提起Cocteau Twins不能不提到《Treasure》这张84年发行的惊世骇俗之作。中世纪的音乐,强烈的巴洛克风味,多声部旋律,音乐鲜明的对比,优美又不缺乏震撼力,奠定了他们的新古典主义路线。在这张唱片中,CT运用大量的回声,键盘和强力的鼓点营造出仙境般的音景。此时的Fraser咬字越来越模糊不清,几乎不可辨认,她有意把她的声音当成乐器的一种,藉此摆脱歌词字义上的束缚,这个现象和同时期的英国女歌手有很大的不同。她也开始发掘出她声音的多变性,分别以假声与真声演唱两个不同的声部,并在后期录音时将它们合二为一,充分使她声音中低音的磁性与高音的缥缈的双重特质共同展露出来。由此她被无数乐迷视为女神,模仿者不计其数。那种迷幻,带着一种冰冷得如同钻石般的美,亦真亦幻。但ROB表示自己不喜欢这张专辑,可能缘于Treasure商业方面取得的成功——它被多家杂志评为年度最佳,LIZ被评选为年度最佳女歌手(她也堪称是80年代和90年代最优秀的歌手之一)。Treasure被乐评界称之为The Voice Of God(天神之声)。不可否认Treasure做得是如此完美,超脱,是我的至爱。它成为了Cocteau Twins的一块里程碑。
by Ned Raggett
The opening two numbers are simply flawless, starting with "Ivo," where gently strummed guitar and low bass support Fraser's singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in "Lorelei," the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser's best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn't necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings on "Beatrix," the understated moody washes and Fraser whispers on "Otterley," the upbeat guitar lines of "Aloysius," or the slightly jazzy touches on "Pandora." The concluding number ends the record on the peak with which it began. "Donimo" starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser's careful singing before finally exploding into one last heavenly wash of powerful sound; Guthrie's guitar, Raymonde's steady bass, and drum machine smashes provide the perfect bed for Fraser's final, exultant vocals. Treasure lives up to its title and then some as a thorough and complete triumph.