I've been meaning to do an 'anatomy class' for some time now, but these types of posts require a great deal of time and attention, both of which have been sorely lacking in my world recently. However, now that I have a few moments to devote to such explorations, I've decided to take an in depth look at a band that was recently discovered by Brazilian reader Macki and that I'm sure many of you have heard of: The Cocteau Twins.
[b]History:[/b] [url=http://www.cocteautwins.com/]The Cocteau Twins' official website[/url] begins with a description that I feel only begins to scratch the surface of this band's influence on the musical landscape: [i]They were a [b]phenomenon.[/b] Not necessarily the kind that plays to stadiums or fills MTV's timeslots or even sells millions of records. Rather, the kind that quietly causes a fundamental shift in perception, exerting an influence that is universally felt if not always seen. [/i] Indeed, the unique music of this Scottish trio continues to be of relevance despite the bands disintegration in 1997.
The Cocteau Twins, which have always been a trio, took their name from an obscure song by fellow countrymen and musicians Simple Minds. The three original members, Will Heggie, Robin Guthrie and Elizabeth Frazier crossed paths as a local dance club where Guthrie was the DJ on “punk nights.” The three formed a group as a result of what they termed as “sheer boredom” and soon caught the attention of Ivo Watts-Russell at the then fledgling London label 4AD. It wasn’t long after this that they released their first album, [u]Garlands[/u], in June of 1982, which they recorded in just seven days. However, later that year, Will Heggie left the Twins, and was not replaced until a year later when Simon Raymonde joined the band to complete the lineup that would remain for the duration of their life together.
The band went onto record seven other albums including [u]Head Over Heels[/u] (1983), [u]Treasure [/u](1984), [u]Victorialand [/u](1986), [u]Blue Bell Knoll[/u] (1988), [u]Heaven or Las Vegas [/u](1990), [u]Four-Calendar Café [/u](1993), and [u]Milk & Kisses[/u] (1996) ~ as well as eleven EPs. The band received critical acclaim early on, but it wasn’t until their 3rd release, [u]Treasure[/u], that they were fully established as an influential and important band. Again, the official Cocteau Twins' website offers this description of the band’s third outing: [i][u]"Treasure[/u] marks a trend in Cocteau Twins' music to blur the edges more, and further detach the music from any sort of definite structure. The songs themselves rely heavily on effects, and often the sounds one hears are reminiscent of the baroque or more modern gothic/synthetic music (such as the Mike Oldfield "Tubular-Bells"-like "Otterley"), accompanied by layers of delayed or fuzzed-out guitars, and the occasional acoustic-style strumming rhythm (as on "Ivo" and "Cicely," for example)."[/i] Similarly, it is on [u]Treasure[/u] that Frazer fully develops her lyrical and vocal style, which we will explore a bit later… but which has been labeled by at least one critic as being comparable to “the voice of God.” (Ironically, [u]Treasure [/u]is the band’s least favorite record. In fact, later in their career, they rarely played any of its tracks live).
After several other releases and an ambitious touring schedule, the Cocteau Twins released their final LP[u] Milk and Kisses[/u] in 1996. By this time, the band had long since parted ways with 4AD, (a label whose sound will always be associated with the Cocteau’s music), and had signed with major label Mercury Records. Although the Twins claimed to feel less pressure to produce “a single” with Mercury than they did with 4AD, two of the tracks from [u]Milk and Kisses,[/u] [i]Tishbite[/i] and [i]Violaine[/i] were in fact released as singles with accompanying videos. Both tracks received praise from critics, but this did not translate into commercial success for the band, and they were “released” from their contract with Mercury in 1997.
In 1998, the band created their own label, Bella Union, which they named as a reference to the joy their collaboration had been. However, ironically, The Cocteau Twins never released a new album on their newly formed label, as they disbanded in the middle of recording the follow up LP to [u]Milk and Kisses[/u].
[b]Description:[/b] Initially influenced by bands such as The Sex Pistols and Siouxsie and the Banshees, The Cocteau Twins began their musical journey as pioneers ~ responding to much of the music they loved in genres such as Post Punk, New Wave, New Romantics and Goth. Indeed, elements of all these movements can be found in Cocteau Twin music. However, The Cocteaus represent a truly unique and singularly expressive chapter in music history.
Musically, the Cocteau Twins’ arrangements are fluid and graceful while also being razor sharp and nearly brittle in their focus on detail. One of their greatest strengths as artists was their ability to push the envelope in terms of melody. Relying frequenly on reverb and distortion the Twins are also known for their thick baselines, soaring guitars and perfectly lovely, if often somewhat disguised, hooks, proving that this is a band that seemed to relish in finding beauty in the unexpected turns that a melody can take; (Think Stravinsky's Rite of Spring meets new- wave-synthpop and you’ve got a hint of the delicious juxtaposition that is so often found in many of The Cocteau’s musical compositions).
Similarly, Liz Frazer’s vocals are legendary and unmistakable. In fact, when Macki wrote me to tell me of his discovery of them, he described her as “otherworldly,” and I have to agree. Just as the arrangements themselves stretch the boundaries of melodic invention, Frazer’s voice often and equally defies the imagination, ranging from a breathy and delicate soprano to a staccato and disjointed alto as well as various combinations of both. This is made all the more remarkable when one considers that Frazer has been the sole vocalist on each and every Cocteau Twins’ track since the band’s inception. (Well… almost all. She was accompanied on one track on their first release, but we won’t talk about that). Indeed, as noteworthy as Frazer’s voice is, even more extraordinary are her lyrics which are often debated, interpreted, and even more often, misinterpreted. In many instances, Frazer claims to be speaking in metaphor, using a created language or collection of words that were grouped because of their tonality and emotional response rather than their literal interpretation. In fact, the lyrics to [u]Violaine [/u]from [u]Milk and Kisses[/u], consists entirely of English words sung backwards. Go figure!
As someone who is sometimes fortunate to have the opportunity to write about music (semi/un)professionally, I cannot tell you the number of CDs I receive from bands who claim The Cocteau Twins as an influence… and it’s really no wonder why. (Even mainstream artists such as Prince, Madonna and Peter Gabriel have spoken on the impact of the Cocteau Twins on their own musical journey). Their music is truly unlike that of any other band and their experimentations have proven to be important steps in the evolution of music.
[b]Recommendations:[/b] While [u]Treasure[/u] is widely accepted as the essential Cocteau Twins album, I much prefer [u]Milk and Kisses[/u]. At the time of its release, response to this album was varied. While some critics dismiss this final LP as being a bit over produced in an attempt to pander to their label, others claimed it to be a triumph, that in retrospect seems to take the band full circle and back to their original outtings on [u]Garlands[/u]... only this time with the benefit of a fifteen year career behind them. I tend to agree with the latter assessment and find tracks like [i]Violaine, Tishbite, Rilkean Heart [/i]and [i]Seekers Who Are Lovers[/i] to be absolutely writhing with life. In fact, writing this post reminds me of how perfectly [u]Milk and Kisses[/u] is as an accompaniment to summer. To be sure, while I could probably rattle off an impressive list of music that I find particularly well suited to the color and shadows of autumn or the bleakness and austerity of winter, I often find myself stumped when it comes to identifying music that matches the fiery optimism and beautiful, if somewhat dangerous, vibrancy of summer. The Cocteau Twins just might be that band, however, and their final LP, [u]Milk and Kisses,[/u] receives my strongest recommendation.
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Ok. So if you made it through all of that, you're certainly a trooper. This was a fun post for me to do, and I appreciate all who take the time to trudge through this dissection of one of my favorite bands.
posted by: macki (reply)
post date: 07.07.04 (7:33 pm)
each time i hear them, the twins seem even better
quite sometime since i enjoyed so much hearing a band
oh, and excellent "anatomy class", j, really great post
bye
posted by: newbie (reply)
post date: 07.08.04 (11:10 am)
Should read at, not as.
The three original members, Will Heggie, Robin Guthrie and Elizabeth Frazier crossed paths as a local dance club where Guthrie was the DJ on “punk nights.”
Reply to: juniperflux
it is quite the thrill, its awesome!
posted by: shadowmusic (reply)
post date: 07.10.04 (8:08 am)
I'm a huge fan of the Cocteau Twins as well. I think _Heaven_or_Las_Vegas_ is also a really good album to start with, and my favorite song by the band is "Carolyn's Fingers" from _Blue_Bell_Knoll_.
posted by: brogonzo (reply)
post date: 07.13.04 (5:58 am)
Wow, great write-up. I haven't heard Siouxie and the Banshees forever... and I'll definitely have to check these Twins out.
posted by: SheSpecies (reply)
post date: 07.17.04 (12:59 pm)
Ah, I love the Cocteau Twins. I'm just such an 80's girl, though.
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While [u]Treasure[/u] is widely accepted as the essential Cocteau Twins album, I much prefer [u]Milk and Kisses[/u]. At the time of its release, response to this album was varied. While some critics dismiss this final LP as being a bit over produced in an attempt to pander to their label, others claimed it to be a triumph, that in retrospect seems to take the band full circle and back to their original outtings on [u]Garlands[/u]... only this time with the benefit of a fifteen year career behind them. I tend to agree with the latter assessment and find tracks like [i]Violaine, Tishbite, Rilkean Heart [/i]and [i]Seekers Who Are Lovers[/i] to be absolutely writhing with life. In fact, writing this post reminds me of how perfectly [u]Milk and Kisses[/u] is as an accompaniment to summer. To be sure, while I could probably rattle off an impressive list of music that I find particularly well suited to the color and shadows of autumn or the bleakness and austerity of winter, I often find myself stumped when it comes to identifying music that matches the fiery optimism and beautiful, if somewhat dangerous, vibrancy of summer. The Cocteau Twins just might be that band, however, and their final LP, [u]Milk and Kisses,[/u] receives my strongest recommendation.