Bil Sabab Power Hour: Cocteau Twins - Blood Bitch

"Blood Bitch" is a song by Scottish post-punk dream pop band Cocteau Twins. It was released in 1982 on their debut album titled "Garlands". While it distantly resembles the bands signature sound - it is very unlike their future output. There are no pop elements - it is pure "take no prisoners" misty gothic post punk. TV Tropes has an entry that perfectly describes what it is - "Early Franchise Weirdness". The band was trying to find their footing. But in case of this song is perfect as it is.

There is resentfully silent mood, unwholesomely morbid tone, sullen mannerisms and gloomy undercurrents. "Blood Bitch" is circling predatory pitch black sonic roundabout with low, ominous throb. It is minimalist bloody post punk. But is so much more. It transcends beyond being simply a song. It is like aimless wandering in the thick fog - taking a step only to realize you're stepping into quicksand and slowly and helplessly getting sucked into oblivion - slowly suffocating. And then you understand that this pity pit also covers a black hole and you're about to be torn apart. It is very intimidating. It puts you in a state of "twang'" despair. It makes The Cure circa "Pornography" sound like Mamas and Papas. And I like it that way.

"Blood Bitch" is built around unrelenting mechanic beat. It is unmistakable Roland 808. It sounds thin, crisp and crunchy. This stone cold thumping also adds that particular "Big Black" ugliness to the music. The other instruments are drowned in echoes, swelled and flowing on the surface face down. There will be no bubbles.

Bass line is very interesting. It is seems to be a backbone of a song but in the same time it is constantly slips away. It lashes the ground and unsettles clouds of dust. But then it turns to liquid - as if it was merely ripples, splashes, whirls on the water's surface. It creates heightened sense of momentary falling due to rug pull.

Guitar is lurking deep in the background. It creates entangled web of textures - akin to the mist. Distorted screeches, shimmers and feedbacks are laying one on top of another. Sounds go like a straight lines speared from far away that come curdled into a ball spirals and bounce away going away like boomerangs and then reemerging as squalls a squalid tar. It sounds smooth. First it soothes, then it smothers with numerous effects - chorus, reverb, flanger and delay.

From a lyrical standpoint - it is not that much. Just some general character building rambling. It is effectively entwined with the music but not very fleshed out. Images of "Blood Bitch" are just grim and dark. Elizabeth Frazer narrates a horror story. She enters the song like a smoke cloud from a burning petroleum. She blends in a bit but still is very distinct. While she actually sings words although she is obliviously standing on the edge of slipping into singing in tongues. It is mesmerizing balancing act. She sounds haunting. There is ominous throbbing in her voice. It buzzsaws its way through the song. It is interesting to listen how she accentuates words - elongates vowels, wrists consonants, spits out certain syllables.