Peppermint Pig [Single]

This EP contains four songs:Two versions of the title track, "Laugh lines" and the original version of "Hazel". This is the Cocteau Twins' only release where they invited a producer, it was Alan Rankin from British pop darlings Associates. But this didn't lead to a change in sound. All the tracks are rhythm-oriented, distorted and powerful. However, with bass player Will Heggie leaving the band after the release of this EP, it was time for a new direction, and the Twins happily found it with "Head over heels".

This is an update of my earlier review below. While there are some quite interesting and unexpected things going on musically, "PP" is still my least favorite from the band's '80s output. The Cocteaus were not yet doing what they would subsequently do from album to album - reinventing themselves and constantly changing their sound. "PP" ultimately remains the weakest example of their pre-"Head over heels" material; it lacks the menacing and doomy atmosphere of "Lullabies" and "Garlands" as well as the haunting melancholy of their later releases. "PP" incorporates faster, almost danceable rhythms and some funny guitar effects, but it does not always harmonize with Liz's voice. While other CT albums and EPs required several listenings before they revealed their secrets and intricacies, "PP" keeps everything on the surface. The title tracks kicks off with nervy, discordant anti-pop riffs and twangy bass playing, but the band had simply composed much more engaging stuff. "Laugh lines" doesn't drop the blueprint of the first song, yet it has a refreshingly different feel. It features a strange guitar solo by Guthrie where he tries to imitate a nasty sort of laughter - great! Liz sings something like, "smoke your cigar", at the end of the song. Those who own the 14-track import version of "Garlands" will already know "Hazel", and "PP" contains a re-recorded version which misses the vocal counterpoint of Gordon Sharp. Finally, we have the 12" mix of "PP", offering longer instrumental sections and more atmospheric keyboards. In conclusion, "PP" is well worth having for the hardcore fan, but for your first taste of the band's early output there are much better places to go, particularly the double-disc set "BBC Sessions". It's rather difficult to believe that Liz and Robin would release the powerful "Head over heels" just a few months later.

Having jumped ship after "PP", bass player Will Heggie went on to form his own band, the unsuccessful Lowlife. However, Heggie had learned his lessons well - at times, Lowlife came close to duplicating the ringing guitar lines and dreamy melodies of CT's best songs, but the band pretty much churned out the same goth-pop sound for all their albums and EPs. Even their most recent effort, 1995's "Gush", plays like something from the early-'80s. If you're interested in Lowlife, I recommend you to look for the compilation "From a scream to a whisper - A retrospective '85 - '88", featuring some terrific songs which will appeal to all Cocteau Twins fans.

An odd transitional EP, Peppermint Pig was the last Cocteau Twins release to feature the bassplaying of Will Heggie (who went on to found Lowlife) and was also produced by an outsider - Alan Rankine of the Associates. The band were livid about the results. It really isn't that bad in the scope of the early Cocteau Twins output, but it's no masterpiece either. The sound is very sharp and edgy and up-front, in stark contrast to the smoky reverb-drenched sound of Lullabies. Heggie's bass guitar is back out front again and Guthrie's guitars are clean and tight, lending the whole EP a "post-punk"/"new wave" feel usually absent from their work, even when they were obviously indebted to Joy Division. This is especially evident on the 12" mix of the title song, which is very club-oriented. "Hazel" resurfaces in an inferior but more hi-fi version (this could actually have been recorded prior to the Peel version, I don't know). It's interesting to hear what's going on underneath all of the delay, chorus, and reverb, but this EP lacks the dreamy atmosphere that is the defining trademark of Cocteau Twins.