Siouxsie - Mantaray
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Free Music Notes for Mantaray
Free Music Review: Amazing album, amazing show!
Hit: 5 Stars
This is one of the most interesting albums for its day. Mantaray delivers a great Siouxsie experience! While short compared to more contemporary releases from other artists these days, this album has no filler, or fluff. It's rock solid. Siouxsie at age 50 belts out this album as if she were still that young brash upstart from 1978. This album did not dissapoint, or in anyway throw me a curve ball. I enjoyed this work thoroughly.
I just came back from one of her shows with this Mantaray & More Tour, at the House of Blues last night and was completely floored. On stage she executes this album perfectly as she dances like a whirling dervish. It was like seeing the post punk gothic diva version of Cher without the crazy costumes and hype. She has amazing positive energy. She will not dissapoint. If you truly love Siouxsie's work, you will love Mantaray!
Free Music Review: Not Just Me Then?
Hit: 5 Stars
Having heard the lead single 'Into A Swan' and not being able to get it out of my head all day, I can safely say this is not going to disappoint.
It's (the single at least) is heavy dark and gothic - which has surprised some people.
Most people seem to have been expecting something lighter and easier going on the ears. But this is Siouxsie Sioux NOT Gwen Stefani. And a good thing because of it. Siouxsie has never been 'easy listening'. She creates artful powerful tense and edgy and meaningful music.
This album will remind everyone who the real Gothic Ice Queen is in this world. And there is definitely only one!
Free Music Review: Siouxsie at her best
Hit: 4 Stars
This is classic Siouxsie Sioux at her best. It definately has elements of the Banshees, but also takes a new direction. "Into a Swan" is excellent in its sharpness, but "If it doesn't kill you" and "Heaven and Alchemy" are hauntinly brilliant. A must have for Siouxsie Sioux fans.Free Music Review: Siousxsie still reigns!!
Hit: 4 Stars
The song samples do NOT do this release justice! I was disappointed by the samples, but it's Siouxsie, so, of course, I was going to buy it. I was less apprehensive after reading a couple of very positive reviews. I was NOT dissappointed at all! Siouxsie is still the reigning Goth Queen! GREAT CD!!Free Music Review: Something to celebrate
Hit: 4 Stars
Over the years Siouxsie has spoken a number of wise words that have acted as a guiding light, a beacon through my perilous journey through life. Once she said that anyone who doesn't like cats, she doesn't like them. Not only does this seem a very sound principle that has yet to let me down, it is rather the way I feel about Siouxsie herself. So having declared an interest, it may come as little surprise to learn that I like this album, her first solo recording since her career began over thirty years ago. It also marks, I believe, the first time her name has appeared on a composer credit on its own, as it does on One Mile Below.
Of course there are other musicians on the record but unlike the democracy involved with the Creatures and Siouxsie and the Banshees, here their purpose is to support and realize Siouxsie's vision. To this end producers Steve Evans and Charlie Jones at Bath's Riverside Studios have supplied guitars, keyboards, programming, bass guitar and upright bass, anchored throughout by drummer extraordinaire Clive Deamer. All three had previously served time with Robert Plant, and Steve Jones co-produced his recent Mighty Rearranger album. Siouxsie has chosen to set out her stall by showcasing a variety of styles, mostly close to areas she has explored in the past but in fresher settings that highlight her irrepressible vocal gymnastic talents to excellent effect and show her as always moving forward.
On If It Doesn't Kill You she evokes the mood of a Bond movie, while Here Comes That Day is dramatically large in Big Spender Bassey-esque fashion. Several tracks have a chorus of other Siouxsies in the background. Other musicians have been used sparingly; a dulcimer here, some notable Egyptian percussion there, the occasional use of strings and a one man horn section in the form of Terry Edwards on the single Here Comes That Day and on Drone Zone.
Judging from the sound of it, Siouxsie clearly enjoyed the sessions, recorded over time in occasional short bursts, rather like her beloved B-sides sessions, each session involving a commute from her home in France. Sometimes the chemistry that can only come from a unit that regularly plays and performs together is not quite there, though as she has subsequently embarked on a tour with her new musical mates, this minor issue should be addressed on future releases. The album is lean, clocking in at just over 40 minutes, free of filler and sounding better with every play. It isn't the Banshees, it isn't the Creatures, but it is Siouxsie, and to be celebrated.