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"I recently purchased a Pro-Ject Debut Carbon DC turntable from you, and I am really impressed with the level of detail and customer service I’ve received so far. The instruction folder is a great touch, and your excellent site gave me tons of info and insight into buying and setting up the turntable. Bravo!" - P. Cuffari
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"Turntable lab constantly deliver the best and most current selection of modern music on all formats. It's my first stop for vinyl house and disco music. The reviews are accurate and I can trust the buyers to source quality product. Customer service is second to none and Bret has been nothing short of outstanding in every interaction we've ever had. Proud to be a Labhead." - G. Laurie
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While Head Over Heels retained traces of the metallic postpunk nihilism that defined their first album and early singles, Treasure finds the Cocteau Twins firmly planted in their next big phase; floating in Robin Guthrie’s pillowy reverb and chorus, Liz Fraser’s soaring lyrical hieroglyphs and new recruit Simon Raymonde’s swirling DX7 strings and bass guitar. When I was first digging into the Cocteaus, the sample nerd in me wouldn’t allow me to truly get into this album because of the same chopped up “When The Levee Breaks” drums used on every single track - I bet they thought they were pretty clever at the time (Robin Guthrie has since referred to this record as “an abortion”). So I subsisted on a steady diet of Head Over Heels and Victorialand for years and years. Eventually I woke the hell up and realized that Treasure sports some of the most brilliant songwriting (“Beatrix,” “Pandora,” “Amelia,” “Ivo” named after 4AD jefe Ivo Watts-Russell) and original production (the proto-Twin Peaks vibes of “Otterley” and “Donimo”) in their catalog. “Lorelei” is still too sweet for my tastes, but it’s perhaps the best example of this phase of the band's sound. Treasure is the light at the end of the tunnel for goths everywhere; Robert Smith even confessed to listening to it while he got dressed on his wedding day! This 180g remastered pressing sounds fantastic, and marks the first time the album has ever been available in the US. Highly recommended.
- 180 vinyl pressing
- remastered from original analog tapes
- full color printed inner sleeve
- digital download included
- limited edition
- music label: 4AD 2018
reviewed by Peppermint Pig 03/2018
While Head Over Heels retained traces of the metallic postpunk nihilism that defined their first album and early singles, Treasure finds the Cocteau Twins firmly planted in their next big phase; floating in Robin Guthrie’s pillowy reverb and chorus, Liz Fraser’s soaring lyrical hieroglyphs and new recruit Simon Raymonde’s swirling DX7 strings and bass guitar. When I was first digging into the Cocteaus, the sample nerd in me wouldn’t allow me to truly get into this album because of the same chopped up “When The Levee Breaks” drums used on every single track - I bet they thought they were pretty clever at the time (Robin Guthrie has since referred to this record as “an abortion”). So I subsisted on a steady diet of Head Over Heels and Victorialand for years and years. Eventually I woke the hell up and realized that Treasure sports some of the most brilliant songwriting (“Beatrix,” “Pandora,” “Amelia,” “Ivo” named after 4AD jefe Ivo Watts-Russell) and original production (the proto-Twin Peaks vibes of “Otterley” and “Donimo”) in their catalog. “Lorelei” is still too sweet for my tastes, but it’s perhaps the best example of this phase of the band's sound. Treasure is the light at the end of the tunnel for goths everywhere; Robert Smith even confessed to listening to it while he got dressed on his wedding day! This 180g remastered pressing sounds fantastic, and marks the first time the album has ever been available in the US. Highly recommended.
- 180 vinyl pressing
- remastered from original analog tapes
- full color printed inner sleeve
- digital download included
- limited edition
- music label: 4AD 2018
reviewed by Peppermint Pig 03/2018
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