# Siouxsie and the Banshees discography
The discography of [Siouxsie and the Banshees](https://www.edgepedia.org/siouxsie-and-the-banshees), an English rock band formed in London in September 1976 and active until 1996, spans seventeen years of studio albums (1978 to 1995), a series of singles that produced 18 [Top 40](https://www.edgepedia.org/top-40) hits in the U.K., live albums, compilations, and later reissue campaigns.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) • [2](https://www.allmusic.com/album/r59997) The group evolved from abrasive, primitive art punk into a stylish, sophisticated unit, and its recordings trace that shift step by step.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222)
| Key fact | Detail |
|---|---|
| Studio albums | The Scream (1978) through The Rapture (1995), with a live album, Seven Year Itch, following the 2002 reunion tour[2](https://www.allmusic.com/album/r59997) |
| Debut | "Hong Kong Garden" single released August 1978; The Scream followed three months later[3](https://pages.vassar.edu/musicalurbanism/2012/02/26/why-we-dont-hear-the-city-in-siouxsie-the-banshees/) |
| Chart record | 18 Top 40 hits in the U.K.; one U.S. Top 40 hit, "Kiss Them for Me" (1991)[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) |
| U.S. breakthrough | "Peek-a-Boo" (1988) was the group's first U.S. chart single; Superstition (1991) was its most commercially successful album[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) |
| Key singles compilation | Twice Upon a Time: The Singles, released October 13, 1992, running 76 minutes[2](https://www.allmusic.com/album/r59997) |
| Reissue era | Universal Music began remastered album reissues with bonus tracks in 2006; Voices on the Air: The Peel Sessions appeared the same year[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) |
## Studio albums, 1978 to 1995
According to the chronology on AllMusic, the band's studio and live albums came out in the following order: [The Scream](https://www.edgepedia.org/the-scream) in 1978, Join Hands in 1979, [Kaleidoscope](https://www.edgepedia.org/kaleidoscope) in 1980, Juju in 1981, A Kiss in the Dreamhouse in 1982, Nocturne in 1983, Hyæna in 1984, Tinderbox in 1986, Through the Looking Glass in 1987, Peepshow in 1988, [Superstition](https://www.edgepedia.org/superstition) in 1991, The Rapture in 1995, and finally The Seven Year Itch, a live record from the reunion period, in 2003.[2](https://www.allmusic.com/album/r59997) The final entry, released eight years after The Rapture, documented the 2002 reunion of Siouxsie, Severin, and Budgie with guitarist Knox Chandler.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222)
**The early records.** The Scream captured the first-generation band sound: Siouxsie's icy, sometimes tuneless wail over the metal-shard guitar of [John McKay](https://www.edgepedia.org/john-mckay), the bass of Steven Severin, and the drums of Kenny Morris.[4](https://trouserpress.com/reviews/siouxsie-and-the-banshees/) The opening single "Hong Kong Garden," released in August 1978, already showed a pop directness that separated the band from punk's barre-chord traditionalism, and the debut album followed three months later, close in time to Public Image Limited's first releases.[3](https://pages.vassar.edu/musicalurbanism/2012/02/26/why-we-dont-hear-the-city-in-siouxsie-the-banshees/)
The band's first lineup rupture came on the road: in 1979, guitarist John McKay and drummer Kenny Morris abruptly quit during a UK tour, and Robert Smith of The Cure stood in on guitar.[5](https://www.musicradar.com/artists/i-told-them-i-was-dying-and-they-didnt-believe-me-i-could-tell-by-the-look-on-my-doctors-face-that-there-was-something-very-very-wrong-with-me-robert-smith-on-the-madness-and-the-magic-of-the-cures-early-days) Smith later recalled that "the power of Sioux walking out to the front of the stage and screaming at the audience made me realise just how weak The Cure were."[5](https://www.musicradar.com/artists/i-told-them-i-was-dying-and-they-didnt-believe-me-i-could-tell-by-the-look-on-my-doctors-face-that-there-was-something-very-very-wrong-with-me-robert-smith-on-the-madness-and-the-magic-of-the-cures-early-days)
**The McGeoch years.** With ex-Magazine guitarist [John McGeoch](https://www.edgepedia.org/john-mcgeoch) on board, the band returned to the studio for Kaleidoscope (1980), a subtler and more melodic effort than its predecessors; the album reached the UK Top 100 largely on the strength of the single "Cities in Dust."[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) Soon after Juju, Siouxsie and drummer Budgie began recording as the [Creatures](https://www.edgepedia.org/creatures), a voice-and-percussion side project launched with a five-song double 45 that included a reworking of the Troggs' "Wild Thing."[4](https://trouserpress.com/reviews/siouxsie-and-the-banshees/) Recording for A Kiss in the Dreamhouse began at London's Playground studio in 1982, but the band switched studios two days in after Budgie spilt a bottle of warm champagne over the mixing desk.[6](https://www.abbeyroad.com/news/85-years-of-music-siouxsie-the-banshees-2155)
**The commercial peak.** The band's chart fortunes shifted in the late 1980s. Tinderbox (1986) expanded its American audience to theater size, and the all-covers collection Through the Looking Glass (1987) put the band on fledgling alternative rock radio and established its first serious presence on MTV.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) • [7](https://www.jambase.com/article/sun-spinsiouxsie-and-the-banshees) After Through the Looking Glass, guitarist John Carruthers left and was replaced by ex-Specimen guitarist Jon Klein and keyboardist Martin McCarrick for Peepshow (1988), a techno-inspired outing that gave the group its first U.S. chart single with "Peek-a-Boo."[1](https://www.allmusic.com/artist/siouxsie-mn0000748222)
In 1991, the year Siouxsie and Budgie married, the Banshees performed on the inaugural [Lollapalooza](https://www.edgepedia.org/lollapalooza) tour, and their concurrent LP Superstition became their most commercially successful album, spawning their lone U.S. Top 40 hit, "Kiss Them for Me."[1](https://www.allmusic.com/artist/siouxsie-mn0000748222)
## Singles and compilations
The band's singles are documented on two major collections. Twice Upon a Time: The Singles, released October 13, 1992, gathers the post-1982 material in its entirety and runs 76 minutes; AllMusic's reviewer Chris True describes it as "one great step after another," noting that the collection's only drawback is a poor remix of 1991's "Fear of the Unknown," and calls it "a solid introduction for the unknowing."[2](https://www.allmusic.com/album/r59997) That reviewer dates the band's stylistic turn precisely: the post-1982 singles have "a lush and expansive sound that directly influenced the goth sound," beginning with "Fireworks" and reaching full incorporation of the early dissonance by "Peek-a-Boo."[2](https://www.allmusic.com/album/r59997)
A B-sides collection, Downside Up, was issued as a three-CD set on [Interscope Records](https://www.edgepedia.org/interscope-records).[8](https://interscope.com/pages/artist/siouxsie-and-the-banshees) Later releases drew on the band's radio archive: Voices on the Air: The Peel Sessions, compiled from live recordings made for [John Peel](https://www.edgepedia.org/john-peel)'s BBC radio show between 1978 and 1986, appeared in 2006 alongside Universal's remastered album reissues.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) Live archival titles have continued to surface, including From the Cradle Bars: Live at the De Nieuwe Kade, Tiel, Holland, July 7th 1981 (2023) and Dust to Rust: Live at Le Zénith, Paris, France, 28th Oct 1991 (2025).[9](https://www.allmusic.com/artist/siouxsie-and-the-banshees-mn0000748222)
## End of the band and later reissues
The Rapture (1995), produced in part by [John Cale](https://www.edgepedia.org/john-cale), arrived after a four-year gap; Trouser Press describes it as short on songs but elegant, stylish, and mature.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) • [4](https://trouserpress.com/reviews/siouxsie-and-the-banshees/) In 1996, with their former heroes the [Sex Pistols](https://www.edgepedia.org/sex-pistols) reuniting, the band called it quits; Siouxsie and Budgie turned to the Creatures as their primary project, and Severin composed the score for the film Visions of Ecstasy.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222)
The catalog has stayed in print through successive reissues. Universal's remaster campaign began in 2006, and the 2002 reunion tour produced both the Seven Year Itch live album and a DVD concert film in 2003.[1](https://www.allmusic.com/artist/siouxsie-mn0000748222) The band's standing as recording artists has outlasted its working life: commentators trace its influence through post-punk, goth, and later alternative acts, and a 2009 JamBase essay argued that the band "neatly picks up the baton the Patti Smith Group laid down in 1979," calling its catalog one of the under-sung influences on modern rock.[7](https://www.jambase.com/article/sun-spinsiouxsie-and-the-banshees) The group also remains a fixture of goth histories, appearing among the genre's icons alongside [Joy Division](https://www.edgepedia.org/joy-division) and Bauhaus in [Lol Tolhurst](https://www.edgepedia.org/lol-tolhurst)'s Goth: A History.[10](https://apnews.com/article/37451452c321455ea0c3c166a525d071)
## References
1. [Siouxsie and the Banshees — Biography, Discography, Albums & Expert Reviews, AllMusic](https://www.allmusic.com/artist/siouxsie-mn0000748222)
2. [Twice Upon a Time: The Singles — Siouxsie and the Banshees, AllMusic](https://www.allmusic.com/album/r59997)
3. [Why we don't hear the city in Siouxsie and the Banshees, Musical Urbanism (Vassar College)](https://pages.vassar.edu/musicalurbanism/2012/02/26/why-we-dont-hear-the-city-in-siouxsie-the-banshees/)
4. [Siouxsie and the Banshees, Trouser Press](https://trouserpress.com/reviews/siouxsie-and-the-banshees/)
5. [Robert Smith on the madness and the magic of The Cure's early days, MusicRadar](https://www.musicradar.com/artists/i-told-them-i-was-dying-and-they-didnt-believe-me-i-could-tell-by-the-look-on-my-doctors-face-that-there-was-something-very-very-wrong-with-me-robert-smith-on-the-madness-and-the-magic-of-the-cures-early-days)
6. [85 Years Of Music: Siouxsie & The Banshees, Abbey Road](https://www.abbeyroad.com/news/85-years-of-music-siouxsie-the-banshees-2155)
7. [Sun Spin: Siouxsie and the Banshees, JamBase](https://www.jambase.com/article/sun-spinsiouxsie-and-the-banshees)
8. [Siouxsie and the Banshees — Downside Up (3CD), Interscope Records](https://interscope.com/pages/artist/siouxsie-and-the-banshees)
9. [Siouxsie and the Banshees — Biography, Discography & Expert Reviews, AllMusic](https://www.allmusic.com/artist/siouxsie-and-the-banshees-mn0000748222)
10. [In 'Goth: A History,' The Cure co-founder Lol Tolhurst traces the often-misunderstood subculture, AP News](https://apnews.com/article/37451452c321455ea0c3c166a525d071)
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*Topic: Encyclopedia › Arts and culture › Music › Musicians and ensembles › Ensembles and groups › Rock, pop, and metal bands › Rock, indie, and pop groups › Band discography and release-list pages*
*Initially written Sep 17, 2026 · Reviewed: Sep 30, 2026; Oct 25, 2026 · Edited: Oct 15, 2026; Oct 25, 2026 · Last review: Oct 25, 2026*
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