Kate Bush returns after 12 years

Wednesday, Nov 9, 2005

Kate Bush, "Aerial"

It has been a long wait: 12 Kate-less years since 1993's indifferently received "The Red Shoes." Perhaps it was last year's Futureheads cover version of "Hounds of Love" that reminded everyone of how great Kate Bush once was; perhaps it was EMI's decision to invite "a group of journalists to the Royal Academy of Music, in London, for a one-off listen" to the new record that sent the message that, as noted by the BBC online, "this album is not to be dismissed lightly"; either way, the excitement levels around Bush's new double CD, "Aerial," are, at least among the British press, at fever pitch.

As the Guardian (five stars out of five) points out, during the dozen-year hiatus "the Kate Bush myth that began fomenting when she first appeared on Top of the Pops waving her arms and shrilly announcing that Cath-ee had come home-uh grew to quite staggering proportions." Many reviewers are thus preoccupied with just what it is that she has been up to. Having been apparently "variously reported to have gone bonkers, become a recluse and offered her record company some home-made biscuits instead of a new album," it is a relief to find that "she seems to have been doing nothing more peculiar than bringing up a son, moving house, and watching while people made up nutty stories about her." It follows, then, that the Independent (five stars out of five) should identify "a core of contented domesticity" in what it terms a "marvelous, complex work which restores Kate Bush to the artistic stature she last possessed around the time of 'Hounds of Love.'" "Aerial's" down-home theme is arguably most explicit on the song "Bertie," what the Observer calls "a gushing ode to Bush's son." As the Guardian describes it, "Bush sings beatifically of smiles and kisses and 'luvv-er-ly Bertie.'" But, the reviewer asks, has she really thought her tribute through? "You can't help feeling that this song is going to cause a lot of door slamming and shouts of 'oh-God-mum-you're-so-embarrassing' when Bertie reaches the less luvv-er-ly age of 15." And this on top of being named Bertie …

Snickering aside, the Observer offers the most earnest analysis of Kate Bush's unique perspective: "With its songs about children, washing machines going 'slooshy sloshy,' Joan of Arc, Bush's mother, not to mention the almost pagan sensuality that runs through here like a pulse, 'Aerial' is, arguably, the most female album in the world, ever." This shouldn't preclude male appreciation of the album, though, as "the artistry here is so dizzying, the ambition and scope so vast, that even the deafest, most inveterate misogynist could not fail to acknowledge it."

more: http://www.salon.com/ent/audiofile/

a very good critique of her new album in 'Der Spiegel', and I'm going to definitely buy it - and then wait 12 years again. ;)

i have her box set from about 15 yrs ago which has everything through sensual world


i looked for her new album on itunes but didnt see it

Although I was a bit disappointed with her last effort, The Red Shoes, I'm really looking forward to this one.

I ordered both through Amazon. My wife likes the single (King of the Mountain) but isn't so thrilled with Kate's cover of Marvin Gaye's "Sexual Healing" on the "B" side. We'll see what the whole album sounds like. I've heard snippets, and liked what I caught. It's definitely not "The Dreaming" Kate, but more like the "Sensual World" Kate.

I'm a male, and I have no problem relating to Kate's writing. I've been a fan since the early days, and I'm glad that she's putting out music again.