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In a beautiful written piece for the New York Times, Trevor Noah paints a picture of his childhood with his mother

Siouxsie - Mantaray

2007-12-18 16:22
If the opening track of Mantaray makes you write Siouxsie off as a has-been Goth trying to make it in pop, you’ve missed the point. Granted, she’s not going off on any kind of tangent. Instead she’s distilled her styles into a well-honed summary of years of punkish pop experiments. She’s been around since 1978, she influenced huge stars like The Cure. Yet she’s still – amazingly - not stale.

Siouxsie’s perfectly schooled familiar weirdo vocals remain strange, but her own hooks lift her out of obscurity. She’s still deliciously cruel on the revenge mantra "Here comes that day". She colours her snake-charming delivery with the rhythmic mysteries of drums, vibes, and complex percussion on most tracks. And though there’s isn’t anything as storming as shiny-black B&D hit "Peek-a-boo" here, there’s not a single dud.

Even if you’ve only ever really heard and loved Siouxsie’s cover of Iggy Pop’s "The Passenger", this release is worth a listen. And though it’s a bit more crafted than revelationary, it’s also more of a success than a sell-out. Yes, there is actually a difference.

- Jean Barker

Thanks to Siouxsie, there’s still great 'pop' music for black-clad, nipple pierced femme-fatales and their cats to dance to.

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