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Heaven Or Las Vegas

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a b c d e Aston, Martin. "Searching for Heaven". 4AD. Archived from the original on 14 December 2015 . Retrieved 8 August 2017.

Smith, Robin (8 September 1990). "This Week: The Next Seven Days in View - Tours". Record Mirror. p.33. ISSN 0144-5804.Raymonde wrote "Frou-Frou Foxes in Midsummer Fires" the day after his father's death, [12] and Heaven or Las Vegas straddled the two themes: "writing songs about birth, and also death, gave the record a darker side that I hear in songs like 'Cherry-Coloured Funk' and 'Fotzepolitic'". [10] Despite being in a "very good space musically" and describing the recording process as an "inspirational time", Raymonde said: "It was trying to mask all the other shit that was going on that we didn't want to stop and think about for too long". [12] In a retrospective of 4AD by music journalist Martin Aston, he noted that Fraser named the album Heaven or Las Vegas as "a suggestion of truth versus artifice, of music versus commerce, or perhaps a gamble, one last throw of the dice". [18] Martin, Aston (2013). Facing the Other Way: The Story of 4AD. London: HarperCollins Publishers Limited. ISBN 978-0007489619. OCLC 853505613. Heaven or Las Vegas displays musical evolution, with the music becoming more accessible. Fraser's lyrics were more intelligible; many concerned her newborn child Lucy Belle, particularly "Pitch the Baby", which is about her experience in giving birth and welcoming a child. [12] [17] Despite most of Fraser's lyrics "[emerging] in alien tongues", which she sums up as "laziness" and "bad diction", she attributed the album's more identifiable words to Lucy Belle's influence. [15] a b "The 500 Greatest Albums of All Time". Rolling Stone. 22 September 2020 . Retrieved 22 September 2020. Riley, Danny (1 August 2014). "Cocteau Twins – Blue Bell Knoll/Heaven or Las Vegas (Reissue)". The Quietus. Archived from the original on 15 October 2018 . Retrieved 8 August 2017.

Phillips, Shaun (15 September 1990). "Heaven scent". Sounds. Archived from the original on 5 August 2021 . Retrieved 28 January 2023. Putting my heart on the table, I admit this was never my favorite Cocteau Twins album (that honor is reserved for Treasure). However, I know that for many a Cocteau Twins fan, Heaven or Las Vegas is the popular peak. It was their final for the 4AD label (their record company home in England) and it reached number seven in the UK, their highest charting release. Cocteau Twins had spent most of the 80s progressing from jangly chamber pop to the deeply sensuous, abstract sound and aesthetic evident on The Moon And The Melodies, their collaborative album with minimalist composer Harold Budd. Yet 1988's Blue Bell Knoll still feels like something of a stepping-stone. 4AD had suggested that Brian Eno produce the record, but the band spurned the idea, opting instead to build their own studio and produce the album themselves. This is clearly the action of a band straining at the leash to take control over every aspect of their sound. However it's a decidedly front-heavy album, with most of the poppy big-hitters inhabiting the first side of the LP whilst a general sense of poor sequencing is evident. The languid stroll of 'For Phoebe Still A Baby' would have served better as a moment of afterglow towards the end of the work, whilst 'The Itchy Glowbo Blow' just sounds tired; an example of how insipid the Cocteau's productions could sound without a decent tune to flesh it out.That album is one of two getting a deluxe vinyl reissue this week via 4AD. It’s certainly a pivotal album in their career, but not necessarily one of their best. Did the Cocteau Twins tame some of their wilder elements for American audiences? Or did the prospect of reaching a whole new continent of ears even enter their minds when they recorded these songs? Blue Bell Knoll sounds minimalist, workmanlike at times, never quite matching the rapturous invention of Treasure. It’s their airiest, cottoniest album, with an enticing use of space on the production but with hooks that sound oddly restrained. As a result, it can sound as monochromatic as its album cover. One of the great things about hearing this album in high resolution now is that I can now crank up the music fairly loudly and it doesn’t become a super harsh, nasty listen. In fact, it takes on a fairly nice warmth as I push my little Bellari tube pre-amp a bit on this one. Simon Raymonde’s bass lines pop out of the mix in a percolating sort of way while Elizabeth Fraser’s voice reaches for the stratosphere. Not sure who is playing the drums on this — none listed on the credits, but it sounds like a live drummer, although they could be sequenced — but, whatever / whomever, the drums sound very nice on this too. Music Direct reserves the right to select the carrier and ship method within the terms of this offer. On the other hand, its general dismissal by critics and fans as a lesser Cocteau Twins album may have less to do with the album itself and more to do with the fact that it is bookended by better and more ecstatically creative works. There are moments of disarming beauty on Blue Bell Knoll—the melting keyboards on “ Cico Buff”, the lush vocal layering of “ Athol-Brose”, the shooting-stars opening of “ A Kissed Out Red Floatboat”, Raymonde’s syncopated bass trudge of “ The Itchy Glowblo Blow”, the whatever that is at the end of “ Spooning Good Singing Gum” (I think it might be a herd of lovelorn goats playing saxophones). But the standout is “ Carolyn’s Fingers”, which would become the Cocteau Twins’ first American single. The band never utilized its rhythm section to better effect: Against Guthrie’s crisp guitar line, that churning momentum pushes Fraser’s vocals to greater and greater heights, her unexpected swoops and eloquently rolled consonants creating a bewildering indie-pop aria. recently reissued these two excellent albums by the Cocteau Twins on vinyl and in a way it feels like the timing could not be more pertinent. The band's influence is evident everywhere from the keyboard-drenched power-pop of recent Beach House to the fizzing rhythmic synth-gaze of The Horrors' latest. They'll even be touched on in the eagerly anticipated shoegaze documentary Beautiful Noise later this year. Yet it's almost impossible even now to view the band as nothing other than an idiosyncratic unit inhabiting only their own self-made soundworld. No artist has been able or even attempted to mimic their style; resting on Elizabeth Frazer's seemingly wordless, melismatic vocals and guitarist Robin Guthrie's maximalist approach to effects including flange, phase, chorus and delay that give the impression of an enhanced depth.

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