The Rapture - Siouxsie
Part of the 'Off Track 95' project - a pointless reevaluation of the music of my youth.
16 Jan 1995
Who?
British rock band who’d been around since 1976, led by the uber-charismatic, wonderfully coiffured songwriter Siouxsie Sioux.
My Preconception
Cool, arty, gothy, slightly scary punk band. I’d always associated them with the 1980s and was surprised they were still releasing material in 1995 (The Rapture would prove to be their last album). I knew they were influential and would nod admiringly if anyone told me they were a fan, but never really bothered to go back and listen to them. I assumed they would be noisy, angry, and experimental, with lots of lyrics about death. I also guessed that they probably hit their peak a decade earlier and would sound dated and a bit subdued by 1995.
The Tracks
O baby
The first single. Three minutes of accessible, optimistic pop. Fun, but not remotely what I wanted or expected from this band. This also loses marks from me for being called ‘O baby’, which is just horrible.
Tearing Apart
“I think we all should die, I think we’re dead inside” That’s more like it. This is still melodic and poppy, but there’s a bit more edge and some tempo and dynamic changes that keep things interesting. Sounds like a more polished Pixies, which isn’t the worst thing to be.
Stargazer
Also a single. In contrast to track one, I love the name of this song. The title and the lovely glissando opening set some high expectations. I thought we’d get something all sparkly and awe-inspired. Instead, we get more upbeat pop (with an almost country twang to it) with a bit of a dull melody. There are some nicely layered vocals in the instrumental bit which just made me realise that on the whole I prefer these songs when she isn’t singing. Disappointing, but I can totally get how this band would be an influence on the likes of Sleeper and Elastica.
Fall from Grace
This is the one I found myself singing hours after listening to the album. A little slower and prettier than what comes before it, and for me her vocal delivery is more interesting. With warm instrumentation over darker lyrics, this isn’t the most innovative songs on the album, but it’s one of the ones I most enjoyed.
Not Forgotten
Ooh. Spooky. Tribal drums, wailing vocals, some scratchy, scrapy noises. This is the sort of brooding, atmospheric cacophony I thought this band would be all about. It sounds like the soundtrack to some sort of cult ritual. The lyrics (“like a tell-tale corpse, Rises to the surface, Over-ripe and bloated”) add to the menace. Not the most enjoyable song, but it really cleanses the opening blast of pop from the mind and sets the stage for what is to come.
Sick Child
I love the way this opens. Reminds me of Smashing Pumpkins. By the end, though, I feel woozy and disoriented and a bit grubby. I tried to listen back through this one to work out where I stopped liking it, and I couldn’t figure it out. In the end I concluded that it’s all great. It’s just very odd. It goes from soothing to jarring and then manages to be both at the same time. The most interesting song so far.
The Lonely One
The use of the Bass has been a highlight on the album, and remains so here, bouncing along and moving an otherwise sparse song forward. This is a swirly, accordion heavy track with some slightly bonkers vocal choices. Siouxsie sings the song’s title five times – each with a different delivery. Loses marks for the fade out, but otherwise this is a quirky, cool, if slightly uncomfortable mid-album gem.
Falling Down
Yes. Some spikey pop-punk. I love this run of songs in the middle of this album. The way she sings “You left me with the swill and swine” gives me shivers. This is fun, but perhaps a bit forgettable.
Forever
This brings a fuller, more luxuriant sound than the last couple of songs, and the sequencing really works. For some reason this song makes me feel like I’m sinking into some sort of warm, black, viscous gloop. The slower vocals contrast with the faster, arpeggiated guitars before a sudden, brief change in dynamics snaps you back to reality. I heard that a young Thom Yorke was a fan of this band - I bet he likes this one.
The Rapture
This band are very, very good at opening their songs. They go all classical on this track, slow-building for over a minute before settling in to a groove over a hypnotic bass and some choppy strings, giving a pleasing Kate Bush vibe. Then, four and a half minutes in, it unexpectedly transforms into something else entirely. The whole song is over eleven minutes long, and for me the second half drags a bit, but I love the ambition.
The Double Life
After being a bit non-plussed by the way this album opened, the run of songs from ‘Fall from grace’ onwards really had me sold on the Banshees. This, unfortunately, is where that run ends. It’s different, but the spoken-word verses about secret chambers, vampires and other gothic horror tropes sounds like self-parody. I don’t think this song has aged well.
Love Out Me
This is probably what I was expecting most of the album to sound like. Energetic, rocky number with some of the more prominent drums on the album. I bet this is great live.
Track Rankings (because I just love ranking things):
Forever
Fall From Grace
The Rapture
Sick Child
The Lonely One
Falling Down
Tearing Apart
Not Forgotten
Love Me Out
O Baby
Stargazer
The Double Life
Final Thoughts
Given that I thought of them as more of an ‘80s band I thought they may sound more dated compared to what else was around at the time. I like the range the songs show – each one has a distinct character that brings something to the album and creates a nice blend of accessible and eccentric. Less punky and more musically innovative than I was expecting, its variety and – at times – unpredictability make it feel a little unbalanced in places, but the overall effect is of an interesting and ultimately rewarding collection of songs.
The 95 Verdict
Does this album support the ‘1995 was the best year for music’ theory? Yes! Without a doubt. I really enjoyed this record, and I’m keen to do more exploring of their back catalogue. Even if this doesn’t turn out to be my favourite ‘Banshees’ album, there’s something about it that I think really lends itself to 1995. It has a wildness and flair that most 90s bands did not, but in its poppier moments, it fits perfectly alongside the rising Britpop bands, while the arrangements and indulgences remind me of what groups like Smashing Pumpkins were doing around this time. It feels like an appropriate passing of the torch from Siouxsie to those who grew up listening to her, making it a fitting start to the musical year.