One of the band's masterworks, Juju sees Siouxsie and the Banshees operating in a squalid wall of sound dominated by tribal drums, swirling and piercing guitars, and Siouxsie Sioux's fractured art-attack vocals. If not for John McGeoch's marvelous high-pitched guitars, here as reminiscent of Joy Division as his own work in Magazine, the album would rank as the band's most gothic release. Siouxsie and company took things to an entirely new level of darkness on Juju, with the singer taking delight in sinister wordplay on the disturbing "Head Cut," creeping out listeners in the somewhat tongue-in-cheek "Halloween," and inspiring her bandmates to push their rhythmic witches brew to poisonous levels of toxicity. Album opener "Spellbound," one of the band's classics, ranks among their finest moments and bristles with storming energy. Siouxsie's mysterious voice emerges from dense guitar picking, Budgie lays into his drums as if calling soldiers to war, and things get more tense from there. "Into the Light" is perhaps the only track where a listener gets a breath of oxygen, as the remainder of the album screams claustrophobia, whether by creepy carnival waterfalls of guitar notes or Siouxsie's unsettling lyrics.