Catchy without feeling melodic is how Simon Reynolds describes the early sound of Siouxsie & The Banshees, and that lack of melody might be one of the reasons I’ve never delved further than knowing that they had quite a big hit with a cover of The Beatles’ Dear Prudence.

The more I think about the gaps in my record collection, the more the post-punk chasm starts to grow. Drawn initially towards baggy, indie-pop and anything in the early 90s that would establish my crucial indie credentials, the backwards steps I took to discover influencers took in highly melodic 80s bands like The Smiths, highly melodic 70s bands like Big Star, and introspective singer-songwriters from any period like Nick Drake and, well, The Smiths again.

Hating punk as i generally did (and to an extent still do), it made sense to ignore, for the most part, its pre- and post-history. Even the parts I didn’t ignore tended to be from the poppier end or come bearing new wave gifts - Orange Juice, XTC, The Stranglers, The Teardrop Explodes. And then there was Britpop, and that was never going to open me up to post-punk, so set aside it stayed.

The other day, someone clearly of more taste and distinction than me posted the video for Spellbound to a Facebook group I’m a member of, and I knew instantly that I’d been missing out on something all along. Forceful and mysterious, it’s definitely catchy. Not only that - it’s melodic, too.