Talk:The Rapture (album)

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The opening paragraph implies the album was very well received but the only review linked gives it two out of five stars. This should be looked into. 72.66.84.19 (talk) 03:17, 17 July 2010 (UTC)I'm an unregistered user[reply]

Vox (magazine) said:

"Since overcoming a loss of direction in the mid-80s, the Banshees have recorded two of ther finest albums with the psychedelic voyeurism of Peepshow and the more symmetrical pop of the Stephenn Hague produced Supersition. Nevertheless, Siouxsie Sioux in particular found Hague's meticulous approach a constraint, and their choice of working with John Cale on half of The Rapture has allowed (f)or a more intuitive, looser-sounding album.

One of the tracks which reflects this Cale/Banshees chemistry is the single "o Baby". Perhaps drawing inspiration from quiet days in her south of France home, the song follows a simple, goofy sentiment. (S)huffling across hot tarmac as she looks down at her feet and sees the creases in my shoes smile up at me. "Lonely One" is also whimsical in tone, while "Stargazer" is more ethereal in its up-beat swing.

The title-track is a sublime melodrama recalling the experimentation of Peepshow and 1982's Kiss in the dreamhouse. Their tales of split personalities and emotional pain have lost the minimalist punk (c)hil of old, but The Rapture represents an intelligent twist on familiar Banshees obsessions." 7/10 Steve Malins Q magazine February 1995

Matt Hall said in his four-star review:

"Hide your hairspray! They're back, and this time they mean it!

Operating from a parallel universe where Daisy Chainsaw were merely a bad dream, the Banshees return to reclaim their rightful position as purveyors of scary pop par excellence. Only The Cure can hold a candle to Ms Sioux when it comes to trotting [trotling] jolly tunes about mental brakdwon, love bordering on obsession and severely dislocated relationships. Or Something.

And it's that 'something' that makes The Rapture such a fine little Russian doll of a record. Under the keyboard lines, swelling strings and OTT percussion, at the centre of every song is a nugget of disquiet that keeps you listening again and again. Sure, they're about as out of step with current Brit pop as you can get without falling flat on your arse, but let's face it, they probably couldn't give a toss anyway." Carliertwo (talk) 19:11, 6 March 2013 (UTC)[reply]