Amsterdam

THE SETTING is the Meervaart, a cultural centre a mere 15-minute limo ride from the heart of Amsterdam.

The event is the Vinyl (a Dutch music magazine) party and the large crowd appear several degrees trendier displaying an awareness of current London and New York fashion vogues than the clientele of the city's better known but notoriously dope fiend infested Milkveg or Paradiso.

This was the first time I'd seen the Cocteau Twins live, save for an appearance in the corner of my bedroom via Channel 4's Whatever You Want. On that small screen presentation, I found them quite likeable.

Curiously, a few spins of their 'Garlands' LP had had virtually the opposite effect. That disc had a kind of porridge feeling. In a few instances, the consistency was perfect, a concise mixing of the prime ingredients: the guitar, the bass, the drum machine and the final, vital flavouring from Liz's voice. But, for the most part, the ratios seemed wrong.

While one could easily reel off a host of influences pertaining to their recorded work, actually observing the Cocteau Twins is striking proof of how utterly non-derivative their music is and how it is simply a natural extension of the band themselves.

To continue reading this article and to discover many more (over 140,000 words-worth!), purchase Mick Sinclair’s Adjusting the Stars: Music journalism from post-punk London.