If you close your eyes and think of the quintessential post-punk sound, that frantic, shimmering guitar riff from Siouxsie and the Banshees - Spellbound probably starts playing in your head. It’s unavoidable. Released in May 1981, this track didn't just climb the charts; it basically redefined what "alternative" music could look like before that term was even a marketing category. It’s fast. It’s nervous. It’s incredibly lush. Honestly, it’s the sound of a band finally figuring out exactly who they were after a few years of shifting lineups and sonic experimentation.
Most people associate Goth with slow, brooding dirges and heavy eyeliner. But "Spellbound" is different. It’s high-energy. It’s a rhythmic explosion. When John McGeoch’s acoustic guitar starts that rapid-fire strumming, it feels less like a funeral and more like a ritual in the middle of a dark forest. It’s the opening track of the JuJu album, and it sets a tone that many bands are still trying to rip off decades later.
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The erratic genius of John McGeoch’s guitar work
You can't talk about Siouxsie and the Banshees - Spellbound without talking about John McGeoch. Seriously. He was often called the "magic man," and for good reason. Before joining the Banshees, he’d already made waves with Magazine and Visage, but his work on JuJu—and specifically this track—is where he peaked.
The guitar in "Spellbound" isn't just playing chords. It’s layering textures. He used a Yamaha SG1000 and a Flanger pedal to get that "icy" sound that became the blueprint for the genre. It's sharp. It cuts through the mix. While most punk bands were just bashing out power chords, McGeoch was playing these intricate, swirling patterns that felt almost orchestral. It’s actually quite difficult to play correctly because of the speed and the specific "chorused" delay he used.
Steve Severin, the band's bassist, once mentioned in an interview with MOJO that they wanted to make an album that was more cohesive and "darker" than their previous work. They wanted something that felt like a horror movie soundtrack but with a pop sensibility. McGeoch was the missing piece of that puzzle. His ability to blend acoustic elements with heavily processed electric sounds gave "Spellbound" a timeless quality. It doesn't sound like 1981. It sounds like a dream. Or maybe a nightmare you don't want to wake up from.
Siouxsie Sioux and the power of the vocal performance
Then there’s Siouxsie herself. By the time they recorded Siouxsie and the Banshees - Spellbound, she had moved far away from the "scream-singing" of the early punk days. Her voice had become a real instrument. In this track, she’s doing something fascinating with her phrasing. She sounds breathless.
"And clutching at the straws for symbols / And licking at the wounds for scars."
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The lyrics are evocative and abstract. They deal with themes of possession and losing oneself to an external force—sorta like being under a literal spell. It’s not just about "spooky stuff." It’s about the loss of agency. Her delivery is commanding. She pushes the melody forward, riding the wave of Budgie’s drumming.
Budgie is the unsung hero here. His drumming on "Spellbound" is tribal. He avoids the standard backbeat that 99% of rock drummers use. Instead, he focuses on the toms, creating a rolling, hypnotic rhythm that makes the song feel like it’s constantly accelerating. It’s a masterclass in tension. If the drums were simpler, the song would lose its "magic."
Why JuJu changed everything for the Banshees
Before JuJu, the Banshees were a great band, but they were still searching. Kaleidoscope was experimental and used a lot of drum machines and synthesizers. But with JuJu, they went back to being a "band" in the room. They tracked most of it at Surrey Sound Studios with producer Nigel Gray.
The result? A record that felt alive. Siouxsie and the Banshees - Spellbound was the lead single, and it peaked at number 22 on the UK Singles Chart. That might not sound like a massive hit by today's standards, but for a band that looked like they did and played music that weird, it was huge. It proved that there was a massive audience for "dark" music that wasn't just depressing. It could be exhilarating.
Many critics argue that JuJu is the first true "Goth" album. While the band famously hated that label—Siouxsie has spent years rolling her eyes at it—you can't deny the influence. The imagery, the minor keys, and the obsession with the macabre all started here. But "Spellbound" has a brightness to it. That’s the irony. It’s a "dark" song that feels incredibly vivid and colorful.
The technical brilliance behind the sound
If you're a musician trying to recreate that "Spellbound" vibe, you've got your work cut out for you. It’s not just about the gear; it's about the space.
- The Flanger: McGeoch used a MXR M117 Flanger. It’s what gives the guitar that "whooshing" metallic sound.
- The Acoustic/Electric Blend: One of the secrets to the track's drive is the layering of a 12-string acoustic guitar under the electric parts. This adds a percussive "clack" that keeps the rhythm tight.
- The Tom-Heavy Mix: In the studio, they EQ'd Budgie's drums to be very prominent in the low-mids. This is why it sounds so "thick" compared to other 80s tracks that were often very thin and treble-heavy.
The lasting legacy of a four-minute pop song
It’s been over 40 years. You still hear Siouxsie and the Banshees - Spellbound in clubs from London to Los Angeles. It was featured in the season 4 finale of Stranger Things, which introduced a whole new generation to the band. Why does it stick?
Partly because it’s a perfect composition. There’s no fat on it. It starts, it builds, it reaches a fever pitch, and then it ends. It doesn't overstay its welcome. But more importantly, it captures a feeling of pure, unadulterated creative freedom. The band wasn't trying to write a radio hit. They were trying to create an atmosphere.
Robert Smith of The Cure has cited the Banshees as a major influence, particularly the way they used the studio as an instrument. You can hear the DNA of "Spellbound" in early Cure records, in Cocteau Twins, and even in modern acts like Savages or Chelsea Wolfe. It’s a foundational text.
Misconceptions about the "Goth" label
A lot of people think the Banshees were just about being "spooky." That’s a mistake. If you listen to the lyrics of Siouxsie and the Banshees - Spellbound, it’s actually quite psychological. It’s about the power of suggestion and how we can be controlled by our own minds or by others. It’s much deeper than just wearing black lace and hanging out in graveyards.
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The band was actually quite punk in their ethos—they did whatever they wanted. If they wanted to write a song with a heavy pop hook, they did. If they wanted to make a seven-minute experimental track, they did that too. "Spellbound" just happened to be the moment where their experimental urges and their pop sensibilities crashed into each other perfectly.
How to experience Spellbound today
If you really want to appreciate this track, don't just listen to a low-quality stream on your phone speakers. You’re missing half the song.
- Find a vinyl copy of JuJu: The original pressing has a warmth that digital versions sometimes lose. The way the bass interacts with the kick drum is much more "physical" on vinyl.
- Watch the music video: Directed by Clive Richardson, it features the band in a literal forest, looking exactly like the icons they were. It’s the perfect visual accompaniment to the "ritualistic" feel of the music.
- Listen for the "Middle Eight": The bridge of the song, where the guitar gets even more frantic and Siouxsie’s vocals start to layer, is one of the best moments in post-punk history.
Actionable insights for fans and creators
If you’re a fan or a musician looking to dive deeper into the world of Siouxsie and the Banshees - Spellbound, here is what you should actually do:
- Study the John McGeoch "Frozen" Guitar Style: If you're a guitarist, learn the "Spellbound" riff. It will teach you more about rhythm and pick attack than almost any other song from that era. It’s all about the wrist.
- Analyze the Lyricism: Read the lyrics as poetry. Notice how Siouxsie uses "physical" verbs (licking, clutching, laughing) to describe abstract emotional states. It’s a great lesson in songwriting.
- Explore the Rest of JuJu: Don't stop at "Spellbound." Tracks like "Arabian Knights" and "Night Shift" provide the context that makes the lead single even more impressive.
- Check out the 2018 Remasters: If you can't get vinyl, the Miles Showell half-speed masters (done at Abbey Road) are the gold standard for digital listening. The clarity on the percussion is incredible.
The song remains a benchmark because it refused to play it safe. It’s a reminder that you can be "dark" and "poppy" at the same time without compromising either. It’s a spell that, once cast, never really wears off.
Next Steps for the Listener:
To truly understand the impact of this sound, compare "Spellbound" directly with the band's earlier work on The Scream. Notice the massive leap in production quality and musical complexity. Then, look for live footage from the 1981 Rockpalast performance. Seeing the band play this track live at their peak is the only way to truly "get" the frantic energy that defined the era. After that, you'll see why nobody has ever quite managed to sound like them since.