Through the Looking Glass is the eighth studio album by English rock band Siouxsie and the Banshees. The album is a collection of cover versions. It was co-produced with Mike Hedges and released in March 1987 on Polydor. Through the Looking Glass was preceded by the single "This Wheel's on Fire". It was the second and final album recorded with guitarist John Valentine Carruthers. Some of their cover songs were praised by the original artists themselves.

TRACK LISTING

1. This Town Ain't Big Enough For Both Of Us
2. Hall Of Mirrors
3. Trust In Me
4. This Wheel's On Fire
5. Strange Fruit
6. You're Lost Little Girl
7. The Passenger
8. Gun
9. Sea Breezes
10. Little Johnny Jewel

In 1978, Siouxsie and the Banshees declared ‘We don’t see ourselves in the same context as other rock'n'roll bands.’ A decade later, and in the stark aftermath of a devastating storm, the band retreated to a 17th-century mansion house in the deracinated Sussex countryside to write their ninth studio album, Peepshow. Here, the band absorbed the bygone, rural atmosphere and its inspirational mise en scène, thus framing the record cinematically, as Siouxsie Sioux recalled, ‘It was as if we were doing the whole thing on the set of The Wicker Man’. Samantha Bennett looks at how Siouxsie and the Banshees’ Peepshow is better understood in the context of film and film music (as opposed to popular music studies or, indeed, the works of other rock'n'roll bands).

Drawing upon more than one hundred films and film scores, this book focuses on Peepshow’s deeply embedded historical and aesthetic (para)cinematic influences: How is each track a reflection of genre film? Who are the various featured protagonists? And how does Peepshow’s diverse orchestration, complex musical forms, atypical narratives and evocative soundscapes reveal an inherently cinematic record? Ultimately, Peepshow can be read as a soundtrack to all the films Siouxsie and the Banshees ever saw. Or perhaps it was the soundtrack to the greatest film they never made.

In 1980, with their highest charting album to date, Kaleidoscope and two successful singles, ‘Happy House’ and ‘Christine’, and a packed tour schedule, Siouxsie and The Banshees are at the top of their game. Swimming in their own stream, the Banshees defy musical categorisation and are head and shoulders above their peers, with one objective: to be the best band in the world. The band’s 1981 90-gig tour included 25 dates in the US, showcasing the exhilarating ‘Spellbound’, grotesque ‘Night Shift’ and the clandestine frisson of ‘Into The Light’, forming the sonic backbone of what is considered to be the Banshees’ magnum opus, Juju, their fourth studio album, released in June 1981.

Ushering in a new chapter in Siouxsie and The Banshees’ evolution the opulent fifth studio album A Kiss In The Dreamhouse, marks another change in direction, and sees producer Mike Hedges superseding Kaleidoscope and Juju producer Nigel Gray. Released 5th November 1982, several days after guitarist John McGeoch is ousted from the band after two near calamitous performances at the Rock-Ola Club in Madrid, it was the album that marked a potential dip in the band’s fortunes. However the Banshees regroup, calling again on the services of The Cure’s Robert Smith, whose fractured relationship with his own band made the offer of becoming a touring Banshee too attractive to refuse.

As for what happens next, this in-depth and authoritative account of one of the most original, creative, imaginative and mercurial bands in the history of rock music surveys the twists, turns and episodes of brilliance that define Siouxsie and The Banshees’ evolution from 1980 to 1987, including ancillary ventures ‘The Creatures’ and ‘The Glove’, and the making of the albums Juju and A Kiss In The Dreamhouse, as well as Nocturne, Hyaena, Tinderbox and Through The Looking Glass.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

As part of Record Store Day 2024 Polydor (UK) and Universal Music Recordings are releasing Siouxsie and the Bansheesí 1983 Live album Nocturne performed at the iconic Royal Albert Hall. Pressed on two 140g Black vinyl records, mastered and cut half speed from the original analogue tapes at Abbey Road Studios.November of 2023 saw Nocturne turn 40 years old and has not had an official vinyl press since. To celebrate this unique live album Siouxsie Sioux and Steven Severin have overseen a new direction of the already iconic artwork, 16 tracks taken from those two nights over the 30th September and 1st of October 1983, a new gatefold sleeve, printed inners and few extra surprises to discover.The Royal Albert Hall performances would see Sioux on vocals, Severin on bass guitar, Budgie ñ drums and Robert Smith (of the Cure) who at the time was a full time member of Siouxsie and the Banshees on guitar. Over the two nights the Banshees would play two different set lists, the songs making up Nocturne are hand picked by the band as their ideal setlist from the two gigs. With songs taken from Juju, it also features a few B-sides and live performances of Beatles covers Helter Skelter and Dear Prudence. The music heard in the introduction before ìIsraelî is an excerpt from The Rite of Spring, composed in 1913 by Igor Stravinsky Nocturne was lauded for its no-nonsense introduction to the bandís music for neophytes, while fans of the group will appreciate the tight, gutsy, stripped-down performances. In 2013, the album was included in The Quietusí list of its writersí 40 favourite live albums. Julian Marszalek wrote: ìNocturne stands as both a representation of where they were at that point in their career and their status as an incredible live band. Be it Budgieís precise and muscular rhythms, Steven Severinís flanged bass, Siouxsieís commanding presence or Robert Smithís interpretation of other guitaristsí material, the performance is magnificent and convincing throughout. By cherry picking their finest material, Nocturne was ñ and still is ñ a kind of alternate Greatest Hits that acts as a gateway to their kaleidoscopic world. Although forming on a punky whim in 1976 the Banshees remain one of the most influential and enigmatic bands of our time, worlds apart from their contemporaries and a cut above the rest. Unapologetically singular, confrontational, ever evolving yet all encompassing. The Banshees are as important now and even more so than they have ever been and continue to influence future generations by introducing their music and imagery through such hits as ëStranger Thingsí, Stephen Kings ëITí and Edgar Wrights ëLast Night in Sohoí.

Siouxsie & The Banshees final album ‘The Rapture’ includes the title track as well as ‘Fall from Grace’ and ‘Not Forgotten’ which were produced by the band in 1993. The release comes as a limited edition 140-gram turquoise transparent vinyl. 

TRACK LISTING

Side A
O Baby
Tearing Apart
Stargazer
Fall From Grace
Side B
Not Forgotten
Sick Child
The Lonely One
Falling Down
Side C
The Rapture
Side D
Forever
The Double Life
Love Out Me
Stereophoni

'All Souls' is a new collection of Siouxsie And The Banshees tracks personally curated by Siouxsie Sioux, which collates classic tracks and rarities into an Autumnal celebration.

Siouxsie And The Banshees were undoubtedly one of the most influential, fearless, and uncompromising bands to come from the punk era and this selection clearly illustrates their varied and unique musical approach. 'All Souls' opens with 1982’s 'Fireworks’ which is one of three iconic singles featured here alongside ‘Spellbound' (recently used to end Stranger Things Season 4) and closes with the mesmerising 'Peek-A-Boo'. Also included is 'Halloween’ from the band’s classic ‘Juju’ album mixed with more idiosyncratic tracks such as ‘El Dia De Los Muertos’, a B-side from the ‘Last Beat Of My Heart’ single, ‘Something Wicked (This Way Comes)’ from the single of ‘The Killing Jar’ and ‘Supernatural Thing’ from 1981’s ‘Arabian Knights’ single all of which are making their first appearance on vinyl in decades.

All the tracks have been re-mastered at Abbey Road studios with Siouxsie overseeing the process and cut at half-speed by Miles Showell. The record will be released on180g black vinyl.

The collection features new and unique artwork directed by Siouxsie featuring a marigold; the symbolic flower of the Mexican Day of the Dead/All Souls Day festivities.

TRACK LISTING

Side A
Fireworks
Halloween
Supernatural Thing
El Dia De Los Muertos
Sweetest Chill
Side B
Spellbound
Something Wicked (This Way Comes)
Rawhead And Bloody Bones
We Hunger
Peek-A-Boo

UMC are proud to announce the final batch of Siouxsie and the Banshees vinyl reissues. Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

The Banshees’ third studio album landed in summer 1980 and introduced two new members ‘Budgie’ on drums and ‘McGeoch’ on guitar. Kaleidoscope would give the group their first hit album peaking at No’5 in the charts. Hits such as ‘Happy House’ and ‘Christine’ are atmospheric and dripping with sarcasm, the album swirls with synths and programmed drum loops for the first time. 

Siouxsie And The Banshees – The Scream debuted in November 1978 born out of part sweet suburbia and part grey Orwellian uber state. The Scream was unlike anything else released that year.

Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

TRACK LISTING

SIDE ONE
1. Pure
2. Jigsaw Feeling
3. Overground
4. Carcass
5. Helter Skelter

SIDE TWO
1. Mirage
2. Metal Postcard
3. Nicotine Stain
4. Suburban Relapse
5. Switch

An absolute classic from 1981. Budgie’s tribal drums and John McGeoch’s swirling guitars provide the perfect backdrop for Siouxsie’s distinctive vocals.

This is one of four albums released by taken from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

Originally release in 1986, this is one of four albums released by UMC from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.