Melody Maker 30/06/79  

...starts from NOISE, carving out great bulwarks of sound anchored around brutally simple musicianship, repetition and deliberately unconventional lyrics.

Around dive bombing bass lines, they cement layer upon layer of often distorted guitar textures that infuriate, insult and frequently hypnotise.  For this very reason you always have to play their records LOUD.  It not only ensures maximum response but also - so the theory goes - should make DANCING unavoidable.

The Banshees are more accessible as they further refine the sound of that first (fine) album.  They sound more confident and consolidated than ever; this is not to be confused with arrogance, though the line is a fine one.  The song builds horizontally, Siouxsie fighting with the tungsten urgency of "Twist", each line filled to the rim with words.  It improves with every hearing.

"Bits" continues the theme of "Twist," a more experimental venture built around that spine-twisting bass line, a kind of shattered acoustic guitar and the endless background noise of kids - Lou reed's "Berlin" unavoidably springs to mind.

Have a crash-helmet handy if you're feeling in the least bit frail. 

Ian Birch 



  Unknown source 1979  
  Me, I was never too keen on 'Staircase' - I thought the production made it sound like it was recorded on finely ground All Bran.  But this is a sterling successor to the brave steps of the first album.  It surges, soars and dips in true Banshee fashion.  And it's got bells (ever since Spector, I've had a soft spot for records with bells on them).  But, honestly what will John McKay do when he discovers you can't use a flanger on everything?  


  NME 30/06/79  
  If Ingmar Bergman produced records, they might sound like this.  The listener is immediately engulfed in a maelstrom of whirling sound punctuated by the ominous tolling of church bells, phased guitars, thundering percussion, a surreal alto sax and the wail of Siouxsie's voice.  It demands to be played repeatedly at the threshold-of-pain volume to elicit its full nightmarish quality.

Roy Carr.



  Melody Maker 30/06/79  
  Yet another directional twist from the ever-improving quartet who were one of the last of the originals to be signed but amongst the first to chart.  Not as commercial as the last couple but good luck to 'em especially as it's competing with their own eagerly-awaited 'Love In A Void' presently hovering.