Customer Reviews

Mantaray

5 star:		(35)
4 star:		(8)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

After over 30 years in the industry, you would think that there would be little music territory remaining for Siouxsie to cover. Fans know through her work with The Banshees and The Creatures, that Siouxsie has never been one to retread her past paths. That's why her impressively varied backcatalogue is impossible to categorize stylistically.

To be sure, Mantaray is stunning--and not just because of the shift in genre (read: gloomers looking for the next goth anthem should look elsewhere). True, the jazzy, torchy, glam-tinged tone of Mantaray is unexpected and unexpectedly a perfect niche for Siouxsie, but it is the dual mood of the CD that should be noted. On the surface, the track names express an urgency, an impending and inevitable transformation, which knowing Siouxsie's recent parting with her longtime partner and collaborator, Budgie, obviously speaks to her own feelings of rebirth, perseverance and expressive adaptation. But listen closely to the lyrics and you hear aches from deception, insincerity, cruelty and lies. Lyrically, there has never been such clarity and soul-exposing in Siouxsie's voice. By the time you get to the line from "Heaven and Alchemy" where Siouxsie poignantly croons "I'm in love with the idea of you," you get it.

Musically, this is a set of songs to immerse yourself in at higher volumes with little distraction. There is a full, confident and well-developed sense to the sound of Mantaray with more subtleties than we have heard since 1988's Peepshow. With each successive listen you'll note something in the mix overlooked before.

Lastly, there will be comments about Siouxsie's voice itself. Yes, in the last 30 years her voice has matured, deepened and taken on a dark smoky quality. And ever the punk, Siouxsie approaches vocal techniques in an unorthodox way, often dramatically swooping into notes rather than squarely nailing them. But it is the soaring nature of her vocals that has always put shivers down my spine.

For the fact that it highlights everything we've come to adore about Siouxsie, Mantaray is a treat. For the fact that it's undoubtedly been a cathartic experience for Siouxsie to expand into new music territory as a solo artist and face some perhaps unresolved emotions all on HER own terms, Mantaray is a triumph.

For those who cringe at the notion of their favorite artist going solo and revealing a sloppy sentimental or trite side you never wanted to know about, the coast is clear! Siouxsie's first solo album wisely sidesteps the traps that are often sprung by other singers striking out on their own. The biggest being the temptation to make the music take a watered-down backseat to the vocals. Siouxsie and her producers wisely judged that her voice is as strong as ever and capable of holding its own with some creative arrangements, this is no annoying diva's ego trip. The overall effect is one of confidence, freshness, and professionalism that never wavers. Whew!

Behold the illustrious legend that is Siouxsie Sioux (formerly of Siouxsie and the Banshees, and The Creatures). For a little Punk Rock 101, in 1976 Susan Ballion of Bromley, England launched a career spanning four decades (so far) and blazing the way for the likes of Karen O of the Yeah Yeah Yeahs, PJ Harvey, Shirley Manson of Garbage, and countless other disciples.

When you delve into the enchanted world of Siouxsie's psyche via this remarkable album -- and you definitely must - do not think to yourself "Oh, she's just mimicking so and so's style." Make no mistake about it; the artists you think you recognize in her music have adopted the signature style of the one and only Ice Queen of Punk; not the other way around.

Releasing a long anticipated first solo album is a monster of a feat, especially with the albatross of expectations hovering over the infamously coiffed head of this veteran glam punk icon. Fortunately, Madame Sioux came armed and ready for battle.

Without the structure of a band for the first time, Siouxsie got busy with producers Charlie Jones (Goldfrapp) and Steve Evans (Robert Plant), and together they wove a tapestry of textures that is pure magick.

Clearly, living in the French countryside has enriched the palate of the punk goddess. Her defiant freedom of style, newly reinvented and entirely unhampered by the dictates of the status quo, mingles jazz (a la Shirley Bassey) and classic cabaret with industrial glam punk and a steady dose of the relentless, grinding feedback, percussive mayhem, and slash and burn guitars that Siouxsie is famous for.

Sinister, sexy and flirtatious on the surface, this album seethes and roils with raw, unadulterated honesty and bare-naked emotion. Rising from the aftermath of her divorce from Banshees drummer and Creatures collaborator Budgie, and boasting fresh battle wounds and ancient scars gleaned from 50 years of hardcore living, Siouxsie bursts into her solo debut with a proclamation of rebirth in the hot track "Into a Swan."

One of my favorites is Track 2, a super-fun Gothic Pop ditty "About to Happen," reminiscent of early DEVO and everything great about 80's music - vintage Siouxsie and simply delish.

Siouxsie channels Marlene Dietrich and Madonna, teasing and taunting her way through tracks, slipping effortlessly into enchantress-mode in the sinfully vengeful romp "Here Comes That Day," and strutting unabashedly into "Loveless," a wicked torch song that lingers and haunts.

In a stunner of a climax, Siouxsie absolutely bludgeons with the soul-wrenching "If It Doesn't Kill You," a masterpiece that left me obliterated. Holy High Priestess of Punk!

Throbbing trance-like rhythms and escalating chants in "One Mile Below" elevate, while "Drone Zone," an avant-garde, poetic commentary on the mindless droning of daily life in modern consumerist society, provides a different kind of trance, which slides effortlessly into the dreamy landscape of "Sea of Tranquility."

In a final executing blow, brutally truthful lyrics like "you're in love with the idea of me" in "Heaven and Alchemy" lays down a devastating finale to this stunning conquest.

Siouxsie has slayed this beast and is poised for world domination. Long live the Queen!

This album is everything I wanted it to be. It is so full of style, energy, pain and frustration. It runs the gamut of styles, which surprised me, but I enjoyed it. It's much more rock oriented than anything else she's done lately (with Budgie). There are a lot of rocking guitars on this album!

It's clear that much of this album is about her unfortunate break with Budgie. But it's not at all gloomy. There are several mellow songs, but for the most part, it's very upbeat with strong danceable beats and catchy riffs. Her voice is in top form and the mixing is intelligently done. Overall, it just sounds great. If you were more of a Banshees fan and less of a Creatures fan, you'll really like this album. (Personally, I liked both, but I'm excited to hear her working in a more rock vein now.) My favorites are "Loveless," "Sea of Tranquility," and "It's About to Happen." The one downside of the album? It feels short. At 10 tracks, it left me wanting more. But maybe that's a good thing.

This is one harrowing(and damned fine)piece of work. With this release, Siouxsie kinda steps into a territory that is more visceral and emotional than anything done in the past.I dont want to say it's more honest, because her works have never been anything BUT honest, its just that there is really something different going on here.

Its so good its unsettling.

I am so glad Siouxsie is back. This album kicks [...]. Siouxsie can't be categorized, but synth neo gothic comes close to mind when I try to put this in a genre. There is variation as always in a project of hers. "Drone Zone" might have been something Sun Ra would have recorded. The ominous driving tones of "Here Comes That Day" make it my favorite on the album. This may have been what you'd expect the Banshees to have done next had they continued. It's a great evolution in her musical journey. I hope she puts out many more albums. If you like Siouxsies work at all then you definately need to get this album. It's a kaliedescopic turning of musical visions that will feed your head nicely.

MANTARAY has almost all the elements in place for excellence. The sound is great. The vocals aren't lost in the mix and Siouxsie's voice isn't multi-tracked into a blur. She clearly has something to say and her upfront vocals fit that intent. The variations in style and mood still manage to gel as a whole. INTO A SWAN is all glorious, glitzy big-beat brashness. An incredible single. It succeeds where I feel a good chunk of the album falls short, Siouxsie's vocals are obscured a bit and this takes excessive attention away from the lyrics. I've read that she wanted to be more straightforward in her approach to lyrics here, but, there are times when an otherwise-excellent track is marred by clunky lyrics in need of another draft, a bit of polish. Like the mixed metaphor of "house of cards with its feet of clay" in HERE COMES THAT DAY and several other places where she repeats the same word in one line. Picky, perhaps, but, had she not shown a talent in the past for exploring a thesaurus, I'd let it go and just accept the album as it is. Another quibble concerns a common pitfall- repeating a chorus or refrain way too many times without any variation, modulation or inflection. These words might be life-affirming mantras for Siouxsie and very personal, repeating them may empower her, but, as a listener, it reaches a point where I say, "I HEARD you already" and I do NOT want to feel that way about Siouxsie! How about another verse? Or just some wordless vocalizing? That said, though, the album really has its moments. Despite the repetition in the lyrics for THEY FOLLOW YOU, the music itself is astounding. Very Eno-era Bowie, but also very Siouxsie. I love that song because it contains SURPRISES. sounds that weren't there right from the opening. (that incredible keyboard, the blistering guitars, Siouxsie's glorious chorus of chants)DRONE ZONE is also a fun surprise, with Siouxsie holding back with the vocals and speak-singing. Overall, it's a very solid solo debut. I think Siouxsie's assuredness will lead her and listeners to even BETTER creations in the future. Forward up, Siouxsie!

A collection of songs that beautifully demonstrates why Siouxsie Sioux is a legend. Textured, lush, and at times surprising, tracks twist then turn, to keep us on our toes, and just when we think we know what to expect. As a whole, 'Mantaray' is progressive enough for rabid 'new music' hounds, yet intimate and accessible so not to leave its audience behind in the dust.
Few offerings of 2007 can compare.

It's strange to think that Siouxsie Sioux, a woman who has a long and illustrious career, with two bands that she lead, has just put out her debut solo album this year. So, what's it like? Is it the crushing black magic guitars and dark psychedelia of Siouxsie and the Banshees, or is it the magical, mystical drums 'n' marimba rhythms of The Creatures? Actually, it's something completely different, something that stands completely on its own in Siouxsie's catelogue. It's "Mantaray", and it's here to stay.

1. Into a Swan: The first single and probably the best-known song. Siouxsie unleashes her newly husky, cigarettes-laden voice on the listener, backed by a grinding, feedback-cluttered wall of sound.

2. About to Happen: A very danceble, lightweight piece of glam-pop fluff, this is the party-starter of the bunch. It boasts a thrashing punk guitar with some glittering synths and rhythmic handclaps.

3. Here Comes That Day: This song, the next single after "Swan", is like a cross between Amy Winehouse's "You Know I'm No Good" and Nina Simone's cover of "I Put a Spell on You". It just oozes the blues, with its spurting brass and slicing strings.

4. Loveless: The almost peaceful orchestral strings that introduce the song are soon blown away by ravaging bass, crashing drums, and ear-piercing guitars. Siouxsie sings about what is most likely her divorce, and her pain is impossible to conceal.

5. If It Doesn't Kill You: Probably the closest to a James Bond theme that Siouxsie's gotten, this is one of the album's standouts. Screeching feedback soon gives way to gentle piano and Siouxsie's gentle cooing. The weepy strings and backing vocals kick in, evoking the spirit of Edith Piaf.

6. One Mile Below: This song is slightly more straightfoward than the other ones. It's very similar to Bow Wow Wow's "I Want Candy", with a tribal rhythm and spaghetti western guitars. Actually, it's more like a insane asylum version of that song. It is Siouxsie, after all.

7. Drone Zone: Oh jeez, what a song. If it's released as a single, it will probably be regarded as a novelty hit, due to the goofy melody and mutant jazz rhythm. Add some buzzing basslines and honking saxophones and you've got the weirdest song on the album.

8. Sea of Tranquility: My personal favorite, it's just so pretty. It starts out with a distorted guitar noise (Siouxsie seems to have a thing for feedback on this album), and then gives way to an easygoing bossa nova rhythm and gorgeous piano and strings. Simply sublime.

9. They Follow You: A more electronic piece, with robotic feedback noises and carnival-ride keyboards. The introduction is pretty long and heavy on the atmospherics, but then Siouxsie starts singing a soothing lullaby melody, with lyrics about potions and wishing wells.

10. Heaven and Alchemy: Although I would have liked to have seen "One Mile Below" as the closer instead of this, this is a pretty good one. It's got a great melody, with piano being the dominant instrument and some gospel-esque bacing voices

Please buy this, you won't regret it!

I guess that, in this day and age, if Amy Winehouse can get away with putting out an album barely over 40 minutes, then punk/goth/rock high priestess Siouxsie (apply whichever crusty old epithet you prefer) thinks she can do the same, and with one fewer track. Well, she's right!

Having been a little inattentive to her last couple of releases, this album has surely got to skyrocket Siouxsie into whatever music Halls of Fame she's not yet been inducted to. Except that might suggest a coda to a 30-year career which clearly isn't over yet.

Produced with Steve Evans and Charlie Jones, this, like Amy's bestseller from last year and Roisin Murphy's recent opus, is very much a unified album with an overall vision - the type that those Mercury Music Prize judges are so keen on, and Mantaray deserves to be appreciated with such concentration - only at a very HIGH VOLUME!

I can understand why some die-hard fans might be a little disappointed by its maturity and, for Siouxsie (if no one else), "poppiness". But we've already got Kaleidoscope, we've already got Juju, A Kiss In The Dreamhouse and Anima Animus, so why not embrace something new?

When I first heard them in isolation, I wasn't crazy about either the first single, Into A Swan, nor the (better) follow-up, Here Comes That Day; I thought they skated uncomfortably close to self-pastiche. But, cranked up loud, they really hit the spot. Lyrically, one or two of the tracks might seem a little flaccid in places (I think another reviewer has already noted the House of cards/feet of clay mixed metaphor on the current single), but they are delivered with such oomph, and are such well-crafted songs that it doesn't seem to matter after all. "Don't be bitter/Don't be gloomy/All your torment/Flowers blooming" could almost be from Kim Appleby's unlistenably trite "Don't Worry", except that it's from the quietly stunning If It Doesn't Kill You, which reminded me of nothing so much as Siouxsie's version - many years ago - of Strange Fruit, but with a much more epic sweep. So much so that any right-thinking person must think that, if there's a battle on to do the next Bond theme, Siouxsie must now be neck-and-neck with the aforementioned Ms. Winehouse (after Love Is A Losing Game... but I wonder who would generate more column inches?).

Seriously, though, I always thought there was something quite beautiful about Siouxsie's voice - in fact, getting this album made be go out and buy the remastered version of Juju, the mangled vowel sounds of which must be etched deep in my cerebral cortex - and they're all present and correct on Mantaray's compelling closing track, Heaven And Alchemy. Maybe we're "in love with the idea of her", but I when I was soaking up the energy of her stage performances 25 years ago, I never imagined she'd become such a grande dame of music, and still radiating the same energy as she grasped each new baton - the video for Here Comes The Day demonstrates that, and a ticket to one of her live shows is so much more than a vote for nostalgia.

Respect!