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Siouxsie — Mantaray

You get a sense of privilege just by listening to her. It’s taken 30 years but Mantaray is the first proper solo album from punk-era legend Siouxsie Sioux, born Susan Janet Ballion.

It’s her first album of new material since the Creatures released Hai! in 2003. But now, recently divorced from her husband and musical partner Budgie, we’re witnessing the emergence of a one-name artist.

Siouxsie certainly carries the reputation of an upper level performer — after becoming a household name in the punk era 30 years past and fronting the surrealist, pre-goth band Siouxsie and the Banshees.

First single “Into A Swan” opens the album, heralding her arrival with the lyrics “I’m on the verge of an awakening”. The backing performers play industrial leaning Krautrock and swirling analogue synths on “About To Happen” before hauling ass into cabaret territory on the Shirley Bassey-influenced “Here Comes That Day”. The cabaret tip keeps pushing — on “If It Doesn’t Kill You”, she croons like Marlene Dietrich atop a stormy backing track before the drums flip into Beatles mode and the production goes all reverse reverb.

Siouxsie co-produced with Steve Evans (he produced Robert Plant) and Charlie Jones, who also play or programme a variety of instruments. Jones also worked with Goldfrapp, so he may be behind the cinematic feel on many of the songs here. For example, “Sea of Tranquillity” chugs along with lightly played steam train drumming and plucked violins; it could be the opening sequence in Get Carter. The album closes with synth-pop hooks on “They Follow You” and the churchy sounding “Heaven and Alchemy”.

Listening to her ever-strong vocals cut through melodies with Nina Simone-like mana, it becomes clear just how much of an influence Siouxsie has been on artists like Garbage’s Shirley Manson. Mantaray is a widescreen masterpiece, and Siouxsie has reasserted herself as a solo artist to be reckoned with.