Lowlife - Diminuendo

Style: Dream Pop.
Similar Artists: Perry Blake.
Recording year: Nightshift Muzic, 1987.


Coming off like a dark hybrid of the Cocteau Twins and Joy Division/New Order, the Scottish band Lowlife was formed in 1985 by ex-Cocteau Twins (Garlands era) bassist Will Heggie and vocalist Craig Lorentson.

Followed up the strong if slightly monolithic Permanent Sleep with a more varied release, Diminuendo. Continuing to explore a darkly dramatic but never overwrought vein of post-punk atmospherics, the quartet, unchanged in lineup from its earliest releases, built beautifully on the past to further justify their increasing reputation in the U.K. "A Sullen Sky," the striking opening song, showed that even with a subtle change in the arrangements -- a touch more clarity on Craig Lauritson's echoed vocals, the hint of swooping drone keyboards in the background, a little more space overall -- the end results had that much more impact.

With that as a calling card the quartet tackled the rest of the nine songs with gusto, with experiments including acoustic guitar ("Big Uncle Ugliness") and an almost Smiths-like peppier jangle (at least initially!) on "Wonders Will Never Cease." The essential blend of the band remains strong, though, and on songs like "Off Pale Yellow," with its beautiful cascading verses, and the concluding demi-ballad "Given to Dreaming" the evidence is perfectly clear.

Each of the individual members further stretches their own talents along the way -- Grant McDowell's drumming shows more variety throughout, for instance, while Lauritson adds quick, higher pitched flourishes here and there that lighten the stormclouds in a striking fashion. The secret winner of the album might be "Licking One's Wounds," with each of the bandmembers trying for a little something different yet still sounding exactly like themselves as a whole.

Fields Of Haze... Underground for all.

His Name Is Alive - Livonia

Genere: Pop/Rock.
Style: Experimental Rock, Dream Pop, Indie Rock .
Similar artists: Throwing Muses, Belly, Red House Painters.
Recording year: 4AD, 1990.

His Name Is Alive formed when multi-instrumentalist/producer Warren Defever (also of shockabilly group Elvis Hitler) was still in high school. Defever, former schoolmate Karin Oliver (vocals), and drummer Damian Lang released self-produced cassettes of their music, one of which made its way to Ivo Watts-Russell, founder of the pioneering art label 4AD. Intrigued with His Name Is Alive's blend of spectral vocals, poetic lyrics, and textural guitars, Watts signed the band.

The group recorded its first release for the label, Livonia, in Defever's home studio. The album features Oliver's shivery vocals along with tape loops, samples, and guitar blasts, for a noise-damaged, ethereal collection of songs about ghosts, reincarnation, and dreams.

Livonia, is the group's artiest, most explicitly experimental release. It's also the most haphazard, in terms of musical success; the affecting ("If July," "Fossil") sits next to the affected ("You and I Have Seizures," "Reincarnation"). Even at its most contrived, however, Livonia features the elements the group used later to create their distinctive style: Karin Oliver's shimmery, ghostly voice and Warren Defever's open-minded production. Defever commented later that he saw himself as an avant-garde composer during the Livonia period; the album's found sounds, tape loops, and samples do give it an artsy and occasionally precious patina. At its best, Livonia explores death, dreams, and spirituality with transcendent music and lyrics. At its worst, it's an ambitious debut, introducing a creative, aspiring band. 

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Fields Of Haze... Underground for all.

Cocteau Twins - Aikea Guinea (EP)

Tracklist:


1. Aikea Guinea 4:01
2. Kookaburra 3:23
3. Quisquose 4:14
4. Rococo 3:10






Genere: Alternative Rock, Dream Pop, Post Punk.

Similar Artists: Dif Juz, Lowlife, Amp.

Recording Year: 4AD, 1985.

A group whose distinctly ethereal and gossamer sound virtually defined the enigmatic image of the record label 4AD, Cocteau Twins were founded in Grangemouth, Scotland, in 1979. Taking their name from an obscure song from fellow Scots Simple Minds, the Cocteaus were originally formed by guitarist Robin Guthrie and bassist Will Heggie and later rounded out by Guthrie's girlfriend Elizabeth Fraser, an utterly unique performer whose swooping, operatic vocals relied less on any recognizable language than on the subjective sounds and textures of verbalized emotions.

In 1982, the trio signed to 4AD, the arty British label then best known as the home of the Birthday Party, whose members helped the Cocteaus win a contract. The group debuted with Garlands, which offered an embryonic taste of their rapidly developing, atmospheric sound, crafted around Guthrie's creative use of distorted guitars, tape loops, and echo boxes and anchored in Heggie's rhythmic bass as well as an omnipresent Roland 808 drum machine. Shortly after the release of the Peppermint Pig EP, Heggie left the group, and Guthrie and Fraser cut 1983's Head Over Heels as a duo; nonetheless, the album largely perfected the Cocteaus' gauzy formula, and established the foundation from which the group would continue to work for the duration of its career.



In late 1983, ex-Drowning Craze bassist Simon Raymonde joined the band to record the EP The Spangle Maker; as time wore on, Raymonde became an increasingly essential component of Cocteau Twins, gradually assuming an active role as a writer, arranger, and producer. With their lineup firmly solidified, they issued The Spangle Maker, followed by the LP Treasure, their most mature and consistent work yet. A burst of creativity followed, as the Twins issued three separate EPs — Aikea-Guinea, Tiny Dynamine, and Echoes in a Shallow Bay — in 1985, trailed a year later by the acoustic Victorialand album, the Love's Easy Tears EP, and The Moon and the Melodies, a collaborative effort with minimalist composer Harold Budd.

The immediate follow-up to Treasure didn't match the effortless heights of that album, but still came darn close throughout, providing another brief, affecting precis of the trio at its best. The title track became another well-deserved Twins standard, a deceptively simple bass/guitar/drum combination driving away at its core, while Fraser sings beautifully over it all, matched by a swirl of Guthrie's production touches (piano, mock choir, and so forth). "Kookaburra" follows squarely in the path of faster Cocteaus tracks as "Because of Whirl-Jack," though here Fraser's vocals are more sweet and less dramatically piercing. Guthrie's guitar takes center stage here, starting the track with echoing swirls leading into the main riff. "Quisquose" puts piano up front as main accompaniment for one of Fraser's more adventurous vocals, mixing a high main lyric with a more free form performance set against it, calling to mind the slightly similar contrast in vocal takes on "Lorelei." The instrumental "Rococo" ends the EP with style, a quiet bass/percussion opening leading into one of Guthrie's trademark fusions of feedback, volume, and heavily-produced beauty. Raymonde's bass stands out strongly throughout as well, a fine combination.

Fields Of Haze.