![]() It signalled that the Cocteaus had a clear power what emerged further was the beauty. If there’s a standard on Garlands, Wax and Wane is it – the buildup of percussion, Will Heggie’s murmuring bassline then Robin Guthrie’s cascading sheets of guitar sets the stage for Fraser’s still comparatively quiet but nonetheless strong singing turn. It’s easy to hear what fed into the dark, overwhelming flow of Garlands – Siouxsie and the Banshees, in particular – but at the same time, the rigid punch of their electronic beats gave them as much of a distinct mark, blended together with Liz Fraser’s understated, unusual vocals. The Cocteaus’ initial releases –1982’s Garlands album, followed by the Lullabies and Peppermint Pig EPs – were almost proof-of-concept efforts with flashes of inspiration, something also borne out by sessions for John Peel. Twenty years since their last full-length release, the Cocteau Twins remain, for many, a gold standard of a band, a group that seemed to have emerged fully formed from some dark, shadowy intersection of Victorian elegance and post-punk moodiness. ![]()
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