees/Hedges | ||
PRESS | ||
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Record Mirror 1989 | ||
LP/CASSETTE | |||
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UK LP | Track Listing | ||
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Cat: SHELP 1 Click on cover for full scan |
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Notes: |
LP available in a limited edition
embossed sleeve
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UK Cassette | Track Listing | ||
Cat: SHEMC 1 Click on cover for full scan |
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Released: | 08/06/84 | ||
UK Chart: | No. 15 | ||
US Chart: | No. 157 | ||
Sleeve Design: | Banshees/Da Gama | ||
Producer: | Banshees/Hedges | ||
IMPORTS/PROMOS | |||
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US Import LP | Track Listing | ||
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Cat: GHS 24030 Click on cover for full scan |
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Notes:
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Includes non UK Album single Dear Prudence | ||
US Import CD | Track Listing | ||
Cat: 9 24030-2 Click on cover for full scan |
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Notes:
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Includes non UK Album single Dear Prudence | ||
Japanese Import LP | Track Listing | ||
Cat: 28MM0368 |
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Canadian Promo LP | Track Listing | ||