With her first music in 13 years, the former Cocteau Twins singer still sounds like a celestial transmission in search of a vessel to possess.
Despite her prominence, Fraser has spent much of the 25 years since Cocteau Twins separated out of the spotlight. She made a show-stopping turn on Massive Attack’s “Teardrop” and has made guest appearances here and there, but in that time she has only put out two releases of her own. Both were singles. Compared to Cocteau Twins’ prolific output — eight albums and 11 EPs in eight years — it’s like a drought.
From the first track, “Underwater,” Fraser’s voice sounds as mysterious as it always did, floating atop a plinky music box as she sings impressionistic words about finding the world shining in her and bluebirds. The music vaguely recalls the trippy lounge music of Fraser imitator Goldfrapp’s, but her singing is unwieldy and delightfully unpredictable.
The EP’s second side opens with “Bluedusk,” a slowly uncoiling a cabaret love song that builds to cinematic harps and a low-blowing bass clarinet. Its highlight is Fraser singing, “loove, looooove, looove” comfortably in the higher range she only flirted with earlier in her career. “Apples” is a meditation on quietude that slowly crescendos over seven minutes to become Fraser’s most beautiful vocal performance on the release as she layers her voice to make a choir all of her own.
The point of Sun’s Signature, of course, was for Fraser and Reece to challenge themselves, and with this EP, they’ve charted new territory without losing sight of Fraser’s pioneer past. Each song feels both familiar and new, but then again appraising Fraser’s work about as easy as reviewing the weather, since they change direction as frequently. The two musicians wrote most ofover a decade ago for Fraser’s return to the stage as part of the Meltdown Festival that Anohni curated.
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