Cocteau Twins - Victorialand

Released in 1986, Cocteau Twins' Victorialand is a minimalist, ambient-focused masterpiece noted for its absence of bass and percussion, relying instead on lush, echoed acoustic guitars and Elizabeth Fraser’s soaring vocals. It is widely considered a serene, "dream pop" album that emphasizes atmosphere over structure, often described as a “wintery” or “frozen” soundscape.

By Dom Gourlay

Four years on from their debut Garlands, Cocteau Twins had become an established act on the UK alternative scene. Two albums and eight EPs followed hot on the heels of Garlands. Each and every one a stark and refreshing step on from its predecessor whilst still retaining the opulent beauty and sheer originality that made Cocteau Twins one of the most invigorating musical ensembles to emerge from the 1980s.

While its three predecessors all highlighted different facets of the band’s creative ingenuity, 1986’s Victorialand represented a marked progression from anything the band had released before. If the two EPs released six months prior to Victorialand offered a hint of what was to come next—Tiny Dynamine and Echoes in a Shallow Bay, both essentially a collection of experimental demo recordings to test the sonic capabilities of the band’s new studio—the album itself proved to be an endearing affirmation of the adage “less is more."

With regular bass player Simon Raymonde on extra curricular duties with This Mortal Coil, Victorialand sees Cocteau Twins at their most stripped back. Although not exactly an acoustic album in its most pedantic form—Cocteau Twins never really did acoustic records—Victorialand is as bare a document as its creators ever mustered. Recorded without bass and percussion, instead focusing on acoustic guitars occasionally accompanied by Richard Thomas on saxophone and tuba. Victorialand lets the confines of its surroundings provide the atmospherics over Robin Guthrie’s signature melodies, while Elizabeth Fraser’s flawless vocal performance throughout guides each of its nine pieces into a blissful state of tranquillity.

If anything, Victorialand heralded the birth of ambient rock that would see Enya have a number one hit record two years later with the not entirely un-Cocteaus sounding “Orinoco Flow” while a whole new genre later to be known as shoegaze blew up around it on both sides of the Atlantic.

Cocteau Twins - Aikea-Guinea 12”

Welcome along to Saturday evening here in North Essex, Englandshire. This has been fun to collate because there are so many interviews (not) with a band who hated giving interviews, and reviews are decidedly thin on the interweb. So, let’s see what I can throw together shall we?

I’m surveying the hallway of a trim basement flat in Shepherd’s Bush in London. It is, supposedly, the residence of a member of a certain, you know, ‘underground’ group who are meant to be dead weird, hate giving interviews and refuse to appear on Top Of The Pops or generally behave like pop performers are expected to. In which case, where’s the teetering mound of unwashed crockery? And the half-empty lager cans full of fag ends? And why isn’t there a Cure LP playing and some bloke fast asleep in the corner?

Tiny Dynamine EP and Echoes in a Shallow Bay EP, were released within two weeks of each other in November 1985, while Aikea-Guinea surfaced on its own earlier that April. The Tiny/Echoes combination found the band shifting into a calmer mode, away from the sonic extremes that marked Treasure, so it’s no surprise to find that the earlier released Aikea-Guinea is, if not a midpoint between the two, a way for the Cocteaus’ to make sure they weren’t simply trapped in Treasure’s shadow. During an interview Robin commented that “Aikea-Guinea was done in a big flash digital studio that we got cheap, with really brilliant equipment. It sounded, well, not as good as it could have done. But that song is so underrated, one of the best we’ve written. It pisses over most things we’ve ever done, it’s brilliant!” While songs Kookaburra and Rococo have a brisk energy, the title track suggests a band now fully comfortable with a sound and happy to explore within it. Those sonic elements that had by now defined the band were all present; choral effects, something that had been a part of many earlier tracks, were also here, adding a further depth to the performance. But it’s Fraser’s showcase, singing with a sweet, compelling gentility that doesn’t float away into the ether. Elisabeth continues “Aikea-Guinea just means flat shells that have been bleached and smoothed out by the sea and the sand. I’ve just ruined it for you by telling you what it’s all about, haven’t I?” Not a chance of ruining it, you’ve simply enhanced what we’re listening to.

Cocteau Twins - Sunburst And Snowblind 12''

Released shortly after the majestic Head Over Heels album, Sunburst remakes one of that album's songs, the gorgeous rush of "Sugar Hiccup." The mock choir effect which Guthrie would employ even more fully on later songs becomes even more prominent, his own performance more striking and beautiful. Fraser's vocals change little, being just as fantastic as on the earlier cut, though she does add a touch more extra singing at points. The rest of the songs are of equal quality, each distinct in their own way. "From the Flagstones" begins with a lovely flanged guitar, a prominent drum pattern carrying the song as a whole. Fraser's singing throughout is wonderful, practically turning cartwheels at points. "Hitherto" moves at a slightly faster pace, Fraser's singing building upward on her line of the verse to a shimmering guitar line; Guthrie's main countermelody is also grand, a few simple descending notes that sound just perfect. "Because of Whirl-Jack" wraps everything up with the fastest song of the bunch, reminiscent of the pace of earlier songs like "Feathers-Oar-Blades" and "In Our Angelhood," but with a lighter air thanks to prominent acoustic guitar and piano.

Cocteau Twins - Peppermint Pig 12''

Experimenting with other producers, the Twins worked with fellow Scot and Associates member Alan Rankine on this three song effort, though not to fully successful effect. Guthrie later groused that Rankine didn't appreciate the band's music to begin with and swore never to hand over production duties again, though the single itself was a notable independent chart success. The title track appeared in both 7" and 12" versions; either way, the song was definitely a bit atypical for the Twins even at that stage, with cleaner guitar, light keyboards and a tight arrangement which sounds more like early Associates than anything else. The 12" mix is all the more unexpected, aiming for the dancefloor in a way which they would never really try again. Fraser's vocals mark it as a Twins song and no other, at least. As for the other two tracks, "Laugh Lines" has Heggie's bass brought up very prominently in the mix and extra live tambourine from Fraser, while the pounding "Hazel" does its job well enough. The EP was also notable as being the last release on which Heggie appeared before splitting to form Lowlife.

Cocteau Twins - Lullabies 12''

Released in 1982, the Lullabies 12" EP is a pivotal early Cocteau Twins release, marking the final appearance of original bassist Will Heggie. It is renowned for its gothic-influenced, dreamy soundscapes featuring Elizabeth Fraser's ethereal vocals and is considered a foundational piece of their dream-pop style, often compiled within Lullabies to Violaine. It serves as a crucial bridge between their debut, Garlands, and the more polished sound of Head-Over-Heels. The EP showcases a more claustrophobic, darkwave sound compared to their later, more ethereal work. The EP is highly regarded for its unique, otherworldly atmosphere, essential for collectors of early 1980s 4AD Records material. 

Cocteau Twins - Treasure

The opening two numbers of Treasure are simply flawless, starting with "Ivo," where gently strummed guitar and low bass support Fraser's singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in "Lorelei," the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser's best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn't necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings on "Beatrix," the understated moody washes and Fraser whispers on "Otterley," the upbeat guitar lines of "Aloysius," or the slightly jazzy touches on "Pandora." The concluding number ends the record on the peak with which it began. "Donimo" starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser's careful singing before finally exploding into one last heavenly wash of powerful sound; Guthrie's guitar, Raymonde's steady bass, and drum machine smashes provide the perfect bed for Fraser's final, exultant vocals. Treasure lives up to its title and then some as a thorough and complete triumph.

Cocteau Twins - Head Over Heels

Losing original member Heggie might at first have seemed a troubling blow, but in fact it allowed the duo of Fraser and Guthrie to transcend the darkened one-note gloom of Garlands with Head Over Heels. The album introduces a variety of different shadings and approaches to the incipient Cocteaus sound, pointing the band towards the exultant, elegant beauty of later releases. Opening number "When Mama Was Moth" demonstrates the new musical range nicely; Fraser's singing is much more upfront, while Guthrie creates a bewitching mix of dark guitar notes and sparkling keyboard tones, with percussion echoing in the background. Other songs, like the sax-accompanied "Five Ten Fiftyfold" and "The Tinderbox (Of a Heart)" reflect the more elaborate musical melancholy of the group, while still other cuts are downright sprightly. "Multifoiled" in particular is a charm, a jazzily-arranged number that lets Fraser do a bit of scatting (a perfect avenue for her lyrical approach!), while "In the Gold Dust Rush" mixes acoustic guitar drama into Fraser's swooping singing. Perhaps the two strongest numbers of all are: "Sugar Hiccup," mixing the mock choir effect the band would use elsewhere with both a lovely guitar line and singing; and "Musette and Drums," a massive, powerful collision of Guthrie's guitar at its loudest and most powerful and Fraser's singing at its most intense.

Cocteau Twins - Garlands

Those hearing Garlands for the first time who only know the bands other material will likely be more than a little surprised. Whereas the typical vision of the Twins is of beautiful washes of sounds and exultant vocals from Fraser, on Garlands the original trio is still only part of the way there. Instead, the best comparison points are to Siouxsie And The Banshees, the Cure on Faith and Pornography, perhaps Metal Box-era PiL, a touch of Joy Division here and there; in sum, deep, heavy mood verging on doom and gloom. Bassist Will Heggie, in the only full album he did with the Twins, clearly follows the Peter Hook/Simon Gallup style of low, ominous throb, while Guthrie's guitar work more often than not screeches loudly than shimmers. Fraser's singing has a starker edge, unsettling even at its most accessible, sometimes completely disturbing at other times. The strongest track, "Wax and Wane," has the trio creating a powerful but also surprisingly danceable track; the crisp drum machine beat working against Guthrie's compelling atmospherics and Fraser's vocal hook in the chorus.

The thing about the Cocteau Twins that interests me the most is how much their sound changed in a manner of only two years. "Treasure" was released 1984, often considered their magnum opus along with "Heaven or Las Vegas". The sound of "Garlands" differs almost completely from that of "Treasure". Garlands is much more subdued, darker and mid-tempo than Treasure yet it is by far inferior to Treasure. The sound of Garlands also is post-punk and new-wave(ish) while Treasure is their first true album in which they mastered the dream pop sound that the band is so well-known for. Garlands is not a bad album by no means, it is just different.
Garlands really is a post-punk album, noticed right off the bat on the song "Blood Bitch". The sound is subdued and trippy, pretty much the overall sound of the album is like this. However, what can be noticed right away are the influences. While it is unfair to say Cocteau Twins ripped off the sound of Siouxsie And The Banshees and The Cure, it is so similar to the sound of both of these bands. The thing is Post-Punk is not a genre known for variation. A lot of bands sound similar to each other, the big four of Proto-Goth (Bauhaus, The Cure, The Banshees, and Joy Division) all sound rather similar on their first albums. "Blood Bitch" is more of like a subdued down-tempo version of Kaleidoscope era Siouxsie mixed with a hint of The Cure Faith era, sprinkle in some Bauhaus and you have the main influences of "Blood Bitch". "Blood Bitch" is what the album mostly sounds like, the distorted guitars, the drum machine, the Siouxsie influenced Elizabeth Fraser singing in tongues is the only thing that differs this band from the average post-punk band.
“Wax and Wane” is the most well-known song off of this album. The song is more up-tempo compared to that of Blood Bitch or even the rest of the album. The lotus-like sound of the catchy guitar line in the song, the catchy chorus in the song, everything is catchy about this song. The most poppy song off of this post-punk album is Wax and Wane compared to the hit or miss of the second side of Garlands. If anything, Wax and Wane is the reason to buy this album.