Every Cocteau Twins album ranked
When discussing post-punk with a music fan, you can get a quick idea as to whether or not they’re an optimist or a pessimist. On the one hand, the fact the movement is difficult to define means that artists within it have a creative range, which is great for the optimist, as it means that when a new project drops, there are no limitations on what it could sound like. Equally, for the pessimist, it increases the risk of styles that don’t land. If you want a good example of both the positives and negatives of sonic freedom within a movement, look no further than Cocteau Twins.
Robin Guthrie of the band once said that their aim was “To make music with the energy of punk but with more finesse and beauty.” While there is no denying that they achieved this, their albums expand much further than just that description. Over the course of 16 years and following nine(?) studio albums, there is a tremendous amount of range on display throughout their discography.
Of course, in keeping with the theme of optimists and pessimists, this range has given rise to some great albums and some that are… less than great. One of the styles that the band made their own was dream pop, as they took the characteristics of pop music but placed them as an afterthought to ambience. It created some truly cinematic music that sounded 20 feet deep.
This wasn’t the only style the band was responsible for, though. Throughout those 16 years, they made heavier music, more stripped-back tunes, and albums that focused solely on ambience. They’re so different that this list could be flipped upside down and still apply on some level. They’re a great band for the indecisive listener. While this range means ranking from worst to best is difficult, here is one writer’s futile attempt.
Ranking every Cocteau Twins album:
9. Garlands (1982)
Cocteau Twins released its debut in 1982, which represented a unique sound but wasn’t a true reflection of the band that most people came to know and love. A lot of the music that best defines the band and continues to be a go-to for listeners is their more pop-leaning style of music. As such, this gritty and aggressive record stands as a slightly jarring record.
That isn’t to say that Garlands is a bad album; it’s just one of the least reflective of what the band eventually became. The rough-around-the-edges production and squealing guitars show the band’s musical prowess but fall flat when compared to the rest of their discography.
8. Head Over Heels (1983)
Just a year after their debut, the band released Head Over Heels. While this was undoubtedly an improvement, it’s clear now, looking back, that they were still trying to establish their sound and work out the sonic route they were keen on going down. You can start to hear that sound creeping through on some tracks, but creases still needed to be ironed out.
There is an aesthetic captured on this record that feels as though it belongs somewhere other than Earth as if it has been leant to us from a different planet entirely and is now captured on this record. This is a dream-like sound that the band would grow to perfect, and on this record, that style was slowly starting to creep through. You can hear it on tracks like ‘When Mama Was Moth’ and ‘Sugar Hiccup’, but it’s not quite there.
7. The Moon and the Melodies (1986)
The question mark at the end of their nine albums is The Moon and the Melodies. While this certainly is a Cocteau Twins album, it wasn’t originally credited as such. Instead, it was credited to the entire band and Harold Budd. When you listen to the record, Budd’s influence is clear, as this record focuses a lot more on ambient themes and builds an atmosphere unlike any other record by the band. Upon listening, you begin to see why they wanted it listed as a separate entity, as it’s so different to anything else they did.
There are many positive things that can be said about this album. The first is that it’s the most unique and individual record that the band ever made. However, because it was slightly removed from what they had become comfortable with, some sections feel slightly unfinished. Overall, it’s a good album, but it’s not their best.
6. Milk and Kisses (1996)
This was the last album the band released. Cocteau Twins were slowly approaching the end of their tether, as romantic entanglements led to a divide that would eventually see them split. They kept going mainly because of the contracts involved, which said they had to. During this strange period, Milk and Kisses was made.
Considering the circumstances surrounding the band when this record was being made, it’s surprising that it sounds as good as it does. There’s no doubt that it doesn’t come as close to some of their other albums, such as Treasure and Heaven, or Las Vegas, but there is certainly quality on display, and ‘Violaine’ is one of the strongest singles they ever released.
5. Blue Bell Knoll (1988)
When you listen to bands such as Cocteau Twins, who specialise in post-punk and adopt a dreamy soundscape and shoegaze-inspired style, it can be a truly enchanting listen. However, some elements of this sound don’t make for commercial records. For instance, the lack of clear choruses and sometimes unintelligible lyrics mean it’s hard for these kinds of bands to have huge mainstream success.
That being said, Cocteau Twins saw a fair amount of success with Blue Bell Knoll, as it was the first record they ever released on a major label. Some fans approached the record with trepidation, worried the band’s sound might be compromised by big-label politics, but those dreamy atmospherics are still on full display. This is one of the band’s stronger albums, as they proved unwavering in their style despite being attached to a major label.
4. Victorialand (1986)
Sometimes, when people listen to music, they like to focus on the notes that aren’t being played as opposed to those that are. Often, this feels pretentious, but there are some records where you can understand such a phrase, and Victorialand is one of them. When we see the band at their most stripped-back, we also see them at their most beautiful.
This album feels light enough that it could be used in balloons. The record is one of the band’s most dreamlike, as bass and drums are used incredibly sparingly, Cocteau Twins hardly ever touching them and letting the stripped-back nature of this album add to its beauty. In that instance, on Victorialand, the notes that aren’t played contribute just as much as those that are, and it’s a beautiful thing.
3. Four-Calendar Café (1993)
What do you do after a hit album? Cocteau Twins were asked this question following the release of the two albums remaining on this list. In the case of Heaven or Las Vegas, they decided to continue making similar pop that appealed to a large number of people, and as a result, Four-Calendar Café was born.
Given the commercial success of the previous record, it wouldn’t have been unusual for the band to make something experimental, but they instead opted for a similar sound and capitalised on the attention. The result is a great record, almost like an aftershock for an earthquake, still undeniable but not quite as big as that which came before.
2. Treasure (1984)
Their third album was a real turning point for Cocteau Twins. The albums that came before, whether they were too aggressive or not quite where they wanted to be, were building up to Treasure. While those first two albums had connections, as in, they could be related to other records being released by other artists, Treasure was its own beast. It completely separated the band from any other musical outfit.
It’s an incredibly curious album, one that seems to prioritise ambience and atmosphere over music. Establish the theme and tone, and the music will follow. The result is that one of their most dream-like albums finds form, and its tone is impossible not to get lost in from the first second.
1. Heaven or Las Vegas (1990)
Let’s be honest: Treasure and Heaven or Las Vegas could both be considered the band’s best album; it depends on what mood you’re caught in when you listen to both. On this particular day, Heaven or Las Vegas edges it, as the 1990 release is one of the most enticing pieces of music ever made.
There is no escaping the fact that this album was and still is a groundbreaking piece of work. Even with three decades past and a variety of music released since inspired by it, it stands head and shoulders above the rest thanks to its perfect ambience and dreamy instrumentation. It is a perfect album, if there is ever one. Impossible to define for the greatest reasons.
