While musically diverse, the album's lyrics rarely stray from the dual themes of death and sex, furthering the gothic undertones so often heard in Smith's and Severin's previous work. ![]() Standout tracks include the Middle Eastern-twinged 'Orgy' and the more conventional 'Mouth to Mouth.' Smith's distinctive warbling on the first-class 'Perfect Murder' takes the album directly into Cure territory, as do the instrumentals that could equally find a home on Seventeen Seconds. Jeanette Landray sings the majority of the tracks, while Smith takes the lead twice among a smattering of instrumentals. Robert Smith has called this, his one-time collaboration with Banshees bassist Steve Severin, a 'summer album.' Blue Sunshine is in fact is a lurid carousel of giddy psychedelic pop, morbid instrumentals, and cut-and-paste found sounds, the warped product of an apparently all-nocturnal, hallucinogen-and-slasher-flick-fueled studio residency in the delirious summer months of 1984. Writers Smith and Severin's more eccentric tendencies are as likely to evoke pictures of a carnival as a funereal march, but the backbone rests largely on tightly constructed tunes with occasional forays into the experimental. This one-off collaboration between the Cure's Robert Smith and Siouxsie and the Banshees' Steven Severin resulted in an eccentric, and at times incompatible, mix of psychedelic sounds wrapped around alternative '80s pop.
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