But on Treasure, the style, which could prove a little too muddy, repetitive and overlayed on previous albums, here benefits from better digital equipment and Raymonde's production skills. Like Spector, the Cocteaus never knew the meaning of restraint when it came to processing a sound. The swoops, ululations and delicate, whimsical, nursery rhyme-aliteration were coaxed out of her famously painful shyness by bathing them in the new wave Phil Spectorism's of the trio's production style of reverb, drenched in delay.in a cathedral. Always liked the Cocteau Twins but only have Treasure in my. Cocteau Twins Best Album & Appreciation Thread. The Cocteau Twins have long been a favorite. Treasure Cocteau Twins Zip' title='Treasure Cocteau Twins Zip' />Get inspiration for you next vacation, plan your trip and choose the places. With this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bass guitarist Simon Raymonde. It was released on 1 November 1984 by record label 4AD. Treasure is the third studio album by Scottish rock band Cocteau Twins. I've got tickets for Elizabeth Fraser at The RFH on the basis that I really like Treasure. Fraser's voice to resort to cliche, can only be described as unearthly. They are, possibly, the perfect example of a band who inhabit their own hermetically-sealed universe. The fact remains that despite a whole host of post-punk wannabes adopting the flange 'n' drum machine tactics of the Twins, no-one has ever come remotely close to emulating their sound. While ghosting their services to 4AD's This Mortal Coil project, they were to meet their new third member, Simon Raymonde, and with this, their third album, went from fey alternative heroes to full-on purveyors of dreamlike, Victoriana-soaked, splendour. These grey masses had already voted them onto his influential Festive Fifty list, but they had far more to give. “By 1983, the Cocteau Twins had lost their original bass player, Will Heggie, after two well-received albums that put them at the forefront of bands loved by the Peel-listening hordes. Lives up to its title and then some as a thorough and complete triumph. 'Donimo' starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and 's careful singing before finally exploding into one last heavenly wash of powerful sound 's guitar, 's steady bass, and drum machine smashes provide the perfect bed for 's final, exultant vocals. As 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 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. 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.
Topping that would be hard for anyone, but in 'Lorelei,' do it, with an introductory, breathtaking guitar surge leading into one of 's best vocals, compelling in both its heavenly and earthly tones and rolls. The opening two numbers of are simply flawless, starting with 'Ivo,' where gently strummed guitar and low bass support 's singing then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping guitar solo.