Garlands

Shallow Than Halo is one of the best tracks on this album. Vocals, guitar, and bass are all on point.

Somedays Blood Bitch just says it all for me. Then the devil by smiling waxes and wanes. I knew a few Waynes that I waxed and they were smiling devils,too I must say. I know nothing of France, I swear that on party lines. Grail Overfloweth and so does this review. Dear ones, just get this one for its historical importance. Plus it is a very good debut album, too. They started out rockin' with Garlands and ended with Milk Chocolate and Kisses as about as vanilla as one can get. And isn't it nice? A group in de-evolution. I haven't heard any of the recent Robin Guthrie instrumental cds. He keeps pulling them from the shelves to put out newer versions. Don't know what's up with that. I heard,(probably from a Wayne) that one of his more recent incarnated albums is back on track to being a Cocteau Twins cd. But,it's neither Cocteau nor Twins. Elizabeth Fraser needs to help with some vocals. ps Love the cover art on this. How occult!

This vinyl edition sounds great. A quiet, clean sounding pressing which is getting pretty rare these days to come across. Only downside is Amazon delivered it in a poly bag ONLY. Unreal. I wouldn’t even ship a CD in a poly bag. Luckily it didn’t have far to go and my copy seems undamaged.

In 1982, Cocteau Twins already had the murky, shimmering wall of guitar sound they were looking for. Back then, the noise was distorted and feedback laden. The vocals were unharmonized and close to decipherable. Liz sang in her haunting mid-range, and the music was minimal, underwritten and dark, relying on only a couple alternating melodies for each song's duration. Comparisons to Joy Division and The Cure make some sense, although this album has a chaotic, wicked, mysterious delirium about it that those bands never captured, opting instead for bleak, intense depression. This is the only album in the Cocteau's entire catalog that is completely the missing positive, lilting shoegazer hit material such as "Pearly Dewdrop's Drops" and "Sugar Hiccup". Their new age, "dreamy" soft white aesthetic had yet to emerge. This is not the say "Garlands" is one-dimensional; far from it. If anything, the vague, unrefined simplicity of these slabs of distortion makes them more open to interpretation than the much catchier songs on the two albums that came after this, "Head Over Heels" and "Treasure". As always with this band, it's Liz's vocal performance that makes the album. She proves that even though the intense harmonization (5+ voices at once) of later albums is incredibly beautiful, it is not necessary. Her singing here slides up and down in pitch, and warbles with emotion in that distinctly Scottish way. Each Cocteau Twins album had its own vocal style, but here is the only time we hear her voice unaltered, singular and clean, and for this reason alone this album is worth it for any fan of hers. The album is enjoyable as a whole, although not diverse like "Head Over Heels" or "Treasure" (after that they adopted a more thematic approach to structuring albums). Highlight tracks include the dizzyingly strange "Wax and Wane", the emotionally indescribable "Blind Dumb Deaf" and probably the catchiest track on the album, "But I'm Not". The remastered production is as clear as it is possible to make this kind of music. In conclusion, even if the band did improve exponentially with age (as this reviewer believes they did), Cocteau Twins' debut album "Garlands" is a great album on its own merits, they had yet to find their sound, but this sound has an appeal all its own.

Aún te recuerdo paloma

A band and record from my twenties! The best record from Cocteau Twins Unfortunately the seller's offer - OxfordshireEngland - stated a remastered version of the CD with a few extra tracks and the actual CD I received was the original one, without those extra tracks.

Am old enough to have bought this on vinyl when released but never got round to buying on CD 'til recently. Ordered from a UK seller, (am in England), but when received was not the item described. Found US seller, ordered without hassle for a great price, and received in double quick time. Fantastic service from a source I would happily use again. Album still sounds good, (after too many years than I care to mention!).

As always, the Cocteau twins knock it out of the park. A band with beautiful voice's creative sound. 4AD. Thanks for bringing so much good music to the world. Never a sound that gets old and boring. I've listened to this band from the time they first came out.

名作。バウハウス、デッドカンダンス、バースデーパーティーと並ぶ初期4ADの看板バンド。暗くどっぷり病んだ感じがたまらない。影響力は計り知れないものがあった。

Fantastic transaction. Item arrived as described. All risks and costs were outlined before purchase. A+++++++

Très bon état merci

Très bonne réédition

Garlands, combined with the excellent John Peels session 1983, is perhaps my all time favourite album. I don’t usually feel compelled to write reviews but because of the mixed reviews I’ve read about this musical masterpiece, I thought I might shed some light on the situation as I see it. It seems to me that Cocteau Twins fans are divided into two camps. The first camp consists of those, like myself, who like the Twins grinding post-punky material from the Will Heggie period – their first bass player who played on Garlands, John Peel Session 83, Lullabies, and Peppermint Pig, and who left in 1983. The second camp consists of those who prefer the shoegazingly post-Will Heggie material, and this camp very much forms the majority as about 95% of CT music is from this period (1983 – 98). So is it any wonder that Garlands gets some negative reviews if 95% of those reviewing it have ‘second camp’ expectations. That said, one must bear in mind that when Garlands was released before this second camp existed, even before shoe-gazing existed, the album made a serious mark on the indie-music zeitgeist of 1982. With no press exposure and only a handful of live shows the album reached the top 10 in the independent chart where it stayed for the following year. At the end of 1982 NME readers voted it among the best albums of the year. God only knows how the Twins would have progressed from Garlands if Heggie had have stayed – I’d dare to suggest that they could have made an impact like say Joy Division did. In fact, with the exception of Head Over Heels and the odd gem like From the Flagstones, Lorelie, or Aikea Ginea, I find a lot of their later stuff rather insipid. I even find some of Liz Frazer’s vocals a little grating (eg, Pearly Dewdrops Drops) and I feared the band ran the risk of becoming a parody of themselves with overblown alliterated assonance-laden titles (eg Spooning Good Singing Gum or The Itchy Glowbo Blow). But that’s just me however! As far Garlands itself. From its spectacular abstract sleeve, which aptly represents the intense journey the listener is about to take, right down to Liz Frazer’s final wail to see Grail Overfloweth out, Garlands is powerful stuff and I’ve never heard anything like it. The album is the coming together of three musicians, all uniquely brilliant in their departments, who have a mutual understanding and manage to create a synergic result. Robin Guthrie’s high pitched screeching guitar is almost juxtaposed alongside Will Heggie’s low-pitched morose bass. And then throw Liz Frazer’s powerfully raw vocals into the mix. I’m undecided as to which is my favourite track. Wax and Wane was the initial one that hooked me, as I’m sure it did for many listeners, but as time went on, I find myself falling for the albums less linear songs like The Hollow Men. Basically I like them all. If purchasing this album try to get it combined with the excellent John Peels session 1983 – Hearsay Please has possibly got the best intro I’ve ever heard, second only to that of Dear Heart. My only two criticisms of Garlands, although not criticisms but more observations. I sometimes think the album, even though timeless in my opinion, would have fared better if it had have been released about three years earlier so that it really would have tied in with the post-punk movement of 1979. Another thing I often wonder about – what might the album sound like if it had a real drummer rather than a drum machine – maybe this could be Robin Guthrie’s next project!! All in all, it seems people will either love this album or hate it and I most certainly fall into the former.