Deciding to scale back the overly pretty sound on
Blue Bell Knoll while experimenting with more accessibility -- --
the Twins ended up creating their best album since
Treasure. From the start,
Heaven... is simply fantastic: on "Cherry-Coloured Funk,"
Guthrie's inimitable guitar work chimes leading a low-key but forceful rhythm, while
Raymonde's grand bass work fleshes it out.
Fraser simply captivates; her vocals are the clearest, most direct they've ever been, purring with energy and life. Many songs have longer openings and closings; rather than crashing fully into a song and then quickly ending, instead the trio carefully builds up and eases back. These songs are still quite focused, though, almost sounding like they were recorded live instead of being assembled in the studio. Due credit has to be given to
the Cocteaus' drum programming; years of working with the machines translated into the detailed work here, right down to the fills. "Fifty-Fifty Clown," starting with an ominous bass throb, turns into a lovely showcase for
Fraser's singing and
Guthrie's more restrained playing. But
the Twins don't completely turn their back on
Knoll's sound; "Iceblink Luck," has the same lush feeling and a newfound energy -- the instrumental break is almost a rave-up! -- and everything pulses to a fine conclusion. There are many moments of sheer
Cocteaus beauty and power, including the title track, with its great chorus, and two spotlight
Guthrie solos: "Fotzepolitic," a powerful number building to a rushing conclusion, and the album-ending "Frou Frou Foxes in Midsummer Fires." Possessing the same climactic sense of drama past disc-closers as "Donimo" and "The Thinner the Air," it's a perfect way to end a perfect album.