2023 has been nothing short of an exciting year for Siouxsie Sioux. The alternative music pioneer made her return to the stage after ten years, whilst making her return to the United States for the first time in fifteen years. In the absence of performances, the music she created as a member of Siouxsie and the Banshees has continued to inspire an endless list of musicians and artists alike. Looking back on the Banshees’ back catalog, their fourth album, Juju is commonly heralded as their finest hour. 40 years since the album’s release, the mesmerizing qualities that made Juju a special album then are ever-present today. While Siouxsie Sioux’s vocal performance is equally enchanting and enthralling across tracks such as “Halloween” and “Monitor”, guitarist John McGeoch’s twisted sense of melody and arpeggiated frenzy on “Spellbound” and “Head Cut” make Juju an album to not be forgotten.

While the brilliance of Juju can not go unnoticed, now is a great time to revisit the group’s follow up effort: 1982’s A Kiss In The Dreamhouse. While Siouxsie’s return to live performances this year may have you running to rediscover Juju (or to check it out for the first time… you’re in for a treat if so!), A Kiss In The Dreamhouse remains the most atmosphere evoking and cohesive effort the band has to offer.

Consisting of the same lineup that made Juju, Siouxsie Sioux (vocals), John McGeoch (guitar), Steven Severin (bass) and Budgie (drums) venture into the more grandiose and dramatic territory explored on cuts “Arabian Knights” and “Sin In My Heart”. Apart from a few key moments on A Kiss In The Dreamhouse, the album largely focuses on building up an all-engulfing auditory thrillride over its concise nine song tracklist. From the introductory moments of album opener “Cascade”, A Kiss In The Dreamhouse establishes itself as a different entity than Juju.

The interplay between McGeoch and Severin, coupled with Siouxsie’s signature vocal make “Cascade” a gripping opener to the album. The peaks of the song are truly highlighted by the band’s masterful command of dynamics, as the quietest moments of “Cascade” are just as powerful as its loudest. “Cascade” is followed by the driving “Green Fingers” and provocative “Obsession”. Severin’s bass prowess highlights “Green Fingers”, as Siouxsie’s lyrical narrative on “Obsession” is both harrowing and beautifully constructed. Across the three cuts that introduce A Kiss In The Dreamhouse, the band showcases a newfound sense of experimentation and confidence that was only introduced on Juju.

“She’s A Carnival” is a masterclass on how to feature eloquent guitarwork in a rock context. While “She’s A Carnival” features one of Siouxsie’s most exuberant performances on the entire record, McGeoch occupies his own space to showcase his trademark descending melodic ideas and unique jangle. While the organ piece that is tacked onto the end of the song breaks the dreamlike atmosphere of the album, it lends itself well as a transition into “Circle”. 

Moving into the second half of A Kiss In The Dreamhouse, “Melt” may very well be the band’s finest moment. Severin and Budgie’s disjointed groove is of the variety that only Siouxsie and the Banshees can make feel natural and captivating. McGeoch turns in one of his more cinematic contributions, as if his performance drives the seductive narrative that Siouxsie spins atop of it. 

The pulsating backbeat of “Painted Bird” and snare sizzle of “Cocoon” do an excellent job of cushioning the comedown after the peak of “Melt”. All is brought to a close on A Kiss In The Dreamhouse with “Slowdive”, a dance floor stomp done in the darkly captivating Siouxsie and the Banshees style. If anything can be said to summarize A Kiss In The Dreamhouse, it’s the sound of a band that has learned to diversify its sound while expertly continuing aesthetics that they have previously built. When it comes to 80s alternative, goth, and new wave, few albums create an experience as unique as A Kiss In The Dreamhouse.
​
9.5/10

Favorite Tracks: “She’s A Carnival”, “Melt”, “Slowdive”

Photo Credit: Nalinee Darmrong

May 19, 2023 marks the passing of The Smiths bassist Andy Rourke. Following a lengthy battle with pancreatic cancer, Rourke’s passing has been met with complimentary and heartfelt tributes from his former Smiths bandmates. 

Via Twitter, former Smiths guitarist Johnny Marr referred to Rourke as “A kind and beautiful soul by everyone who knew him, and as a supremely gifted musician by people who love music”. Drummer Mike Joyce called Rourke “The sweetest, funniest lad I’ve ever met,” sharing similar sentiments of brotherhood and reverence. While Rourke’s passing is unquestionably a huge loss for popular music at large, his contributions to The Smiths’ music are nothing but extraordinary and tasteful examples of how to remain an individual in a collective of musicians.

In tribute to Andy’s passing, here are five of his most brilliant basslines across The Smiths’ four studio albums:

Photo credit: Julian Berman

​Since releasing 2020’s California Cursed, Santa Cruz’s DRAIN have built their reputation as one of hardcore’s best bands the right way. While there’s plenty of video documentation of their shows available online, it isn’t until you get in the room with their authoritative rhythms and punishing riffs that you understand why DRAIN is simply in their own league. Before any official album announcement, LIVING PROOF tracks “Run Your Luck” and “Watch You Burn” were quick to become hallmark elements of a DRAIN live show. Writing as someone who was lucky enough to see them pre-LIVING PROOF release, the nuance and musicianship present on these tracks hinted that something special was to come.

As recent signees to Epitaph Records, DRAIN turns in an album worthy of being spoken of in the same breath as label alum Descendents, Bad Religion, and Rancid. Staying true to Epitaph’s D.I.Y. ethos and origins, LIVING PROOF is a record that speaks to the power of self belief and pursuing excellence on your own terms. While Epitaph has certainly evolved since its humble beginnings in the 80s, the message and vibrancy that DRAIN possess on LIVING PROOF is sure to remain fresh for decades to come. 

With “Run Your Luck” and “Watch You Burn” becoming live staples for DRAIN, “Evil Finds Light” and “FTS (KYS)”  serve as the two single cuts that best prepare you for the onslaught of LIVING PROOF. While 2020’s California Cursed is an impressive debut and arguably a modern classic, DRAIN has noticeably become a tighter-knit unit of power. Cody Chavez (guitar), Tim Flegal (drums), and Sammy Ciaramitaro (vocals) have solidified their ever-present punch, which is particularly on full display via the second half of “FTS (KYS)”. Lyrically, the track also speaks on self-improvement and betterment in the way only DRAIN can. Ciaramitaro’s ear splitting snarl demands the listener to “Find the strength and kill yourself / Rеinvent the new you / Find thе strength and kill all the parts / That you don’t love”. 

Third and final album single “Good, Good, Things” served as great indication that DRAIN was primed to incorporate new elements into their brand of hardcore on LIVING PROOF. Using a Descendents cover as their template, “Good, Good, Things” marks the first time Cody Chavez makes a prominent vocal appearance alongside Ciaramitaro. Chavez’s lower register is the perfect compliment to Ciaramitaro’s high-pitched style, though Ciaramitaro turns in his first melodic vocal performance on “Good, Good, Things”. New styles are introduced and genre-pillars are paid homage within the brief runtime of “Good, Good, Things,” proving that DRAIN know how to deliver listeners a fulfilling listen at blistering speed.

Aside from the singles, the first half of LIVING PROOF is highlighted by “Imposter”. Bar none, “Imposter” serves as one of DRAIN’s best tracks to date. The verses of the track move quickly while maintaining their impact a la Madball, whereas the breakdown has more in common with Chaos A.D.-era Sepultura. That said, while DRAIN is not a band that shy away from their influences, they know how to present them in a way that is uniquely their own. Chavez, Flegal, and Ciaramitaro have an indiscernible ability to play hard and fast while retaining a sense of control and finesse. Lyrically, “Imposter” is a manifesto against the idea of blatant imitation and social copying, which Ciaramitaro rips through with electrifying confidence. Specifically; “Sick of watching everyone try to be everything but themselves / You think you’ve got to prove what?! Something to who?!”. The lyric is punctuated by a quick vocal chime-in from Chavez, reiterating that the vocal pairing introduced on “Good, Good, Things” is a now-essential element of the band.

While the keys and skittering hi-hat’s of the album’s “Intermission” may be off putting on first listen, their residence on the album is short lived as DRAIN’s signature icy guitars barrel through the speakers to re-engage listeners for the album’s second half. “Weight of the World” (immediately following “Intermission”) serves as yet another one of DRAIN’s best tracks and a personal favorite. The midpace groove of the tune differentiates it from the rest of the album, while retaining the aggression that defines LIVING PROOF. If there’s one cut recommended you check out, look no further than “Weight of the World”. Think Pantera meets Lights…Camera…Revolution-era Suicidal Tendencies, but given a facelift via DRAIN’s undeniable vitality.

LIVING PROOF is a masterclass on how to incorporate influence while still having something unique to say. DRAIN’s ability to do so makes their sophomore album a top-shelf hardcore release and worthy of all the accolades it will go on to receive. 

10/10

Favorite tracks: “Imposter”, “Weight of the World”, “FTS (KYS)”