Heaven or Las Vegas

Like I think usually that's enough to convey the mood sometimes or the atmosphere or the emotion even.

And in a weird way for me, I mean, there are some lyrics on Heaven or Las Vegas now that I start thinking about it where it's like, well, yeah, you can really clearly hear her say this one thing.

But there's lots of moments where you're just listening to the sound of the voice.

And at the fundamental level, you know, we had music before we had language.

Yeah.

Heaven or Las Vegas and Ice Blink Luck.

The Cockatoo

Twins.

Yeah

... low-hanging fruit opinions, and then you throw on, you know, Heaven or Las Vegas, and it's just pure, pure ecstasy.

Um, and even though these albums came out way before I was born, um, I listen to them now, and they're still, in my opinion, some of the, the best records ever made.

I, I know exactly where I was, how old I was when, you know, I first heard Moon, you know, and Melodies.

...

Heaven or Las Vegas, and [laughs] and-

What?

Yes.

I think it's in Las Vegas that she's playing, and she's like, "I wanna cover-

Perfect place for it

... a song Heaven or Las Vegas," and they play it and it sucks.

I mean, it just-

Hurt people hurt people

... anything pre, uh, Heaven or Las Vegas is, like, pretty low on my Cocteau Twins rankings.

I mean, I mean, yeah, that, that album is, like, a fucking masterpiece.

Yeah, but, like, I like all of the stuff that, including that record and everything that came after where it's-

I think that's fair

...

I, I, I would put them in that same kind of category of, like, I, I love this song a lot, but yeah, compa- compared to, like, basically any song on Heaven or Las Vegas, this definitely is inferior, but it, it's still the Cocteau Twins.

It, it's still, like, an 8 out of 10 at worst to me.

And my God, it is so breathtaking.

I'm going to take this opportunity with the opening song to praise fellow band members Robert Ball and Paul Joseph Moore who are also at the top of their game when it comes to their craft and musicianship on this record The band really upped their game from the debut and you can hear it right away as the track progresses I mentioned in last week's episode covering Heaven or Las Vegas by Cocteau Twins that I just simply don't understand the opinion that electronic music can come across with no emotion and passion.

Like Heaven or Las Vegas, Hats also smashes that glass ceiling and expectation.

The drum programming using a Linn drum and Roland drum machines combined with the heavy use of synths is warm and organic And despite the record's heavily electronic architecture the band opted to use distinct and fluid electronic passages combined with strings and guitars Paul's vocal performance here for the opening track is quite restrained but that is deliberately intentional If you are familiar with the Blue Nile then you will know that Paul often gradually builds his vocal performances I think that is like a trademark of his as a vocalist.

He absolutely knows when to deliver those yearning moments full of emotion and longing.

I'd also say maybe a little Bronski Beat, Smalltown Boy.

Um, if you wanna go more on the dream pop wave, I would say Cocteau Twins, Heaven or Las Vegas is also comparable to this track.

Those are all great.

I would listen to that playlist.

Oh, absolutely.

Heaven or Las Vegas by the Cocteau Twins.

Yeah, so-

I knew nothing about them.

What's the, uh, what's it called? Heaven...

Heaven or Las Vegas.

Heaven or Las Vegas.

Yeah.

Um, yeah.

For this week's episode, I'm taking it back to 1990 with one of the greatest dream pop albums ever made.

Of course, I am talking about Heaven or Las Vegas by Cocteau Twins.

And before we get into the episode, if you enjoy music discussions like this, please consider following the podcast or leaving a like depending on where you're listening.

It really helps the show reach more people, and it means a lot for a small, independent podcast like this one.

[upbeat music] Heaven or Las Vegas is the sixth studio album by Scottish band Cocteau Twins.

It was released on the 17th of September 1990 by 4AD.

It is the follow-up to the band's previous release, Blue Bell Knoll from 1988.

They blend dream pop and ambient pop with elements of shoegaze, experimental pop, and some stunning electronica.