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Choosing just three albums from a near perfect run is hard enough, but with a discography of Cocteau Twins’ calibre, it’s next to impossible. While everyone has their personal pantheon of the band’s golden records, this bundle tracks Cocteau Twins’ journey with 4AD from gothic post punk beginnings, through a confident dream pop middle, to the ending culmination of their unique, ecstatic pop perfection.
Choosing just three albums from a near perfect run is hard enough, but with a discography of Cocteau Twins’ calibre, it’s next to impossible. While everyone has their personal pantheon of the band’s golden records, this bundle tracks Cocteau Twins’ journey with 4AD from gothic post punk beginnings, through a confident dream pop middle, to the ending culmination of their unique, ecstatic pop perfection.
Founded by guitarist Robin Guthrie, bassist Will Heggie, and vocalist Elizabeth Fraser swerved onto the scene in 1982 and long before the sharp and polished sound worlds of their later albums, the seeds of Cocteau Twins’ ethereal craft were sown on their fully formed 1982 debut Garlands. With wailing guitar shreds and icy drum machines, Heggie’s tense, rolling bassline and Fraser’s idiosyncratic delivery, the band injected enthralling, spellbinding atmospherics into the burgeoning goth movement, displaying a vital inventiveness in the dissonant energies of songs like ‘Blood Bitch’, ‘Wax And Wane’, and ‘Shallow Then Halo’.
With Simon Raymonde quickly taking over on bass the raw clarity of the band’s debut disperses into the splendour of their 1984 LP Treasure, solidifying their dream pop sound of newly life affirming strums drenched in shimmer. Melodramatic and grandiose, Treasure stands out amidst the early 80s post punk of its day with crunchy hip hop inspired drum machines and pulsating basslines driving through washes of guitars, conjuring an otherworld with enticing whispers and playful lyricism, the cathedral-sized racket of harpsichord plucks and crashing percussion.
Then comes Heaven Or Las Vegas, the kaleidoscopic 1990 album that would cement Cocteau Twins’ place in music history forevermore. With some of their biggest songs ever, Heaven Or Las Vegas is for many the pinnacle of the band’s silky smooth pop songwriting, combined with tender, gaseous aesthetics bordering meditative and psychedelic. ‘Cherry-coloured Funk’ floats woozily in the clouds with melismatic highs as lyrics slip in and out of language, while the title track’s pure jubilant energy surges in breezy splashes of drums and soaring shreds.
Post breakup, Guthrie’s solo career spans two decades, including countless collaborations with Harold Budd, and Raymonde runs the “music industry success story” label Bella Union. Fraser, meanwhile, has added her charm to works ranging from Massive Attack to Oneohtrix Point Never to The Lord Of The Rings soundtracks. Wherever the band members go, their legacies follow, with a whole new generation of artists taking up Cocteau Twins’ mantle in inspiration.
Founded by guitarist Robin Guthrie, bassist Will Heggie, and vocalist Elizabeth Fraser swerved onto the scene in 1982 and long before the sharp and polished sound worlds of their later albums, the seeds of Cocteau Twins’ ethereal craft were sown on their fully formed 1982 debut Garlands. With wailing guitar shreds and icy drum machines, Heggie’s tense, rolling bassline and Fraser’s idiosyncratic delivery, the band injected enthralling, spellbinding atmospherics into the burgeoning goth movement, displaying a vital inventiveness in the dissonant energies of songs like ‘Blood Bitch’, ‘Wax And Wane’, and ‘Shallow Then Halo’.
With Simon Raymonde quickly taking over on bass the raw clarity of the band’s debut disperses into the splendour of their 1984 LP Treasure, solidifying their dream pop sound of newly life affirming strums drenched in shimmer. Melodramatic and grandiose, Treasure stands out amidst the early 80s post punk of its day with crunchy hip hop inspired drum machines and pulsating basslines driving through washes of guitars, conjuring an otherworld with enticing whispers and playful lyricism, the cathedral-sized racket of harpsichord plucks and crashing percussion.
Then comes Heaven Or Las Vegas, the kaleidoscopic 1990 album that would cement Cocteau Twins’ place in music history forevermore. With some of their biggest songs ever, Heaven Or Las Vegas is for many the pinnacle of the band’s silky smooth pop songwriting, combined with tender, gaseous aesthetics bordering meditative and psychedelic. ‘Cherry-coloured Funk’ floats woozily in the clouds with melismatic highs as lyrics slip in and out of language, while the title track’s pure jubilant energy surges in breezy splashes of drums and soaring shreds.
Post breakup, Guthrie’s solo career spans two decades, including countless collaborations with Harold Budd, and Raymonde runs the label Bella Union. Meanwhile, Fraser has added charm to works ranging from Massive Attack to Oneohtrix Point Never to The Lord Of The Rings soundtracks. Wherever the band members go, their legacies follow, with a whole new generation of artists taking up Cocteau Twins’ mantle in inspiration.
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