Simon Raymonde

The Moon and the Melodies is a collaboration between the Cocteau Twins and keyboardist/composer Harold Budd that fits soundly between the stylistic signatures of the two, both of whom make organic music that relies heavily on electronics. Budd's use of spacious treated piano and keyboard sounds (influenced by a previous collaborator, Brian Eno) combines with the Cocteau Twins' shimmering waves of guitars and Elizabeth Fraser's layered wordless vocals to create what amounts to a soundtrack to a dream about sleeping, with saxophones courtesy of Richard Thomas (of the now defunct Dif Juz) breathing further life into the music.

Fionn Regan (born 1981) is an Irish folk musician and singer-songwriter. Born and raised in Bray, Regan came to prominence with the release of his debut studio album, The End of History in 2006. He had been releasing extended plays for six years on independent record labels prior to the album's release. Regan's second studio album, The Shadow of an Empire was released in 2010 to positive reviews and his third studio album, 100 Acres of Sycamore, was released in 2011. His fourth studio album, The Bunkhouse Vol. 1: Anchor Black Tattoo, was released in 2012.

The Duke Spirit's new album 'KIN' Recorded in early 2015 in East London with long time collaborator and Producer Simon Raymonde, KIN signals a subtle shift in dynamic for the band. "Brimming with new sounds amid a vibrant energy, flecked with sublimely delicate, intimate spaces, and as such feels like a landmark recording for a band that are now in their 12th year" according to Raymonde (Bella Union / Coctueau Twins). The album features guest appearances from Mark Lanegan, Sam Windett (Archie Bronson Outfit), Terry Edwards (PJ Harvey/Gallon Drunk), Hackneys Deep Throat Choir, Mara Caryle, as well as some tender piano courtesy of Mr Raymonde.

The opening two numbers of Treasure are simply flawless, starting with "Ivo," where gently strummed guitar and low bass support Fraser's singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in "Lorelei," the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser's best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn't necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings on "Beatrix," the understated moody washes and Fraser whispers on "Otterley," the upbeat guitar lines of "Aloysius," or the slightly jazzy touches on "Pandora."

The first Cocteaus album to feature a full-band lineup since Treasure was also their first full studio record released in America, resulting from the group's stateside deal with Capitol. Much to longtime fans' surprise, the Twins in fact were much more content with Capitol than 4AD, hinting at their eventual full departure from that label. This was all well and good, but the trio's new inspiration didn't fully translate into their work, unfortunately. While Blue Bell Knoll has some striking moments that are pure Cocteaus at their best – the opening title track is especially lovely with a keyboard loop leading into Fraser's ever-wonderful vocals, a light rhythm, and a great final Guthrie solo – it's still the band's least noteworthy release since Garlands.

Deciding to scale back the overly pretty sound on Blue Bell Knoll while experimenting with more accessibility – the Twins ended up creating their best album since Treasure. From the start, Heaven… is simply fantastic: on "Cherry-Coloured Funk," Guthrie's inimitable guitar work chimes leading a low-key but forceful rhythm, while Raymonde's grand bass work fleshes it out. Fraser simply captivates; her vocals are the clearest, most direct they've ever been, purring with energy and life.