真正奠定Cocteau Twins日后风格的是1983年的专辑Head Over Heels，这时的WILL已经离队，乐队找来了新的贝司手SIMON RAYMONDE。专辑中那迷离缥缈，迷乱沉重的伤感氛围和低调复古的音乐路线形成了Cocteau Twins日后真正的取向。Head over Heels成功打入了英国独立大碟榜的首位。同年EP作品Sunburst And Snowblind也成为细碟榜的冠军作品。无论在演奏技术和录音技巧上，乐队都越来越趋于成熟。Fraser从此开始发挥她得天独厚的嗓子天赋，虽然歌词吐字模糊，但声音变得婉转动听，而且音乐的层次也变得丰富。 　　 　　by Ned Raggett 　　Losing original member Heggie might at first have seemed a troubling blow, but in fact it allowed the duo of Fraser and Guthrie to transcend the darkened one-note gloom of Garlands with Head Over Heels. The album introduces a variety of different shadings and approaches to the incipient Cocteaus sound, pointing the band towards the exultant, elegant beauty of later releases. Opening number "When Mama Was Moth" demonstrates the new musical range nicely; Fraser's singing is much more upfront, while Guthrie creates a bewitching mix of dark guitar notes and sparkling keyboard tones, with percussion echoing in the background. Other songs, like the sax-accompanied "Five Ten Fiftyfold" and "The Tinderbox (Of a Heart)" reflect the more elaborate musical melancholy of the group, while still other cuts are downright sprightly. "Multifoiled" in particular is a charm, a jazzily-arranged number that lets Fraser do a bit of scatting (a perfect avenue for her lyrical approach!), while "In the Gold Dust Rush" mixes acoustic guitar drama into Fraser's swooping singing. Perhaps the two strongest numbers of all are: "Sugar Hiccup," mixing the mock choir effect the band would use elsewhere with both a lovely guitar line and singing; and "Musette and Drums," a massive, powerful collision of Guthrie's guitar at its loudest and most powerful and Fraser's singing at its most intense.