While the Cocteau Twins are often celebrated for their ethereal vocals and heavily processed guitars, their innovative use of drum machines was equally crucial in shaping their unique sound. Throughout their career, the band, particularly Robin Guthrie, employed various drum machines and samplers, constantly pushing the boundaries of what these instruments could do. Let's explore the evolution of rhythm in the Cocteau Twins' music through their use of drum machines.
Early Experimentation
In the band's early days, before signing to 4AD, they experimented with affordable analog drum machines. Guthrie recalled using the Boss DR-55 and two Soundmaster SR-88s, often running them through guitar amps, fuzz pedals, and spring reverbs to create a more powerful sound. This DIY approach foreshadowed the band's later innovative use of technology.
The Roland TR-808 Era
When recording their debut album "Garlands" in 1982, producer Ivo Watts-Russell insisted on using the then-new Roland TR-808. Guthrie was initially dissatisfied with this choice, feeling it lacked the power of their live sound. He later reflected, "This made the drums sound very clean but weak, lacking the power that we were used to in concert." Despite this, the TR-808's distinctive sounds can be clearly heard on tracks like "Blind Dumb Deaf."
Moving to Digital: The Linn Drum and E-mu Drumulator
For their subsequent releases, the band moved towards digital drum machines. The Lullabies EP featured the Linn Electronics LM-1, one of the first drum machines to use digital samples of acoustic drums. This was followed by the use of the popular LinnDrum on the Peppermint Pig EP.
However, Guthrie soon grew tired of the ubiquitous LinnDrum sound. For their breakthrough album "Head Over Heels" (1983), he switched to the E-mu Drumulator. Guthrie praised its more natural drum sounds and ease of use, stating, "I like the sound and the price, and just for a change it almost sounds like real drums."
The Drumulator remained a key part of their sound for several albums, including the critically acclaimed "Treasure" (1984). For this album, Guthrie upgraded the Drumulator with Digidrums' Rock Drums chips, which featured samples of John Bonham's drums. This gave their rhythms a distinctive edge while retaining the Drumulator's character.
Expanding the Palette: Roland TR-707 and Beyond
As the 1980s progressed, the Cocteau Twins continued to evolve their rhythmic approach. The Aikea-Guinea EP (1985) saw Guthrie switching to the Roland TR-707, drawn to its bright, punchy kick drum and distinctive toms. This drum machine featured prominently on several subsequent EPs.
The Sampling Revolution: E-mu SP-12 and SP-1200
A significant shift came with 1988's "Blue Bell Knoll," recorded in their new September Sound Studio. Guthrie began working with sampling drum machines like the E-mu SP-12 and SP-1200. These instruments allowed for much greater flexibility in creating and manipulating drum sounds.
Guthrie's use of these samplers went beyond just triggering drum sounds. He used them to trigger outboard effects and create complex, layered rhythms. On "A Kissed Out Red Floatboat," for example, he used the SP-1200 to trigger filtered delays from a Lexicon PCM70, creating unique percussive textures.
The Akai MPC60: A New Level of Sophistication
For 1990's "Heaven or Las Vegas," often considered their masterpiece, Guthrie adopted the Akai MPC60 sampling drum machine/sequencer. He was effusive in his praise for this instrument: "It's the easiest drum machine to program, it's got the best editing facilities on it, and it's got a 99-track sequencer built in as well."
The MPC60 allowed Guthrie to create more natural, human-feeling grooves thanks to its velocity sensitivity and swing functions. This contributed to the more organic, accessible sound of "Heaven or Las Vegas" while still retaining the band's signature dreamlike quality.
Later Years: Refining the Approach
For their final albums, "Four-Calendar Café" (1993) and "Milk & Kisses" (1996), Guthrie continued to rely primarily on the Akai MPC60, upgrading to the MK2 version. These albums saw a gradual shift towards a cleaner, more direct sound, though still unmistakably Cocteau Twins.
Beyond Rhythm: Creative Uses of Drum Machines
It's worth noting that Guthrie's use of drum machines went beyond just creating rhythms. He often used them as MIDI controllers to trigger effects on other instruments. For instance, he would use drum machine patterns to trigger gates on guitars, creating rhythmic pulsing effects that became part of the band's signature sound.
Legacy and Influence
The Cocteau Twins' innovative use of drum machines had a profound impact on popular music. They showed that electronic rhythms could be warm, organic, and emotionally resonant when used creatively. Their techniques influenced not just dream pop and shoegaze, but also trip-hop, electronica, and various forms of experimental music.
Moreover, their approach demonstrated that drum machines could be more than just a substitute for a human drummer – they could be a unique instrument in their own right, capable of creating rhythms and textures impossible to achieve with acoustic drums.
In conclusion, the Cocteau Twins' use of drum machines was a key element in creating their dreamlike soundscapes. From early experiments with analog boxes to sophisticated work with sampling workstations, their rhythmic innovations were as important to their sound as Elizabeth Fraser's ethereal vocals or Robin Guthrie's heavily processed guitars. Their legacy continues to inspire musicians to push the boundaries of what's possible with electronic rhythms.
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