"Nocturne", Siouxsie and the Banshees, 1983
Dia: 6
Mês: Maio
Ano: 2013
Ano: 2013
César said it!
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): Nocturne is a two-LP set recorded (with no overdubs) at a pair of Royal Albert Hall shows in late 1983. Robert Smith is the featured guitarist on a full-course selection from the band's repertoire, stretching back to "Switch", "Helter Skelter" and "Israel", but also drawing heavily from A Kiss in the Dreamhouse (1982). Awesome.
AllMusic: Nocturne is a top-notch live double album recorded in 1983 at the Royal Albert Hall. The sound quality is first-rate and the band performs excellently here. The songs on this release run a wide chronological range, from early numbers like the Lennon/McCartney cover "Helter Skelter" (here given a fire-breathing performance) to their recent single of the time (another Beatles song), "Dear Prudence". Much of the material is culled from the group's recent releases: Juju, A Kiss in the Dreamhouse, and Kaleidoscope. ★★★
The Quietus: Coasting on the back of the Top three hit, 'Dear Prudence', Siouxsie & The Banshees made a two-night stand at the prestigious Royal Albert Hall and the result was Nocturne. An anomaly among live albums, Nocturne bears repeated listens and despite reportedly awful onstage sound, the band are taut and urgent with Siouxsie in her finest ice-maiden guise as she heaps withering contempt on those audience members shouting out for 'Love In A Void' ("What time tunnel did you come through?") as much as she does on her band ("Can't you get out of tune any faster?").
The Quietus Writers' 40 Favourite Live Albums: Whether it was Bauhaus' Peter Murphy swathed in the glorious sweeps of Mussorgsky's 'Night On Bald Mountain' whilst advertising Maxell cassettes or Siouxsie And The Banshees electing to open this grand double live album to the strains of the once scandalous 'The Rite Of Spring' by Stravinsky, it looked as if goth was attempting to align itself with classical music's more dramatic gestures. But if Siouxsie And The Banshees failed to spark the kind of riots that greeted the 1913 premiere of Stravinsky's experimental piece, the two concerts at the Royal Albert Hall in the dull autumn of 1983 that provided the songs for this live album caused no little excitement among the faithful. For this writer, attending the second concert on October 1, one of the thrills was my first visit to the stunning environs of the Royal Albert Hall. The other was the anticipation of seeing The Cure's Robert Smith on guitar duties in the wake of John McGeoch's departure and their recent smash hit, a cover of The Beatles' 'Dear Prudence'. Though the order of songs differs wildly from what was actually played across the two nights, Nocturne stands as both a representation of where they were at that point in their career and their status as an incredible live band. Be it Budgie's precise and muscular rhythms, Steven Severin's flanged bass, Siouxsie's commanding presence or Robert Smith's interpretation of other guitarist's material, the performance is magnificent and convincing throughout. By cherry picking their finest material, Nocturne was – and still is – a kind of alternate Greatest Hits that acts as a gateway to their kaleidoscopic world.
The Guardian: Barefoot, and vocally more foghorn than siren, Siouxsie struts like a particularly ill-tempered dominatrix costumed by Klimt or Bakst. When the song calls for it she writhes in Freudian recall of nursery nightmares to guitar-rock of chilling drama that owes more to Alban Berg than Chuck Berry. Not a wink nor a smile breaks the spell – which peaks, naturally, with the hit 'Spellbound' – and no band can have been more calculated to thrill the average English and Drama A-level student. High-concept schlock, of course, but the inner goth remains mightily impressed. ★★★★ [DVD]
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