ANIMA ANIMUS
Album Release Date: Feb. 16th, 1999
ANIMA ANIMUS
Album Release Date: Feb. 16th, 1999
10 years since the last Creatures album… 4 years since the last Siouxsie And The Banshees album… 3 years since the breakup of Siouxsie And The Banshees… and close to 1 year since this duo began their pre-album tour with John Cale, the album that was going to be
titled "Mount Venus" and "Gifthorse" now, FINALLY, comes to us as "Anima Animus."
Since the breakup, we've waited, and ached, and watched rumors on the WWW of a new Creatures album,
with false release date after false release date. Last year, they finally had it "pinned down," and here it is: a most dazzling Valentine's gift for the world. Thwarting and magnificent… they confirm that it was 2 years since the material was recorded… and, well, if that's what was necessary for their sublime satisfaction, then it was worth the wait (although we wouldn't have said that 3 years ago!). I was fortunate enough to be contacted by a mysterious elfkin, and given a promo CD two weeks early!
The door of the spaceship comes up with a slow buzz and teetering beat that heightens and speeds up to a whirl through the first single,
"2nd Floor". I'm not sure what this is about. My guess is that it's showing their ~voyeuristic tendencies~ in a celebrity/party-filled life. It is the most commercial, radio song-y, dance club type track on the album, with constant poppy repetition of the title throughout, but contains many ebbs and flows and little embedded jewels of sound. (This and "Another Planet" were recorded on the Eel Pie Barge & in Eden.) Thumping, rattling elements glide under that gorgeous, carrying voice. At one point, the clanking, mumbling sounds of a party drift through underneath. Lots of those winding, wigged out, woo-woo moog-like electronics, varying rhythms, splattering drums, and a delicious sigh-moan sequenced near the end.
We are then jetted into a string of songs very familiar to me from the two shows I beheld last year. It's really great to finally hear how they came out in the think-tank-studio!
"Disconnected" kicks out nice hollow sounding drums (the listed aqua-marimba?), bell thudded rhythms, then a deep hum, helicopter wisps, and tinkling notes on
Siouxsie's toy piano. Her writhing, snarling voice starts in and leads us through the first few lines, and then into a catching, repeating ahh-groan sample of herself. An even deeper hum-rumble starts into your brain. More and more is added: stacked drums, plinks, choppers, and electronic whirrs. A feeling is produced of sinking deeper, closer and closer to comforting depression and the self-doubt of love.
"Turn It On" begins with a small slippery, panning tone and then we are bombarded with
Budgie's robust clanging drums, and a purring sample of Sioux. Over this, she bursts in with the lyrics (now a little more distanced)… constantly thundering, twisting and growing, with some really nice little breathy moments and curling outbursts/whispers that cut to silence several times, only to return with this re-occurring combination of rigid potent drums, screeching, turning guitar, and bending disco scratch (sort of like at the end of "Fear Of The Unknown"). She drops down
self-descriptions like: "omnipotent… chameleon" -- that's her! It's all very sexy and
erotic.
"Take Mine" is a little shorter. A light but very rich beat slithers into her THROATY vocals, over yet another charismatic oooooh-ooh sample, and a shimmering electronic wave. Then after the first couple
verses, it hits you! A softer version of the drums in the previous track, but a very overpowering effect,
clamoring through the room. Sinuous atmosphere leads in and out of light vibes, and through held-out vocal notes urging you constantly to "take"
her... what? She mentions several things. The piece ends with the added echoing, menacing repetition of "are you happy now?" and a few more bumpy sets of sound to an abrupt finish.
Next, "Say" rolls in with spacey layers and a sort-of tripped out harpsichord (but is probably organ), a subtle sound of vibes, and deep bass reverberation.
Siouxsie starts in with a solemn deep voice and continues to show off her exquisite range. Some whooshing sounds carry through to a defined
drum beat with little scattered percussive sounds here and there, and ricocheting electro-buzzz-bleeps. She announced recently that "Say" was written about Billy MacKenzie's suicide, formerly of The Associates. It gets a little more sparse then back to the propelling beat and squeaks, humming techno, an elegant honey portal, and finally
beautiful guitar like -my God!- TINDERBOX. A slinky heartbeat fades and soars into the horizon.
The stark and twang-y guitar of "I Was Me" follows. Siouxsie is very up close now, almost hissing into your ear at times. Telling of, I would think, her experience of becoming a public icon, then facing that major stardom of the past? Urgent, powerful curving cello eventually leaks into the background, with MANY dripping, falling sounds… little rattles spread out. She sings/speaks passionately, almost choking, on words like: "it's on the tip of my tongue, uh-oh yeah!" She grunts and hisses,
spiraling and twisting toward the deep drone end. The volume seemed to increase more and more! Here the album has taken a much darker turn.
And then, the explicitly sexy and morbid "Prettiest Thing." These lyrics remind me a lot of the intriquing-butchering-necropheliac-characters of
Poppy Z. Brite, and I wonder if Siouxsie's ever read anything of
hers. Chilling, low tones and beats, toy piano tinkling, and a staccato sample of
Sioux is layered and drawn out underneath her own groaning, perverse voice. Soon it all clashes together and grows more and more intense. Again, increasing in volume as the song continues!!
Afterward, creeps in the "Exterminating Angel." I was so taken by this song when listening to the limited single. It is by far the most annihilating piece on the album. An incessant, puissant series of drums and hums jump ("and there's nothing but") into a quiet sample-laden beginning. Her ascending,
PUMMELING vocals echo & blend expertly with a whole raging HURRICANE of sounds and tapping (Juneau Reactor helped out on this one), eventually obliterating strings that wind and eat away at the synapses along with a synth
choir and a splurge of falling backward-sounding clips (like the ones on the Eraser Cut EP). We are left in utter stillness to catch our breath…
"Another Planet" (which first appeared on the "Lost In Space" soundtrack) starts with a little sung melody… In this song and in "Don't Go To Sleep Without Me," Siouxsie really shows off her lazy French style.
Lounge-y, jazzy, languid lyrics and samples, gongs/singing bowls and bubbling beats, disco blitz and whirling romance... exhilarating vocals… the
ship reels on through space to a distant lover.
"Don't Go to Sleep Without Me" opens with Sioux's effected koto-zither and Budgie's textured vibes. Soft & sweet vocals, close whispers, and bass... a humble, shorter track, that ends unexpectedly, but leaves you with a cool, romantic, devoted air.
It's a mind-bending release, blending real drums that are relentless & hypnotic, electronics, an endless, intricate array of sound clips and effects, sequencing, and the scorching vocal spells of Ms. Siouxsie Sioux, for an all mighty, wondrous upheaval of power. It is not easy to compare this with other Creatures releases, because, as in the SATB reign, they have always been changing, morphing, and broadening through MANY styles. Here, they've definitely brought in more
instruments: coiling synthesizers and Budgie has taken up guitars! Most will say that this is much
darker than other works... but they & SATB always had that flavour of
morbid darkness. All is made up of different senses, different perspectives and worlds, as
Siouxsie seems closer or further away. With a vocal style so infinitely unique, her singing voice often differs greatly from her speaking voice
(the demons are let loose). The lyrics expand remarkably from her genius... Imagine living with her! (We are very envious.)
The couple's respective "anima and animus" must mesh flawlessly! As musicians, and as spirits, they are truly a perfect pair. This is total separation… from
record companies, critics, and the music business. As she belted out at a performance: "Here comes the storm, let it piss down on all of them!!!"
