Siouxsie and the Banshees: influences, peers and legacy

Every connection with its receipt

Siouxsie and the Banshees began as Bromley Contingent provocateurs improvising the Lord's Prayer for twenty minutes at the 100 Club in 1976, then spent two decades refusing punk orthodoxy — flanged guitars, tribal drums, strings and Eastern scales. This mix traces the glam and Krautrock spines beneath that sound, the literary and surrealist imagery Severin and Sioux fed into it, and the goth and alt-rock generations that took the template.

The Kynda mix for Siouxsie and the Banshees

• Key Influence · The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie (1972). Siouxsie Sioux and Steven Severin met as Bowie obsessives in the south London suburbs, part of the Bromley Contingent that followed him before following the Sex Pistols. Bowie's serial self-reinvention, theatrical makeup and willingness to drag art-school artifice into rock gave Sioux her performance template; the Banshees later recorded 'Dear Prudence' and 'The Passenger', the latter a direct nod to the Bowie-Iggy Berlin axis.
• Influencia Obscura · The Marble Index by Nico (1968). Nico's harmonium-driven dirge album, arranged by John Cale, is the hidden ancestor of Siouxsie's glacial contralto and of the Banshees' bleakest material. Sioux has named Nico among the few female performers who mattered to her, and the European austerity here — no rhythm section, no comfort, just drone and voice — prefigures Juju and the chilly chamber textures the band pursued from Dreamhouse onward.
• Local Roots · Never Mind the Bollocks, Here's the Sex Pistols by Sex Pistols (1977). The Banshees were born inside the Pistols' orbit: Sioux and Severin were the Bromley Contingent, visible in the Bill Grundy broadcast, and the band's first gig at the 100 Club Punk Festival in September 1976 featured Sid Vicious on drums and Marco Pirroni on guitar. The scene around Malcolm McLaren's shop supplied the audience, the clothes and the permission to perform without rehearsal.
• Beyond the Medium · The Painted Bird by Jerzy Kosiński (1965). Kosiński's brutal novel of a child wandering wartime Eastern Europe gave the Banshees the title and the imagery of 'Painted Bird' on A Kiss in the Dreamhouse — the flock destroying one of its own for being marked different. Severin's lyric-writing drew habitually on literature and newsreel horror rather than romance, and this is the clearest instance of a book becoming a Banshees single.
• Peer · Unknown Pleasures by Joy Division (1979). Released months after The Scream, Joy Division's debut is the northern twin of the Banshees' project: punk energy redirected into space, reverb and dread, with the drummer and bassist carrying the melody. Both bands toured the same post-punk circuit in 1979 and both proved that Martin Hannett-style or Nils Stevenson-managed austerity could chart without compromise.
• From the Canon · The Scream by Siouxsie and the Banshees (1978). The debut that made the band's method audible: McKay's flanged, chord-free guitar, Kenny Morris's floor-tom patterns, Severin's one-note basslines and a cover of 'Helter Skelter' read as atrocity report. Recorded for Polydor after a fan campaign of graffiti forced labels to sign them, it set the template critics still cite as the moment punk turned into post-punk discord.
• Key Collaborator · Real Life by Magazine (1978). John McGeoch joined the Banshees in 1980 from Magazine, Howard Devoto's post-Buzzcocks band, and his playing on Kaleidoscope and Juju — chorus, flange, harmonised arpeggios instead of riffs — became the single most imitated guitar style in British alternative rock. Real Life shows the technique forming: 'Shot by Both Sides' and 'The Light Pours Out of Me' are the blueprint.
• Legacy · Silence Yourself by Savages (2013). Jehnny Beth's London quartet revived the Banshees' exact combination — monochrome presentation, declamatory female vocal, bass-led momentum and scraping guitar — and were immediately and repeatedly compared to them by critics. Savages' insistence on live intensity and refusal of ingratiating pop gestures reads as a direct continuation of the post-punk discipline the Banshees established.

What influenced Siouxsie and the Banshees

• The Beatles. The Beatles are named among the band’s first influences. (also via Dear Prudence) “The band cited the Velvet Underground , [ 93 ] the Beatles, Iggy Pop and the Stooges amongst their first influences.” (Wikipedia)
• The Velvet Underground by The Velvet Underground. The Velvet Underground is named among the band’s first influences. (also via The Velvet Underground & Nico) “I found 1969: The Velvet Underground Live very helpful because it demystified the Velvets. It's very basic, but I think a little bit of that crept into the end part of Hong Kong Garden .” (Guitar World)
• Roxy Music. The band shared an early interest in Roxy Music. (also via For Your Pleasure) “At their beginnings, they also shared a common interest for the "glamorous art rock" of David Bowie , Roxy Music and T. Rex .” (Wikipedia)
• Kraftwerk (1961). Kraftwerk is named as a band they loved. (also via Hall of Mirrors) “They also had "a love for Can , Kraftwerk and Neu! ". [ 94 ]” (Wikipedia)
• Alfred Hitchcock (1899). Hitchcock’s films influenced the band. “With every song, the band create an unnerving atmosphere , whether Sioux is singing about crazed butchers or a Psycho -inspired riff is puncturing the soundscape.” (Far Out Magazine)
• David Bowie (1947). The band shared an early interest in Bowie’s music. (also via The Rise and Fall of Ziggy Stardust and the Spiders from Mars) “At their beginnings, they also shared a common interest for the "glamorous art rock" of David Bowie , Roxy Music and T. Rex .” (Wikipedia)
• Sex Pistols. The band’s founders were inspired by the Sex Pistols. (also via Never Mind the Bollocks, Here's the Sex Pistols) “They were all inspired by the Sex Pistols and their uncompromising attitude.” (Wikipedia)
• For Your Pleasure by Roxy Music (1973). For Your Pleasure (Roxy Music) — titan for Siouxsie and the Banshees “== History == === Formation (1976–1977) === Siouxsie Sioux and Steven Severin met at a Roxy Music concert in September 1975, at a time when glam rock had faded and there was nothing new coming through with which they could identify.” (en.wikipedia.org)
• Neu! by Neu! (1972). Neu! is named as a band they loved. “They also had "a love for Can , Kraftwerk and Neu! ". [ 94 ]” (Wikipedia)
• Captain Beefheart. The article explicitly names Siouxsie and the Banshees as influenced by Beefheart. “Other post-punk bands influenced by Beefheart include Gang of Four , [ 7 ] Siouxsie and the Banshees , [ 157 ] Pere Ubu” (Wikipedia)
• The Stooges by The Stooges. The Stooges are named among the band’s first influences. “The band cited the Velvet Underground , [ 93 ] the Beatles, Iggy Pop and the Stooges amongst their first influences.” (Wikipedia)
• The Velvet Underground & Nico by The Velvet Underground (1967). The Velvet Underground & Nico (The Velvet Underground) — titan for Siouxsie and the Banshees “On their return home, they hired former Velvet Underground member John Cale to produce the rest of the record.” (en.wikipedia.org)
• Iggy Pop. Iggy Pop is named among the band’s first influences. “The band cited the Velvet Underground , [ 93 ] the Beatles, Iggy Pop and the Stooges amongst their first influences.” (Wikipedia)
• Television. McKay names Television’s Marquee Moon as formative for his approach to guitar. “The album that really convinced me was Marquee Moon by Television - I learned punk could exceed one, two, three, four barre chords. That really was a lightning bolt. But I didn't sit down and learn it; I just absorbed it.” (Guitar World)
• J. G. Ballard. Banshees co-founder Severin discusses Ballard’s vision of suburbia in an account of the ideas behind The Scream. “All [Ballard’s] near-future tales were set in this bizarre suburban wasteland. Suburbia is a place where you can imagine any kind of possibility, because there’s space, not urban clutter.” (Far Out Magazine)
• The Marble Index by Nico (1968). The Marble Index (Nico) — ghost for Siouxsie and the Banshees “During the same year, Nico briefly toured as supporting act for Siouxsie and the Banshees, one of many post-punk bands who namechecked her.” (en.wikipedia.org)
• T. Rex. The band shared an early interest in T. Rex. “At their beginnings, they also shared a common interest for the "glamorous art rock" of David Bowie , Roxy Music and T. Rex .” (Wikipedia)
• Tago Mago by Can (1971). Tago Mago (Can) — ghost for Siouxsie and the Banshees “They also had "a love for Can, Kraftwerk and Neu!".” (en.wikipedia.org)
• The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie (1972). The Rise and Fall of Ziggy Stardust and the Spiders from Mars (David Bowie) — titan for Siouxsie and the Banshees “At their beginnings, they also shared a common interest for the "glamorous art rock" of David Bowie, Roxy Music and T.” (en.wikipedia.org)
• Can. Can is named as a band they loved. “They also had "a love for Can , Kraftwerk and Neu! ". [ 94 ]” (Wikipedia)
• The Painted Bird by Jerzy Kosiński (1965). The Painted Bird (Jerzy Kosiński) — culture for Siouxsie and the Banshees (wikidata.org)
• The Cabinet of Dr. Caligari by Robert Wiene (1920). The Cabinet of Dr. Caligari (Robert Wiene) — culture for Siouxsie and the Banshees (themoviedb.org)
• Un Chien Andalou by Luis Buñuel (1929). Un Chien Andalou (Luis Buñuel) — culture for Siouxsie and the Banshees (themoviedb.org)

Peers and kindred spirits

• Dear Prudence by The Beatles. The band covered the Beatles song. “And Sid and I were laughing, 'Oh, we should really mess up a Beatles song!' And that attitude was still there. I remember growing up with the White Album . I loved it for their experimenting.” (Classic Rock)
• Tricky. Tricky covered the Banshees song on Nearly God. (via Tattoo) “Tricky covered the 1983's proto -trip-hop song " Tattoo " to open his second album, Nearly God .” (Wikipedia)
• Faith No More. Faith No More performed a cover of Switch. (via Switch, The Scream) “Faith No More covered "Switch" in concert [ 140 ] and cited The Scream as one of their influences.” (Wikipedia)
• Talvin Singh. Singh played and sang on the group’s single. “The group collaborated with the then unknown Indian tabla player Talvin Singh , who also sang during the bridge.” (Wikipedia)
• John Cale. Cale was hired to produce part of the band’s record. “On their return home, they hired former Velvet Underground member John Cale to produce the rest of the record.” (Wikipedia)
• Unknown Pleasures by Joy Division (1979). Unknown Pleasures (Joy Division) — peer for Siouxsie and the Banshees “They have been cited as an influence by bands such as Joy Division, the Cure, U2, Radiohead, and singers such as Tricky and Jeff Buckley.” (en.wikipedia.org)
• Pornography by The Cure (1982). Pornography (The Cure) — collaborator for Siouxsie and the Banshees “The Cure's leader, Robert Smith, declared in 2003: "Siouxsie and the Banshees and Wire were the two bands I really admired.” (en.wikipedia.org)
• Cut by The Slits (1979). Cut (The Slits) — geography for Siouxsie and the Banshees “In need of replacements to fulfil tour dates, the Banshees' manager called drummer Budgie, formerly with the Slits, and asked him to audition.” (en.wikipedia.org)
• Real Life by Magazine (1978). Real Life (Magazine) — collaborator for Siouxsie and the Banshees “=== Kaleidoscope, Juju and A Kiss in the Dreamhouse (1980–1982) === Budgie became a permanent member, and the band entered the studios to record the single "Happy House" with guitarist John McGeoch, then still a member of Magazine.” (en.wikipedia.org)
• Blue Sunshine by The Glove (1983). Blue Sunshine (The Glove) — collaborator for Siouxsie and the Banshees “=== Hyæna, Tinderbox and Through the Looking Glass (1983–1987) === During 1983, the band members worked separately; Siouxsie and Budgie composed the first Creatures album, Feast, while Severin and Smith recorded as the Glove.” (en.wikipedia.org)
• Hall of Mirrors by Kraftwerk. Siouxsie and the Banshees covered Kraftwerk's 'Hall of Mirrors'. “Siouxsie and the Banshees recorded a cover of "Hall of Mirrors" on their 1987 album Through the Looking Glass, which was lauded by Ralf Hütter” (Wikipedia)
• Metal Box by Public Image Ltd (1979). Metal Box (Public Image Ltd) — peer for Siouxsie and the Banshees “To tour Album in 1986, Lydon recruited former Magazine and Siouxsie and the Banshees guitarist John McGeoch, world music multi-instrumentalist (and former Damned guitarist) Lu Edmunds, bassist Allan Dias, and former the Pop Group and the…” (en.wikipedia.org)
• Dirk Wears White Sox by Adam and the Ants (1979). Dirk Wears White Sox (Adam and the Ants) — geography for Siouxsie and the Banshees “Ant inducted the three sidemen into his band at an initial band meeting at the Roxy Club on 23 April 1977, the night of a gig there by Siouxsie and the Banshees.” (en.wikipedia.org)
• In the Flat Field by Bauhaus (1980). In the Flat Field (Bauhaus) — peer for Siouxsie and the Banshees (musicbrainz.org)
• Never Mind the Bollocks, Here's the Sex Pistols by Sex Pistols (1977). Never Mind the Bollocks, Here's the Sex Pistols (Sex Pistols) — geography for Siouxsie and the Banshees “From February 1976, Siouxsie, Severin and some friends began to follow an unsigned band, the Sex Pistols.” (en.wikipedia.org)

Who Siouxsie and the Banshees influenced

• Joy Division (1976). Joy Division’s Peter Hook explicitly calls the Banshees an influence. (also via Unknown Pleasures) “Siouxsie And The Banshees were one of our big influences. The Banshees first LP was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing and this album showcases a landmark pe…” (Far Out Magazine)
• Dave Gahan. Gahan named the Banshees among his favourite bands. “Sparks, Siouxsie & The Banshees, Roxy Music” (Far Out Magazine)
• Kevin Shields. Shields names the Banshees among his early influences. “The Edge, Kevin Shields, Geordie Walker, Thurston Moore, Steve Albini and more have all cited your era of the Banshees as an influence.” (Guitar World)
• U2 (1976). U2 cited the band as a major influence. “The Edge, Kevin Shields, Geordie Walker, Thurston Moore, Steve Albini and more have all cited your era of the Banshees as an influence.” (Guitar World)
• Robert Smith. Smith describes how playing with the Banshees changed his musical perspective. “Once Robert Smith had played in the Banshees and played my songs, he started to sound very different. The Cure became the Banshees mark two, I think.” (Guitar World)
• Nothing's Shocking by Jane's Addiction (1988). Nothing's Shocking (Jane's Addiction) — legacy for Siouxsie and the Banshees “The festival, created by Farrell and Marc Geiger, was to become a farewell for Jane's Addiction, but also a showcase for other cult artists: Siouxsie and the Banshees, Nine Inch Nails, the Butthole Surfers, Living Colour, the Rollins Ban…” (en.wikipedia.org)
• Jeff Buckley (1966). Buckley was a fan of Siouxsie and the Banshees. “He was a fan of Joni Mitchell , the Smiths and Siouxsie and the Banshees” (Wikipedia)
• Third by Portishead. The Guardian notes Third's sound is haunted by Siouxsie and the Banshees' post-punk. “as "haunted by the angry post-punk of Joy Division and Siouxsie and the Banshees ".” (Wikipedia)
• Garbage by Garbage (1995). Garbage (Garbage) — legacy for Siouxsie and the Banshees “Garbage singer Shirley Manson stated, "I learned how to sing listening to The Scream and Kaleidoscope".” (en.wikipedia.org)
• Killing Joke. Killing Joke’s guitarist praised the guitar structures on The Scream as an influence. (via The Scream) “Killing Joke cited the band in their influences: guitarist Geordie Walker praised "the Banshees on The Scream " for bringing "chord structures that I found very refreshing".” (Wikipedia)
• Jim Reid. Reid identifies the Banshees’ first record as a favourite. (via The Scream) “Jim Reid wrote that in 1978 bands were doing something new; "The Banshees were one of them and their first record is one of my favourites".” (Wikipedia)
• Thurston Moore. Moore lists the Banshees song among his all-time favourites. (via Hong Kong Garden) “Thurston Moore of Sonic Youth listed "Hong Kong Garden" in his top 25 all-time favourite songs, [ 116 ] saying "it was a completely new world".” (Wikipedia)
• Brett Anderson. Anderson names Juju as a favourite record. (via Juju) “Suede singer Brett Anderson named Juju as one of his favourite records.” (Wikipedia)
• Superpredators (Metal Postcard). The Massive Attack song heavily samples the Banshees track. (via Metal Postcard) “Massive Attack heavily sampled " Metal Postcard " on the song "Superpredators (Metal Postcard)", recorded prior to their Mezzanine album.” (Wikipedia)
• Liquid Bird. The Beta Band track samples Painted Bird. (via Painted Bird) “The Beta Band sampled "Painted Bird" on their track "Liquid Bird" from the Heroes to Zeros album.” (Wikipedia)
• Bloc Party. Bloc Party took inspiration from Peek-a-Boo. (via Peek-a-Boo) “British indie band Bloc Party took inspiration from "Peek-a-Boo" and their singer Kele Okereke stated about that Banshees' single: "it sounded like nothing else on this planet.” (Wikipedia)
• House of Balloons by The Weeknd (2011). The Weeknd’s song samples Happy House and uses its chorus. (via Happy House) “The Weeknd sampled different parts of "Happy House" for his song " House of Balloons ", and also used the chorus of the initial version.” (Wikipedia)
• Silence Yourself by Savages (2013). Silence Yourself (Savages) — legacy for Siouxsie and the Banshees (musicbrainz.org)
• Björk (1965). Siouxsie and the Banshees influenced Björk's work with Tappi Tíkarrass.
• Radiohead (1985). Siouxsie and the Banshees is listed among Radiohead's earliest influences.