Release Date: 1982
Label: Geffen/Warner Bros.

Following on the heels of the late 70’s punk rock movement, post-punk strikes again, but more lovingly.  As the album title suggests, A Kiss in the Dreamhouse paints the image of surreal romance and dark secrets. It was also recorded in what Banshee fans refer to as the band’s ‘experimental’ phase, which explains the crazy utilization of chimes, bells, synths, and vocal overdubs. But with the band’s musical aspirations totally unzipped, who knew the album would turn out so beautiful?

The record kicks off with frontwoman Siouxsie Sioux crooning angrily on the opener, “Cascade;” her voice ‘like liquid falling,’ literally. The emotion is almost intimidating, but vast craving only leads to the proceeding “Green Fingers,” accessible through its catchy flute riff, like a bright notion in a dark situation: a much needed release from the harsh emotion of the album’s opener. “She’s a Carnival” serves as the records harshly delicious gem, which accommodates to an astounding harmonized vocal threesome, all with Siousxie herself. Totally wild. To top it off, the band also included a blues track, “Cocoon,” soaked in a beautiful loungy bass-percussion intercourse. If there ever was a genre of surreal, new wave blues, this would probably be it. For an extra treat, the alternate versions of both “Fireworks” and “Slowdive,” along with the Workhouse demos of “Painted Bird” and “Cascade” are graciously included.

A Kiss in the Dreamhouse is completely breathtaking, holding imagination to its highest limits and bending experimentation through fleshing out the unconscience images in our own states of sleep. Sometimes it’s hard to leave, but Siouxsie and the Banshees don’t make it hard to come back. Waking up is no longer an option.