| | Cocteau Twins Blue Bell Knoll CD Cocteau Twins Discography of CDs
 (1 Customer Review)
Standout tracks include "Carolyn's Fingers," featuring Elizabeth Fraser's voice pining and sweeping over a shuffling beat, the slow-paced "For Phoebe Still a Baby," dedicated to Fraser's unborn child, that adds a xylophone in the mix, and "Spooning ... Full DescriptionGood Singing Gum," bedecked with Guthrie's echoing, multi-tracked guitars. As good as these cuts are, however, the best of the bunch are the album's last two tracks, "A Kissed Out Red Floatboat," and "Ella Megalast Burls Forever." Alone, either would justify the price of admission, but together they make this, out of many great Cocteau Twins albums, one of the best.
2003 4AD reissue of 1988 album remastered by guitarist Robin Guthrie.
After the airiness of VICTORIALAND, BLUE BELL KNOLL, the Cocteau Twins' fifth album, returns them to the swirling ethereality of earlier collections. Anchoring the interplay of Elizabeth Fraser's vocals and Robin Guthrie's effects-treated guitars with drum machine patterns and stronger bass lines makes for somewhat more traditional songs, and also frees them--"Suckling the Mender" even has room for two glittering guitar solos.
Cocteau Twins: Elizabeth Fraser (vocals); Robin Guthrie (guitar); Simon Raymonde (bass).
Hide Description Cocteau Twins Blue Bell Knoll Songs Blue Bell Knoll Music Review Average Rating: (5 out of 5 stars)  Cocteau Twins
This is a great cd for anyone who needs to wind down after a hectic day...it takes you to another universe and is beautifully orchestrated.
Submitted by Almatson (Kissimmee, Fl,USA) 
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I bought the import version of this album,and it's the first record of Cocteau Twins that I ever got.I really didn't have any preparation to listen to it.I was still so surprised that it's so attractive though I had heard about the fame of 4AD.I remenbered that the style of Blue Bell Knoll was called Dream-pop or Ethereal Soundscape or any else,but I really didn't like those reluctant names.Cocteau Twins tried several new techniques besides their typical features,and you'd never realise that they even didn't use any synthesizers!The texture of the music was really misty but you could catch every note of it,maybe it's so ethereal but still you could follow it----This album is a beginning of Dream-pop I guess,leading the followings such as Blow of Swallow or Spooky of Lush.
I like this record that much and that's why I'd be so disappointed at the later records of Cocteau Twins.
Submitted by dachyyue (changsha,china)
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Blue Bell Bubbily
I am a huge fan of this band. I saw them live several years ago at The Roseland Ballroom, A few of the songs from this album were played. I think that this album sounds a bit more modern that its predecessors. I love the tinny, bubbily, bouncy sounds and it creates a feeling of warmth throughout my body. I do not think there is an album I do not like.
Submitted by tgreenfield (New York, NY)
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Purchase Blue Bell Knoll CD To buy, Click on price to add to cart | Cocteau Twins Head Over Heels CD (1983) Remastered
Blue Bell Knoll album
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Standouts include "The Tinderbox (of a Heart)," which is fleshed out with synthesized orchestral strings and multilayered vocal tracks; the strange, barreling, music-hall quality of "Multifoiled"; and the crunching, heavily echoed "Musette and Drums," which features Elizabeth Fraser's vocals ...
| | Cocteau Twins Victorialand CD (1986) Remastered
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In the two years following TREASURE, the Cocteau Twins released three EPs: AIKEA-GUINEA, TINY DYNAMINE, and ECHOES IN A SHALLOW BAY. Each of these records saw the band moving progressively further away from the heavier sound of previous releases. VICTORIALAND (1986) was the apex of this trend and easily their most ethereal, airy album. Interested listeners should also check out the band's 1986 THE MOON AND THE MELODIES, recorded with ambient musician Harold Budd.
VICTORIALAND features very little ...
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With their third album, TREASURE, the Cocteau Twins settled on what would, from then on, be their primary lineup--vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde. One of the band's most impressionistic records, it abandons the "phrase" titles of previous records in favor of mythological-sounding ...
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This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' ...
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Jonn Walterscheid and Sharon Schloss had been making music for almost their whole lives before Bumtech became official in 2005. With the goal of taking their artistic expressions and musical skills and turning them into accessible alternative pop music, they focused all of their energy on writing for the first year and recording demos at home. Then, in late 2006, Bumtech began playing live shows in Portland, Oregon, where both members have lived since 2001. Before Bumtech, Jonn played his guitar with an obsessive passion starting in high school, and made hours and hours of 4 track recordings. These recordings were heavily influenced by Pink Floyd and Syd Barrett, Jimi Hendrix, The Velvet Underground, and Ween. Sharon started playing classical piano at the age of seven, and as a teenager picked up guitar and began her own writing, influenced also by Pink Floyd as well as Neil Young and Tori Amos. She played bass in the Los Angeles hard rock band, Third Grade Teacher in the late 90s, and gradually turned more to her writing again, having become increasingly influenced by the New Wave sounds of the 80s. By the time Jonn and Sharon met, they were both obsessed with alternative New Wave bands like Orchestral Manouevers in the Dark, Depeche Mode, and Simple Minds. They had also found a lot of influence in bands on the 4AD label, especially Cocteau Twins and Dead Can Dance. It was a love if this music, and The Legendary Pink Dots, that steered the band in the direction of a drum machine rather than a live drummer. The road to the recording studio for their debut LP began with the band meeting Danny D of the well-loved 1980s Portland garage band, ...
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