EVERY GENRE PROJECT - February 6 - Ethereal Wave
Genre of the Day - Ethereal Wave
Album of the Day - Treasure by Cocteau Twins (1984)
It seems that with the latest spell of rain in LA—something about an atmospheric river?—my musical journey has also been trapped in a misty, overcast vibe since yesterday’s foreboding martial industrial record. Today’s, although it draws from the same sort of dark, gothic overtones, presents a much dreamier, less militaristic vision of an ethereal form of music. Unlike yesterday’s audience, I feel that ethereal wave is ready-made for listeners who perhaps dream of lush, green places like Ireland and Oregon, who have seen Coraline more times than they can count on one hand, and have certainly added a Robert Smith photo to some Pinterest board. How does he possibly get his hair like that? Today, I get to join their ranks—and I love Coraline!
Today’s is one of the rare occasions thus far on this project where the artist is pretty universally recognizable among, say, RYM users and has achieved a great deal of popularity and influence in genres beloved by musicheads from shoegaze, dreampop, and generally indie rock. The Cocteau Twins are not twins, not on payroll for the Sims (although they really should be), and are perhaps the most literal embodiment of dream pop, with vocalist Elizabeth Fraser’s uncanny ability to spin outright gibberish into silky vocal gold. However, I’ve never listened to a Cocteau Twins album up until now, although I’ve heard a few tracks. Accept me, cool people of the music world! Love me! Legitimize me!
Cool points aside, the trio (liars) is iconic for pioneering the ethereal wave genre as a whole alongside other bands in the 1980s. Ultimately, in terms of recognizability and acclaim, they still stand the tallest in the mystical, dreamy genre. Blending atmospheric, reverb-heavy guitar with whimsical female soprano vocals, as well as heavy use of sound techniques taken from ambient music (earlier EGP act Brian Eno was actually slated to produce this album, but in a rare show of grace from a musician of his stature, stepped back and felt they could do it on their own) as well as growing techniques across pop music such as heavy echo and delay.
I still don’t know what it is about the British that makes them such uncanny purveyors of cold yet enveloping, atmospherically sublime music like this. Maybe the cold part is just in their bones, but to achieve this level of beauty so consistently across genres with acts like the Cocteau Twins, Sade, Massive Attack, Brian Eno, and on and on? I have got to look at cheap flights to London. Even far from London (and complimented by today’s rain) this album shines as a masterwork. The marriage of distinctively ethereal guitar melodies and reverb and the use of classic ‘80s drum machines is a sound like no other, and winning proof of being able to conjure up dreamy, nostalgic sonic moods while also making room for musical innovation. Although there are certainly standout tracks for me—Fraser’s garble leans more into an Italian flair on the gorgeous “Pandora (for Cindy” and the hymnal feel of sitar-twinged “Beatrix,” but the album as a whole is a marvel to take in. There’s really nothing like this. I can forgive you guys for not being twins now.