To mark the 40th anniversary of SIOUXSIE AND THE BANSHEES’ classic album Kaleidoscope, we revisit an encounter from the pages of Melody Maker. Reinvigorated, with a talented new guitarist in place, Siouxsie and Steve Severin reveal all to Paolo Hewitt about insect welfare, plans for musical autonomy and their own quest for perfection: “We’re really professional amateurs….”

Photo by MICHAEL PUTLAND

MELODY MAKER, AUGUST 2, 1980

To all intents and purposes, 1979 was not a particularly happy time for Siouxsie & The Banshees. For starters, the recording sessions for Join Hands, the band’s crucial follow-up to their widely acclaimed Scream debut album, had revealed both drummer and guitarist Kenny Morris and John McKay pulling away from the band, refusing, by all accounts, to contribute fully to the work in hand. In Newcastle on tour, the tension finally erupted as the two of them publicly walked out of an autograph session at a record shop and back to their hotel. The two of them carefully made up their beds to look as if they were sleeping and scarpered, leaving Siouxsie and Severin to carry on regardless. They haven’t been seen since.

Hair apparent: Siouxsie Sioux, London, August 1980

There were problems with the album itself. Only “Icon”, “Regal Zone”, “Placebo Effect” and “Playground Twist” attained the phenomenally high standards that the Banshees had set themselves. And, as the band hastily enlisted the help of Robert Smith, guitarist with support band The Cure, and drummer Budgie to fulfil the tour’s engagements, Siouxsie came down heavily with hepatitis, pushing an already confused tour even further towards the brink of disaster.

All the signs, in fact, pointed quite clearly to the demise of a band who have been unmistakably influential in shaping a lot of music played today. Join Hands was probably the best ironic statement from a band last year.