"The Scream" is the debut studio album by British rock band Siouxsie and the Banshees, released on November 13, 1978, by Polydor Records. The album is recognized for its innovative blend of angular, serrated guitar sounds, bass-led rhythms, and machine-like drums that were mostly played on toms. This combination made it a pioneering work in the post-punk genre. The Scream received widespread critical acclaim, praised for its originality and influence on various genres, including post-punk, noise rock, and alternative rock. It also had a significant impact on rock guitar playing, and bands like Joy Division and Killing Joke have cited it as an influence.
Siouxsie and the Banshees first garnered major press attention in late 1977, but they struggled to secure a recording deal. A fan even launched a graffiti campaign across London, urging record companies to sign the band. Polydor eventually signed the band in June 1978. By that time, John McKay had joined the band as guitarist, and music historian Clinton Heylin has argued that McKay's arrival, along with other developments in the UK music scene, marked the beginning of the "true" post-punk era.
Before recording their debut album, the band had already recorded several tracks for BBC Radio 1's John Peel Sessions. Songs like "Mirage", "Metal Postcard", and "Suburban Relapse" were first broadcast in 1977, with additional tracks like "Overground" and "Carcass" aired in 1978. During their first Peel session, Siouxsie and bassist Steven Severin described their music as "cold, machine-like, and passionate at the same time."
The album was recorded in one week during August 1978, with Steve Lillywhite serving as co-producer. Lillywhite's approach to recording drums was unconventional, with drummer Kenny Morris first recording bass and snare drums, followed by the cymbals and toms. Music journalists noted the deep echo used on the drums, giving the album its distinct sound. Percussion played an important role in The Scream, with future Banshees drummer Budgie commenting on how Kenny Morris overdubbed several percussion elements that became integral to the songs.
Siouxsie's vocal delivery was unconventional, often sliding between notes and embracing a raw, emotive style. Critics have described the music on The Scream as a "claustrophobic abyss of angst and angularity," with tracks like "Pure" and "Jigsaw Feeling" showcasing spacious, atmospheric qualities, while "Metal Postcard" offered a more motorik, driving rhythm. The album's final track, "Switch", was divided into three sections, each representing different professions (scientists, general practitioners, and vicars) facing "terrible results."
The music was minimalist and monochrome, with Siouxsie and Severin seeking a "pure musical democracy," where no single instrument dominated the sound. Severin viewed the bass as a "driving instrument" rather than a supporting one. Siouxsie also sought to create a cinematic feel in the music, with the sound of "Suburban Relapse" being inspired by Bernard Herrmann's score for Alfred Hitchcock's Psycho, particularly the violent violin screeches of the famous shower scene.
The lyrics of The Scream were influenced by writers J.G. Ballard and William S. Burroughs, and many tracks reflect a sense of disillusionment with suburban life. As Severin explained, they were drawn to Ballard's near-future tales set in suburban wastelands, where anything seemed possible due to the vast, empty spaces.
The title of The Scream was partly inspired by the 1968 film The Swimmer, in which the protagonist, Neddy Merrill, undergoes a physically and mentally exhausting journey through suburban pools, culminating in a scream of exhausted jubilance. The album cover was Siouxsie's idea, and photographer Paul Wakefield captured disturbing, underwater images to accompany the theme. The cover was shot in a dark, blue-tiled indoor pool, with lighting and the pool's eerie ambiance contributing to the unsettling feel. The idea was that "you can't scream underwater," adding to the album's overall sense of tension and alienation.
The Scream was released on November 13, 1978, and was met with immediate commercial success, reaching No. 12 on the UK Albums Chart. It was one of the most important albums in the post-punk movement and established Siouxsie and the Banshees as one of the leading bands of the genre.
Ahead of its official release, DJ John Peel played the album in its entirety on BBC Radio 1, which sparked significant anticipation. The album's unique sound and the band's distinctive style earned The Scream a lasting place in music history.
The album was reissued on CD in 2005 as part of Universal's Deluxe Edition series, which included a remastered version and a second disc with demo and live tracks. In 2018, a 180g vinyl reissue was released, mastered from the original tapes and cut at Abbey Road Studios.
The Scream remains a landmark album in the post-punk genre, notable for its innovative sound and lasting influence on future generations of musicians.
