Head Over Heels
Don't listen to this album in the humidity! I SAY THIS
because, your speakers MIGHT eat it up. Head over Heels doesn't come in
very well, but I love this one!!! it's great. P.S. I have a really good
written by Jake. on May 16, 1999
it's beatiful , just as beautiful as the rest of the alubms. the 2
things i love The Cocteau Twins and TOMMY OSCAR SCHMIDERER! *kisses* to
written by Tara (Sle1640652@aol.com ) on April 03,
DE ACUERDO ...This is the first CT album I get (march 20th), and
sounds better while it's raining outside...
etxon (etxon@hotmail ) on March 22,
it really drives me crazy when people say that they dislike head over
heels and garlands because they sound "too different" or even worse
"they are bad" the 2 previously mentioned albums were not the first CT
albums i owned, but i love them with my whole heart. i love to listen to
head over heels on rainy nights, it seems to urge the torrents to come
harder. every single song is powerful...the intro of when mama was moth
is the breaking of the chains of conventional songwriting. liz haunts
and draws the listener in deeper with the refrain of "five ten
fifty-fold" "sugar hiccup" is the beginning of robin's fore-telling of a
"lighter cocteau twins sound" i love the freedom of "in the gold dust
rush" and the billy holiday-esque "multifoiled" the intro to "tinderbox
of a heart" is stunning and entrancing, but my favorite track would have
to be "my love paramour" how liz delivers the lyrics "ooze out and away
onehow" so intoxicatingly delicious is the whole album. the cocteau
twins are more than just the definitive dream-pop band of the the
1990's. if you can't hear the beauty in all of their releases, you need
to expand your sonic horizons to understand why this album is just as
beautiful as the rest of their works.
ethereal (email@example.com )
on March 15, 1999
...this album falls into the same category as "Victorialand"...I
really disliked this one and there wasn't even a single song that I
liked..."In Our Angelhood" came close, but it all sounded uninteresting
to me...I guess when there are only two "Twins", their music lacks a
lot...I don't think I'll ever like this album...I could listen to it all
the way through again, but I have done that enough to figure out that I
don't like it at all...definately the worst Twins album ever...and I
still dislike "Victorialand"...but not as much as this one...
written by Bryan McNeely (firstname.lastname@example.org ) on
March 07, 1999
Head over Heels er den mest varierte platen uttgitt av CT. Derfor er
den bestandig spennende å lytte til. Åpneren er jo legendarisk. Dette er
CT på sitt mest lidenskapelige og melodien er uforglemmelig. Litt
nølende og oppbyggende men full av feeling. Gitaren her er kjempe-fet og
danner en gigantisk lydmur akkompagnert av sparsomme trommer dundrende i
bakgrunnen. Resten flyter egentlig ganske naturlig fram til et like
lidenskapelig siste kutt, Musette and Drums ~ CTs beste avlutter
noensinne! Den fortsetter der My Love Paramour slapp og tar deg med
videre inn i et ukjent landskap med vakre gitarmelodier og Liz kraftige
røst. Om man skal finne noe negativt å si om Head over Heels, må det
være at platen mangler en god sound. Det er masser av gode låter her,
men produksjonen er et kaos. Bass, gitar og trommer kolliderer som
bølger mot hverandre og det hele blir bare lapskaus (egentlig er dette
litt av sjarmen med platen). Vanskelig å plukke ut favoritter her, men
jeg tar en foreløpig sjanse på In Our Angelhood og My Love Paramour.
written by kev on November 19, 1998
I consider myself lucky because I have only been aware of the CT's
about 4 years. My first album was Treasure and thoroughly loved it. I
went back to the record store and bought whatever came out next and
whatever I could find that existed from years before. Why am I so lucky?
Because I only have Treasure, Four Calendar Cafe, Milk & Kisses and
Heaven or Las Vegas. See, until I visited the CT website, I didn't even
know albums like Head Over Heels existed! Now, I get to listen to them
for the first time. I feel like a virgin!
Scott Brennan (email@example.com )
on October 31, 1998
This got to be the most varied album the Cocteau Twins have ever
made. And therefore, it's one of my favourites. They start off with this
raw, fuzzy and majestic song "when mama was moth" which takes you...
well, i don't know where. Absolutely staggering!!! Then it's a typical
CT-song "five ten fiftyfold", only with a distant sound which you can't
find anywhere else. "Sugar Hiccup" is a well known song for me, 'cuz
"Sunburst & Snowblind" was one of the first things i ever bought
from the CT. If it was up to me she could sing "sugar hiccup" all day
long... Then there's a bit of a retro song in "in our angelhood", which
takes you back to "lullabies" and "peppermint-pig". It's so cool to hear
CT (though there ain't many) play fast songs. "Glass Candle Grenades"
has this weird verse in it, kind of psychadelic, but when the explosive
chorus sets in, you get blown away. Once again, staggering!!! ”In the
gold dust rush” is yet another classic CT song with this lovely
bass-line attached to it. The 6 first songs are fabilous, but it’s not
until the last 4, that the magick of this album really hits’ya! ”the
tinderbox (of a heart)” is just sooooo nostalgic! When i listen to it,
i’m in a dreamland of some other dimension. And when it’s finished, it
still plays in you head. I love it when it sticks in my head!!!
”multifoiled”, a jazzy, kind of Billie Holliday-like song which contains
stuff that i’ve never, ever, heard before. They did never make something
like that again… ”my love paramour” is yet another very special song.
That funky guitar-line is so cool and suiting. I dig it. And then
there’s the finale: The best song they had until ”Love’s easy tears”. I
only have one word… by the way i don’t have a word that can describe it,
unless i try SPECTACULAR! OVERWHELMING! MAJESTIC! and maybe ORGASMIC!!!
I’m getting too excited right now… it’s a good thing the album finishes
written by kevin by (firstname.lastname@example.org
) on August 27, 1998
I always figured that i would always hate older cocteau twins stuff.
I gave "garlands" and "head over heals" a chance a few years ago and
they did not appeal to me. Then i realized how many albums that did not
grow on me until a second or third listening. So i went back to the
music store Still, no, for "garlands" which took a siouxsie-esque
approach to sound as well as "head over heals" except for "sugar
hiccup." Definately, which one of these songs is not like the others.
This is core cocteau sound, and the only thing saving this album. "When
mama was moth" is all right track, but not their sound at all. The
cocteau twins' first two albums are merely experiments not gone exactly
written by Bryan Sander (email@example.com
) on July 17, 1998
This is probably my favorite Cocteau Twins CD. It is, for the most
part, very dark and brooding....and also very experimental. From the
incredible first track "When Mama was Moth" to the intense and powerful
vocals of "Musette and Drums", this album is one of the best albums I've
heard by any artist. It's also been influential in my own music. I'd say
that if you like dark ethereal music, and you want to buy a cocteau
twins album, this is the one.
written by Josh (firstname.lastname@example.org ) on July
Dense, desperate, mysterious & rhythmic. HEAD OVER HEELS is
Cocteau Twins at their most enigmatic, experimenting and enthralling.
"When Mama Was Moth" is a classic CT album-opener. It sets the stage for
the songs that follow. Sounds reverberate almost organically and round
out the production, making it much less "metallic" sounding than
GARLANDS. Liz howls one moment, and is a chanteuse the next. The guitar
sound on HOH is incredibly unique, and it works so well with the overall
urgency of the vocals. If there can be any criticism- the songs become
dirge-like and repetitious at times, esp. "Sugar Hiccup", too much of a
good thing. In retrospect, it has the feel of a transitional period for
the band, but, its sound is less-polished than, say, TREASURE, providing
its own "treasures" with repeated listenings. So, IF you prefer the
slicker-sounding CT material, then PERHAPS this isn't for you.
written by warren j.g. mianecke (email@example.com
) on April 13, 1998
Icy, glistening, thunderous, breathtaking sex in an abandoned mine
shaft w/ an abominable snowman at breakneck speed as gold dust cascades
down upon you & jewels pelt you. Reminds me of the Matterhorn ride
at Disneyland or an X-Rated York Peppermint Patty commercial.
written by Dreadnaut (firstname.lastname@example.org ) on April 11,
A case of love at first sight, I immediately liked this album whole.
And it grew with and on me, too. After fifteen years it just sounds as
wonderfully fresh as it did back then. I put it on my record player for
the first time and I was hooked forever: sort of a revelation, Liz's
voice was truly beautiful in an unique, unheard of, way. "Five, Ten,
Fiftyfold" was the song I liked the most, back then. It's "Musette and
Drums", now. A very early fan, I'm not really familiar with the post-4AD
production of the Cocteaus - I like to think I'm always moving forward
towards new things. "Victorialand" sort of disappointed me, at the time,
and my interest slowly faded away. (I was later intrigued by the title
"Four Calendars Cafe", though, as I had recently reread "Blue Highways".
Synchronicity. Not that I managed to gather back enough interest to
check it out.) But surely enough "Head Over Heels" has had a prominent
place on my shelf, and, to put it simply, in my life, all through these
fifteen years. And yes, I realize I'm writing more about myself than
about the record. Isn't what all this is *really* about?
written by Francesco Benvenuto (email@example.com
) on March 31, 1998
Sunburst and Snowblind is one of my favorite Cocteau Twins EPs, so
naturally, the album it accompanies, Head Over Heels, should also be a
favorite. Yet I'd have to say that of the 24 Twins CDs I've got, this is
the worst album and one of the worst items overall (the Peppermint Pig
and Lullabies singles are pretty bad, too). I've given it plenty of
chances, but it's officially been relegated to
keep-it-only-because-it's-a-Cocteau-Twins-release status. The Twins seem
to have been on the verge of brilliance in 1983, but clearly not quite
there yet (I'll admit I've never heard Garlands).
written by Brian Sandford (firstname.lastname@example.org ) on March
This is simply a "demo tape", as the Twins we're forging their
definite sound through the eighties, knowing themselves, step by step
like babies, learning the hability to make the real music they gave us
after. Many of the sounds elude to the groups of post-punk music, like
Siouxie & the Banshees, for example. I can't find much more to say
about it. I rate it with 6 and my favorite is "Sugar Hiccup".
written by Alvaro Azevedo Silva (email@example.com
) on February 27, 1998
Well that was a little hasty - I meant to give a more in depth review
of this album, since it creates such a kaleidoscope of images and
emotions in me. First of all, it's dreamlike, dark, and distorted, like
being in a funhouse, very surreal, miasmic, misty, haunting, still had
some of the edge to it that Garlands had, a transitional phase between
their earliest goth-related work & the vesuvian splendor of
Treasure. The beat on many of these tracks is fast & heavy unlike
lots of later stuff. I would say Head Over Heels is tied with Treausure
and Heaven or Las Vegas as my favorite album and my favorite Twins
creation. But to get more specific: The opening track, When Mama Was
Moth: great title. Very haunting, kind of like an incantation, great
opener, slow lead-in to the album. Makes me feel sort of squeamish &
uneasy though, with its imagery: seems to be sort of insectlike,
disturbing. Writhing in vain, bulb form, mama was moth, all start
screaming, writhe in vain, love electric. This song is definitely
electric. "Five Ten Fiftyfold" is great, ethereal jazz, such abstract
bizarre imagery, "Sneezing & wheezing & laughing in half" ? Very
textured, layered, like a cloud hovering slowly out of view as the song
fades. "Sugar Hiccup" is the only track on the album I don't love - good
song, but its mood seems to clash with the rest. Also too repetivie
lyrically, & the musical backdrop less impressive than the other
tracks. "In Our Angelhood" is rad - especially the part where it sounds
like her voice is going through a giant fan or something - when she's
singing what sounds like "judge-ing you / angel hood", wave upon wave of
delirious guitar, makes me think of rushing headfirst through the wind
into a storm or something. "Glass Candle Grenades" keeps the momentum,
pounding, driving - this is like punk rock angels. "In the Gold Dust
Rush" - coy reference to cocaine perhaps? "Tinderbox of a Heart"
beautiful song, very dark, like standing balanced on the edge of a
blade, awesome, one of my favorites. Then, speaking of favorites,
there's "Multifoiled," AWESOME song, sounds like Siouxsie & the
Banshees a little maybe, very slinky, funky, & soulful. "My Love
Paramour"'s got gorgeous bass, & the lyrics so delightfully opaque:
"fig up my love paramour ooze out and away onehow." Makes me wish she'd
write a book. "Musette & Drums" is the perfect closer for this
forceful majestic album - like being right in the center of the storm
that's been building through all the other tracks. Furious shrieking
guitar crescendo at the end that careens into infinity. Word. This album
floors me. I like to play it very loud & lay on the bed & maybe
get high & just let myself be swept away. She was still using words
at this point, but abstract, like e.e. cummings poetry. Has Elizabeth
read e.e. cummings?
written by Joseph Schlottman (firstname.lastname@example.org
) on February 09, 1998
My entrance portal into their world - the first album I bought. The
song titles and cover art bewitched me, as did the description of a
friend who told me to "think of each song as a painting." True to its
title, this album knocked me more or less head over heels, and I've been
a goner ever since. For the last couple years my love has bor- dered on
written by Joseph Schlottman (email@example.com
) on February 09, 1998
One of my favorite CT records, this album contains tracks which
curiously evoke powerful murmurs within the soul. "When Mama Was Moth",
"Multifoiled", and the darkly "Musette and Drums" create a heaven/hell
continuum along which we travel back and forth without pause or
hesitation. A beautiful record with a coarse fiber snaking down its
written by luke (Gimmethatt@aol.com ) on December
Even though HOH is over 14 years old it is still unique. It makes the
other CT records sound too simple and ordinary. From the psychedelic
opening tune "When Mama Was Moth" to the anthemic end "Musette and
Drums" the whole album creates a warm and surrealistic feeling that no
other album manages to create.
written by J.H. (firstname.lastname@example.org ) on December
THIS IS MY FAVFORITE ALBUM MY DIRECTION: + SANTA REBECA · 468 UNIDAD
HABITACIONAL U.A.G ZAPOPAN, JALISCOM, MEXICO
GERARDO RODRIGUEZ CERECER (GRODRIGU@UAG.GDL.MX ) on November
From the short (but sweet) opening "When Mama Was Moth" to the last
dregs of "Musette and Drums", this album displays many different angles
- all vastly superior to anything found on the abrasive "Garlands".
Besides the aforementioned tunes, "Five Ten Fiftyfold", "Sugar Hiccup",
"In The Gold Dust Rush", "Tinderbox (of a Heart)" (my favorite song on
THIS album), and "My Love Paramour" are unique standouts. This album,
which predates the arrival of Simon, sounds just as good as anything
done in later years -- in other words the sound is not dated. Consider
this CD a must have for any true Cocteauphile.
by Doug (email@example.com ) on
August 27, 1997
Awww, go fuck yourself, Katey G.
written by "Head
in Ass" Jones (Head@ass.com ) on July
Headover Heels is purely enjoyable and anyoune who says it isn't has
their head in their ass
written by katey g on July 09,
The only CT recording I generally dislike. Everything else is great
except Head Over Heels... Songs like "Glass Candle Grenades" and
"Multifoiled" seem ordinary, not very special. "Five Ten Fiftyfold" is
good, but overstays its welcome early into the third minute. A few
diamonds in this rough are the Cocteau standby "Sugar Hiccup" and "My
written by Someone Who on March 27,
Super-processed guitars, gothicism, and a twist of jazz...that's HOH
in a nutshell. May we venture to say "a bit more upbeat than Garlands"?
Perhaps. But the songs in HOH, like those in BBK or 4CC, really do not
fit with what most would say is "classic Cocteau Twins"--flighty
sopranos and harplike guitars that inspire afternoon reveries. No, HOH
is pure CT magic, that uncanny ability to compose and perform songs that
defy categorization. I would add that HOH is great for a long drive down
a windy, dark road. You'll want to absorb it with every turn.
written by EileenP on February 06, 1997
Head Over Heels is, in my opinion, simply the best Cocteau Twins
album. Period! Looking at the lyrics in Steve Friedman's lyrics archive,
it also strikes me that this might be a post-femminist concept album.
Which makes it all the more worthwhile. Songs like "Tinderbox of a
Heart" and "Musette and Drums" showcase Liz at her most urgent, and the
band's music at it's most volitile. This album absolutely scorches!
"Multifoiled" is worth the price of admission alone.
written by Scotty (firstname.lastname@example.org ) on December 07,
This album has almost everything that a CT fan would want. It is one
of their most immediate albums, yet without being as "commercial" as
HOLV. It certainly does not sound like the album that should have come
in between Garlands and Treasure, indeed, it goes against all
expectations as to what I thought it was going to sound like ( either a
sequel to Garands, or a taster of Treasure ). BUY THIS ALBUM! No matter
what aspect of the Twins' music pleases you most, you will not be
disappointed. If there is ANY CT fan out there who does not like this
album, then please prove me wrong by saying so in Pandoras Box!
written by Peter on October 12, 1996
i like to call it: the "sheets of metallic rain" guitar sound. one of
the things about the "older" twins stuff that i miss...
written by August Mark Thomas Smith on October 09, 1996
Bursting from the speakers in a frightening shower of ice shards and
fury came my first ever Cocteaus listening experience - a live rendition
of the song 'Musette and Drums' from 'Head Over Heels'. I had to rush
out and lay my hands on as much of their work as I could after that
experience. Head Over Heels is like that - a set-piece, a movement, an
experience-in-total. From the opening glass-shard explosions of 'When
Mama Was Moth' to 'Musette and Drums' hollering to a close, one is
compelled to listen, held stilled by a sense of awe. It is a kind of
etheral jazz, a magnificent anger, a majestic statue. It is perhaps the
least 'typical' of the Cocteau's albums, in that it reaches the
furthest, explores the darkest depths and screams the most fearfully.
Liz's voice is powerful and dark, and Robin weaves an exquisite layer of
cloth with his instruments that, I believe, is yet to be equalled.
written by Tracy A Forbes (email@example.com ) on
September 27, 1996