Siouxsie And The Banshees - Discography -1978-0... Link

Siouxsie and the Banshees disbanded in 1996. Siouxsie pursued a solo career (including the brilliant Mantaray in 2007) and a project with Budgie called The Creatures, which ran parallel to the Banshees from 1981 onward. The Banshees’ legacy is monumental: they paved the way for gothic rock, alternative pop, and post-punk revivalism, all while refusing to ever be predictable. Their discography is not a straight line but a kaleidoscope of daring, dissonance, and dark beauty.

The last album with McGeoch (who left due to health issues) and the first with guitarist Robert Smith of The Cure (who pulls double duty on tour). Hyaena is uneven but fascinating. The single "Dazzle" features a glorious, swaggering brass section and Siouxsie as a tragic chanteuse. "Swimming Horses" is a haunting ballad of sexual betrayal. The cover of The Beatles' "Dear Prudence" became their biggest UK hit, transforming the hippie anthem into something cool, aquatic, and slightly sinister. SIOUXSIE AND THE BANSHEES - DISCOGRAPHY -1978-0...

Juju (1981), Kaleidoscope (1980), A Kiss in the Dreamhouse (1982). Siouxsie and the Banshees disbanded in 1996

The gothic landmark. If you own one Banshees album, many argue this is it. Juju is all prowling basslines, hypnotic grooves, and pure menace. With Budgie now officially on drums, the rhythm section locks into a primal swing. "Spellbound" is a frantic masterpiece, while "Arabian Knights" dissects suburban hypocrisy over a serpentine riff. "Night Shift" and "Into the Light" conjure foggy, nocturnal terror. McGeoch’s guitar has never been more essential. Their discography is not a straight line but

Darker and more ritualistic. The album’s centerpiece, the ten-minute "The Lord's Prayer," is a droning, feedback-laced incantation that dissolves into Siouxsie’s recited prayer over a martial beat. A challenging, claustrophobic record that ended the band's first era—both McKay and Morris walked out mid-tour.

The final studio album. After a long hiatus, the Banshees returned with a harder, more guitar-driven sound, incorporating Middle Eastern and North African rhythms (recorded with local musicians in Morocco). "O Baby" is a searing, distorted rocker; "Stargazer" is a melancholic farewell. The title track is a swirling, epic closer. Though not their finest, it’s a dignified, curious end.

A return to a heavier, more direct sound with new guitarist John Valentine Carruthers. "Candyman" is a lurching, blues-goth stomp; "Cities in Dust" is a perfect single—an apocalyptic pop song about the ruins of Pompeii, complete with cascading drums and Siouxsie’s keening wail. The album is more consistent than adventurous, marking the band’s mature phase.