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.

The feeling throughout is of a group interested in dressing up older approaches that have served them well, but aren't as distinct; the quite-lush arrangements by Guthrie are fine but the songs are a touch more pedestrian.

Blue Bell Knoll has enough initial steam, however, to ensure that there are reasons to listen, happily.

"Athol-Brose" has the inspirational feel that the Twins can easily create.

"Carolyn's Fingers," the clear album standout, is perhaps the strongest individual Cocteau song since "Aikea-Guinea," with Fraser singing against herself over a rough, hip-hop-inspired rhythm while Guthrie peels off a fantastic main guitar melody and Raymonde contributes some supple bass work.

After that amazing opening, things slowly but surely slide back a bit; most of the rest sounds okay enough to listen to, but the heartgripping intensity that defines the Twins at their best isn't present.