Kenny Morris was a drummer with a unique style, and one of the founding musicians of post-punk in the early days of Siouxsie & The Banshees.

I can’t remember the first time I saw Siouxsie & The Banshees but I think it was in November 1977 at the Music Machine in Camden. That night they played a new song for the first time.

The thunderous sound of Kenny Morris’s drums pounded out a deafening tribal rhythm before John McKay’s savage guitar cuts through like shards of metal.

And there was Siouxsie giving off teutonic vibes, marching on the spot in her leather boots and X-rated T-shirt like a demented soldier, her stentorian vocal delivered with that trademark yelp at the end of every line.

It was overwhelming, and that song – Metal Postcard (Mittageisen) – immediately became my favourite of theirs, and they played it on their first Peel session a few days later.

I saw the Banshees several other times, including a spectacular one the following March at Ally Pally – their biggest to date – when six inches of snow fell during the gig.

By then they still had no record deal. Record companies seemed afraid of Siouxsie and The Slits – independent women in punk bands. It would be another six months before their album The Scream came out in November 1978.

Metal Postcard was the first of their songs that stuck in my mind after that very first gig; it’s still the one that I think of the moment I think of Siouxsie, or the Banshees, or The Scream.

It’s one of those landmark albums, of which there were so many at that time, simultaneously unique yet also defining an era that came to be called post-punk, even though Siouxsie was not post-anything.

She was a proto-punk; one of the gaggle of punks Malcolm McLaren brought along to the TV studio for The Sex Pistols’ infamous interview with Bill Grundy back in December 1976.

I remember seeing her at gigs even before I saw her band, usually with fellow early adopters like Steve Severin, Debbie Juvenile, Soo Catwoman and Jordan from the so-called Bromley Contingent, sometimes in that eye-catching latex “topless” top.

But back to Kenny Morris, and farewell to a unique drummer who favoured the toms over the cymbals and hi-hats, creating a distinctive sound that informed an entire generation of bands.

A sad loss indeed.