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The Rapture'>The Rapture is the 11th and final studio album by English alternative rock band Siouxsie and the Banshees. The songs with cello arrangements, including the title track as well as 'Fall from Grace' and 'Not Forgotten', were produced by the band on their own in 1993. John Cale later produced the remaining songs in mid-1994. The Rapture Siouxsie and the Banshees. Released January 16, 1995. The Rapture Tracklist. O Baby Lyrics. Tearing Apart Lyrics. Stargazer Lyrics. Fall From Grace.
Jef Rouner 4
All this week we're going to look back over albums from undeniable goth icons and talk about their failures.
By the time Siouxsie and the Banshees released The Rapture in 1995, they had been together for almost two decades. They'd blazed a path with a dark and daring sound that still had just enough pop to entice two generations of spooky youngsters, and you will never for a second find me saying that Siouxsie and Steve Severin should be considered anything other than two of the most important names in goth composition.
But their final, 11th album remains a total mess. Even for a band that was always known for tackling a lot of different angles on their records there is an incredibly fractured feeling that you can't get past.
Part of it is that the band was pretty clearly staying together at that point because they were, commercially speaking, a very successful live band in the mid-'90s. They'd been a major act in the first Lollapalooza, and were enjoying the fruits of a long and productive career, even if they never seemed terribly comfortable with that label. Both Siouxsie and Severin said in interviews around that time they didn't consider themselves either old or iconic.
Rewind:
You'd think that having John Cale produce and album would be the absolute best thing to wed those two points back together, but it wasn't enough. I know many goths who scream that Cale should not have been allowed anywhere near the record, but the songs that he produced are honestly not in any significant way different than the work of the band on their own. Having said that, not much good comes of splitting up your album under two creative forces in two different time periods as they did, something that contributes heavily to the dissonance.
Which is sad because taken individually many of the tracks on Rapture are perfectly awesome. 'Fall From Grace' for example is Siouxsie in her most eloquently melancholic. The song has all the earmarks of a great Banshees number, what with her stream of consciousness and somewhat violent lyrics over an almost night club progression.
Or you could look at 'Sick Girl,' which is a rarity in the banshees catalog in that Budgie wrote the lyrics. Tox for mac download. You might remember it from a pretty neat scene in a pretty awful movie called The Craft. It's an unnerving little tune that harkens back to Juju. If there's anything that the Banshees had been missing lately it was the ability to disturb, their contribution to Batman Returns notwithstanding.
Rewind:
Songs like that are honestly the meat on some very moldy bread, though. The two lead singles, 'O Baby' and 'Stargazer' sound more like b-sides from Superstition than new and exciting work. Shouldn't that be a good thing?
After all, Superstition is a fantastic record with gems like 'Kiss Them for Me' and my favorite Banshees tune of all, 'Shadowtime.' Yet it's also the record that was most clearly aimed at the mainstream in production, and that's just a big no-no most of the time in goth music.
Talent is hitting the target, genius is hitting the target no one knew was there.
Lurking in The Rapture are two very good EPs that tried very hard to be an album. The ending of the record, starting with the brilliant but epic-length title track, could have stood as its own as a kind of omni-single. Stuck as it is past the broken glass of the earlier executions you just don't have the patience to wade through it, and that means you miss 'The Double Life.' Birthed from the beginning of all the '90s would become in music, the song is wonderfully insane and hard-rockish.
That's the problem, though. In the end the Banshees were tired of being the Banshees by then. Just as a man who has lost his passion for a certain song can still play it flawlessly, they could grab the tiger by the tail to churn out great work. These songs, in the hands of an earlier incarnation or maybe even another full-time producer, could have been gold.
Instead, Siouxsie's powerful pipes sound reedy, and Severin's playing lacks passion. Budgie alone goes full-tilt boogie, but he's basically a human Muppet without an off switch, so that's to be expected. The Rapture disappoints because it is so obviously asking to be the end of the legendary band.
Tune in tomorrow for more of the Five Most Disappointing Goth Albums.
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Jef With One F is a recovering rock star taking it one day at a time. You can read about his adventures in The Bible Spelled Backwards or connect with him on Facebook.
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After releasing Superstition in 1991, the Banshees headlined the first Lollapalooza festival and were then asked to record a song for Tim Burton's Batman Returns. The outcome was the fantastic stand-alone single 'Face To Face' that was co-orchestrated by Danny Elfman. A year after that, in 1993, the group started to record material for a new album. They then took a break from the recording process to play several festivals abroad, performing some of their newer songs as well even though they remained unreleased. The following year, Siouxsie also duetted with Morrissey on an incredible, heart-rending cover or Timi Yuro's 'Interlude'. The band felt that the album wasn't quite ready yet so they collaborated with The Velvet Underground pioneer John Cale to finish it. Two songs were dropped from the initial version of the album and ended up as B-sides for a later single release ('Black Sun', 'Hang Me High') while a bunch of new songs were recorded with Cale. The completed album The Rapture finally saw the light of day in early 1995.
![Rapture Rapture](/uploads/1/2/9/5/129512574/738616405.jpg)
The lead single 'O Baby' has got to be one of the most scorned SATB singles there ever was if internet forums are to be believed, and sure, on a certain level I can see the point: it's certainly no 'Spellbound' or 'Cities In Dust'. With a legacy as long as theirs (nearly 20 years, 10 previous studio albums) the constant comparisons are inevitable. But as in Superstition's case, prejudices can make you blind and if you take of the nostalgia glasses, you can notice that 'O Baby' is actually an adorable carefree '90s alt-pop gem where Siouxsie sings about being happy and presumably, in love: 'The cracks in the ground grin up at me / Even the creases in my shoes smile up at me'. The music video is an ironic jab at child beauty pageants, where Siouxsie first plays along, then tears her clothes to tatters, smears the dressing room mirror with makeup, throws tiaras around and stabs a wig holder. Oh, and turns a false eyelashes into a Hitler moustache. All this while sporting a pink princess dress. Hilarious.
It is followed by 'Tearing Apart', a bittersweet song about people falling out: 'We'll tear us apart / You're still in my heart', perhaps foreshadowing the Banshees' split-up only a year after the release. Together with 'Stargazer' and 'Fall From Grace', the first four tracks are a Banshees take on '90s alternative pop-rock, filled with pretty melodies and shimmering instruments. The vibrant 'Stargazer' was also released as the second single off the album. It's a wonderful uptempo tune that brings along a hint of exotica. (I used to be completely addicted to this song during my teenage years.) The two latest Siouxsie and the Banshees album have been sometimes criticised for 'going pop' and losing their originality, but if you listen to 'Hong Kong Garden' (their first single) and 'Stargazer' (their last single to date) back to back, you'll come to see that the latter is nothing short of a glammed-up long-lost sibling of the former. Oh, and speaking of glam, here's the music video:
(And for a really surreal experience, check out the Juno Reactor remix of the song - it's a Goa trance version of the song!)
The darker numbers are usually among the definite highlights of the Banshees' albums and 'Not Forgotten' is no exception: not only is it triumphant on its own, it also showcases Budgie at his best - his tribal, distinctive drumming truly makes him one of the most unique and talented percussionists in pop/rock music. And then in the next song, 'Sick Child', he moonlights as a lyricist. It is a remarkably soothing song with beautiful, cello-accompanied instrumentals and represents the band's softer and more tender side. Both songs were used in movies during the time of their release: 'Sick Child' in the American supernatural horror-fantasy film The Craft and 'Not Forgotten' in the cult classic Showgirls for which the band also recorded another song, 'New Skin'.
Easily the best tune they recorded with Cale is 'Forever', a glorious swan song of the band with Siouxsie lamenting 'We couldn't stay together / This couldn't last forever'. Not all songs from the Cale sessions excel quite as well, though. 'The Lonely One' would've made a good suitable B-side for 'O Baby', but on The Rapture ends up feeling pointless and fillerish. (Funnily enough, with its accordion and summery soundscape, it sounds like it could be taken from The Creatures BoomerangLP.) Unfortunately, the same applies to 'Falling Down' even though it does sound edgier and has more going on.
The biggest issue I've got with this LP is its length: clocking at 54 minutes, it could do with a track or two less. The previously mentioned two songs come to mind, but the main reason to its lengthiness is actually the title track that is eleven and a half minutes long. 'The Rapture' consists of three different parts that segue into one another, and is an artistically ambitious composition driven by McCarrick's cello arrangements. It is an exquisite piece per se and got the attention it deserved when it was used as an opening song for the second set of Siouxsie's Dreamshow live recording, backed by the Millennia Ensemble orchestra. It just doesn't fit in the middle of the album, surrounded by four-minute pop tunes. Either it should've been the album closer, or it could've been released as a stand-alone EP. Probably the latter, as the ferocious 'Love Out Me' serves as a powerful ending note for the record. Lyrically it describes a self-destructive person's desperate plea for help: 'Love me / Hate me / Help me / Save me from me / Hold me / Hurt me / Stop me / Take this love out me!'. Interestingly enough, the occasional saxophone sounds on the last song of their last album recall the use of the instrument on their debut The Scream. It is sad that this is where the Banshees' story comes to an end but with 'Love Out Me' they do bow out with a roar.
Siouxsie The Rapture Rare
![Siouxsie Siouxsie](/uploads/1/2/9/5/129512574/902653991.jpg)
Personally I think that both Superstition and The Rapture are actually very nice pop albums that have received disproportionate criticism. No, they don't sound like Jujuor The Screambut that's exactly the thing: Siouxsie and the Banshees were a spectacular band in that sense that whenever they recorded a new album, they came up with a new sound - a sound that was distinctively Banshees-y but still something fresh that hadn't been heard from them before. How sad would it be if they still relied on same kind of pattern after 14 (as in Juju's case) or 17 (as with The Scream) years! The band evolved, but unfortunately not all of their fans did. In the end, The Rapture is a fine Banshees pop record and gives a worthy ending chapter to the story of one of the most important groups to emerge from the post-punk wave. Bravo.
4 / 5
Siouxsie Rapture
Try at least: 'Stargazer', 'Sick Child', 'Forever', 'Not Forgotten'