Recorded at Palladium Studios, Edinburgh, Scotland and Rooster, West London in August and September, 1984.

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 concluding number ends the record on the peak with which it began. "Donimo" starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser's careful singing before finally exploding into one last heavenly wash of powerful sound; Guthrie's guitar, Raymonde's steady bass, and drum machine smashes provide the perfect bed for Fraser's final, exultant vocals. Treasure lives up to its title and then some as a thorough and complete triumph. ~ Ned Raggett

With their third album, TREASURE, the Cocteau Twins settled on what would, from then on, be their primary lineup--vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde. One of the band's most impressionistic records, it abandons the "phrase" titles of previous records in favor of mythological-sounding one word names, encouraging listeners to make up their own interpretations of the songs. Sound-wise, the band's performance, though not confrontational, is more aggressive, and several tracks, such as "Persephone," find Guthrie experimenting with a harsher guitar sound.

Completists should note that some versions of the CD contain all four tracks from the band's 1985 EP, AIKEA-GUINEA. Standouts include the two opening tracks, "Ivo" and "Lorelei," both of which sound like very sexy baby food commercials, while the epic "Donimo" opens with choral-style vocals over sustained musical tones augmented by glittering chimes, exploding halfway through with a pounding drumbeat and Guthrie's crystalline, effects-laden guitar. Despite the fact that Guthrie has stated in interviews that he is largely unhappy with the album, it remains a favorite among the band's fans and it is almost certainly their most consistently upbeat record.