• ' Released: 7 March 1980 • ' Released: 30 May 1980 Kaleidoscope is the third studio album by British band, released in 1980 by record label. With the departure of and and their replacement by two new musicians, on drums and on guitars, the band changed their musical direction and offered an album containing a wide variety of colors. 'It was almost a different band', said.
The album was preceded by the hit singles ' and '. In the UK, Kaleidoscope quickly became their most successful album to date, climbing to No.
5 in the albums chart. Siouxsie and the Banshees's new line-up with John McGeoch and Budgie Following the departure of McKay and Morris, the band regrouped and redirected their sound for their third record. Departing from their previous work, the Banshees incorporated synthesizers and for the first time. They particularly experimented in on a couple of tracks: the electro-dance minimalism of 'Red Light' and the atmospheric, synth-based piece 'Lunar Camel'.
The album also contained what could be described as a ballad, 'Desert Kisses'. Kaleidoscope marked the debut of guitarist and new drummer. Saw it 'like a new lease of life'. The songs had been demoed at Warner Chappell studios with only a bass and a synthesizer played by Siouxsie. After the 1979 tour, Siouxsie had been ordered to take one month of rest by doctors; she used this time to learn to play guitar and compose music for the first time.
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Release [ ] Professional ratings Review scores Source Rating favourable very favourable Kaleidoscope was released on 1 August 1980 by record label. The album peaked at No. 5 in the, the highest position the band has achieved to date.
A 180 gram vinyl reissue of the album, remastered from the original ¼” tapes and cut at half-speed at by Miles Showell, is scheduled to be released on 30 November 2018. Critical reception [ ] The reception from critics was positive.
's Paulo Hewitt gave the album qualified praise, summarising it as 'a kaleidoscope of sound and imagery, new forms, and content, flashing before our eyes'. Singling out the tracks 'Paradise Place' and 'Skin', Hewitt called them 'classic Banshee pieces.
Hypnotic, relentless and incisive'. Writing for, hailed it as 'probably the most varied, diverse and adventurous offering yet to shimmer under the Banshees' banner', praising the band's new musical direction: 'If anything, it makes its two predecessors, seem a trifle one-dimensional now. Tracks veer from the lightest electronic backdrop pulse to surging soundwalls as mesmeric and powerful as anything they've done. But the subtlety evident in 'Happy House' and marvellous 'Christine' are the pointers to the main content of 'Kaleidoscope'.
Needs noted that Siouxsie's voice 'gained new strength and depth, but she's also widened beyond singing and writing to include synth, piano and a spot of guitar'. The band's work on the singles 'Happy House' and 'Christine' was hailed shortly after their release by peers; singer-songwriter said that both songs used 'some unusual sounds', while drummer qualified them as 'innovative'. In his retrospective review, David Cleary of described Kaleidoscope as a 'strong record' with 'extraordinarily imaginative production values, featuring intricate synthesizer-flecked arrangements; psychedelic touches in 'Christine', spaceship synthesizer swoops in 'Tenant' and rhythmic camera clicks in 'Red Light' all enliven their respective songs'.
Legacy [ ] Kaleidoscope later influenced several critically acclaimed musicians. In a 1985 interview with Steve Sutherland, frontman cited the album when describing: 'It reminds me of the Kaleidoscope album, the idea of having lots of different sounding things, different colours'. During a TV interview to promote The Head on the Door, Smith also included Kaleidoscope in a selection of his 'Top 5 all-time favorite albums.
In a February 2008 interview on, from discussed McGeoch's contribution to 'Happy House': 'What it is about ' from a guitar playing point of view, is for a start it's modern. It's not got any of the sort of creaky old rock'n'roll aspects to it and it still sounded like the Banshees, almost more so.
That's when I really began to become a fan of John McGeoch. It was an extra bonus for me that they'd got a great guitar player who had left another band and came in as a ringer and joined and not surprisingly, that to me was a very good scenario. I've always liked that. It was like getting on the guitar'. Stated in 2008 interviews that they had rehearsed 'Happy House' before going on tour. Guitarist added: 'We've been doing all this [.] stuff, [.] which is our youth, really.