Hounds of Love is the fifth studio album by English singer Kate Bush, released on 16 September 1985 by EMI Records. It was a commercial success and marked a return to the public eye for Bush after the relatively low sales of her previous album, 1982's The Dreaming. The album's lead single, "Running Up That Hill (A Deal with God)", became one of Bush's biggest hits, giving Bush her second number 1 UK single in June 2022. The album's first side produced three further singles, "Cloudbusting", "Hounds of Love", and "The Big Sky". The second side, subtitled The Ninth Wave, forms a conceptual suite about a woman drifting alone in the sea at night. Hounds of Love received critical acclaim both on its release and in retrospective reviews. It is considered by many fans and music critics to be Bush's best album, and has been regularly voted one of the greatest albums of all time. It was Bush's second album to top the UK Albums Chart and in the US, it reached the top 40 on the Billboard 200. It is her best-selling studio album, having been certified double platinum for 600,000 sales in the UK, and by 1998 it had sold 1.1 million copies worldwide. The album was nominated at the 1986 Brit Awards for Best British Album, at which Bush was also nominated for Best British Female and Best British Single for "Running Up That Hill". In 2022, the album re-entered various charts, including reaching number one on the Billboard Top Alternative Albums, due to the appearance of "Running Up That Hill" in the Netflix series Stranger Things.Wikipedia
Kate Bush isn’t really a songwriter. She’s an author of strange, literary fiction. Wisps of magic (the magic of nature, especially), bizarre imagery and metaphor entwine with the usual anxieties: love; motherhood; death; making deals with God. It just so happens that rather than write her baroque, gothic literature in text, she writes it in sound. These are not songs, they’re stories, and her lyrics tell the inner lives of her characters: Cloudbusting is the yearning, revolutionary youth marching through her life (“The sun coming out… I just know that something good is going to happen… Your sun’s coming out…”); The dreamer, pushing away modernity and their companions in Big Sky (“We pause for the jet… [jet noises] What was the question? I was looking at the big sky.”). But why does she not just write stories in text then? Bush’s genius is in making the music perform the other roles in her stories - antagonist, chorus, mood-generator, weather, scene-setter - it is the canvas (to further mix the mediums) on which she paints her characters. So it seems to me she’s not all that interested in what makes a song a song, rather what makes a song a story. Every element is put towards that purpose - what will best tell this story? Your mileage may vary on how much of that you can stomach, but to me I see genius in her particular brand of storytelling. There’s no-one like her.
Man, nothing sounds quite like this. Shame she never really caught on in the US and it always amazes me that something so experimental was able to be so popular in the UK/Europe. She definitely paved the way for other iconoclasts like Bjork, etc. Gotta respect the unbridled vision and the genreless expression. Love when artists build their own studios and go into their own little worlds.
I believe Kate Bush was ahead of her time in '85. Minus some obvious keyboard parts here and there, Hounds of Love presents as something that could have dropped anytime in the last decade even though it's 35+ years old. Other than epic single, Running Up That Hill, I hadn't heard any of this record before today but it is really interesting and diverse. The power of her voice, songwriting, and experimentation is inspirational. Kate's experimentation and sound has obviously echoed into the hearts of artists such as Enya, St. Vincent and Florence & the Machine. Cloudbusting and Under Ice are cool dark favs of mine. What's up with Waking the Witch? Nasty. And I'm a sucker for a jig, so Jig Of Life was a really cool addition for me. Nice ending with 6-minute Hello Earth. Hounds Of Love really sounded like a soundtrack to a twisted indie film. This album wasn't major for me, but definitely triggered an urge to sample some more Bush! ;)
An absolute dream! Kate Bush's piano drives you into a dreamland that's equal parts dream and nightmare. The subtlety and variety of the vocal production really stands out.
When you get an early morning message declaring excitement at the day’s album, you know it’s a good ‘un. So good, I played it over and over.
How wonderful to listen to two women in a row! (Björk was yesterday. These two make a nice pair.) I've not listened to this one and didn't know anything beyond Running Up That Hill. I'm sorry I waited so long. Or maybe not. Maybe it needed to be now for me to appreciate it. Big Sky and Jig of Life were my favorites. I'm quite well taken with her voice, especially how it drops on the word "God" in Running Up That Hill. I sense a particular kind of authenticity in her music, that she's making exactly the kind of record she wants and needs to make and that makes me want to listen more. Excellent.
Kate Bush's strongest album to date also marked her breakthrough into the American charts, and yielded a set of dazzling videos as well as an enviable body of hits, spearheaded by "Running Up That Hill," her biggest single since "Wuthering Heights." Strangely enough, Hounds of Love was no less complicated in its structure, imagery, and extra-musical references (even lifting a line of dialogue from Jacques Tourneur's Curse of the Demon for the intro of the title song) than The Dreaming, which had been roundly criticized for being too ambitious and complex. But Hounds of Love was more carefully crafted as a pop record, and it abounded in memorable melodies and arrangements, the latter reflecting idioms ranging from orchestrated progressive pop to high-wattage traditional folk; and at the center of it all was Bush in the best album-length vocal performance of her career, extending her range and also drawing expressiveness from deep inside of herself, so much so that one almost feels as though he's eavesdropping at moments during "Running Up That Hill." Hounds of Love is actually a two-part album (the two sides of the original LP release being the now-lost natural dividing line), consisting of the suites "Hounds of Love" and "The Ninth Wave." The former is steeped in lyrical and sonic sensuality that tends to wash over the listener, while the latter is about the experiences of birth and rebirth. If this sounds like heady stuff, it could be, but Bush never lets the material get too far from its pop trappings and purpose. In some respects, this was also Bush's first fully realized album, done completely on her own terms, made entirely at her own 48-track home studio, to her schedule and preferences, and delivered whole to EMI as a finished work; that history is important, helping to explain the sheer presence of the album's most striking element -- the spirit of experimentation at every turn, in the little details of the sound. That vastly divergent grasp, from the minutiae of each song to the broad sweeping arc of the two suites, all heavily ornamented with layered instrumentation, makes this record wonderfully overpowering as a piece of pop music. Indeed, this reviewer hadn't had so much fun and such a challenge listening to a new album from the U.K. since Abbey Road, and it's pretty plain that Bush listened to (and learned from) a lot of the Beatles' output in her youth.
After keeping its head above water for so long I kept thinking this had started to sink. But nearly (nearly) every time, it kept those little arms and legs paddling. The Big Sky chorus was kinda bland, I thought, but then realised the chorus was the whole song, and that it had become its own coda less than halfway through, opening the door for some spectacular drums at 1:31. Mother Stands For Comfort sounded like it couldn't figure out what to do with itself, until some imperceptible moment when not figuring out what to do with itself became its purpose. "Those strings are nowhere near enough to keep my ears awake," I said at the start of Cloudbursting. Only then it stole a march on me, celebrating its victory (and rewarding my patience) with the bass and chanting at the end. When Bush repeated the same trick for Under Ice, I concluded it was all part of the design. I still think she's limited, but now I'm satisfied that if she doesn't have the chops to pull off all her ideas, she's at least able to communicate the scale at which she's dreaming. Not only that, she works with her limitations to make it sound like she's exceeding them. I can get behind that.
She literally arfs like a dog during Hounds of Love and it's like the fifth worst thing that happens on this album. Best track: I honestly don't know, and I'm not going to listen again to figure it out
A perfect album that I have written just... so much about. Top 10
One of Kate’s very best and also of the 80s IMO. Her voice has never been more powerful, crystalline, clear and pure. And her writing is simply in a class of its own. The brilliant singles from this album speak for themselves but the experimental Side B is also a revelation. I’d give this a 4.5 but since I was so hard on Pet Sounds yesterday I’ll round this up to a 5
This is one of my favourite albums of all-time. It's worthy of a full user review, as it's a true classic. For those who have lived under a rock, or are born this millennium, Kate Bush is considered a true genius and this is viewed my many, as her seminal album. Side 1 has a collection of "hits", including; Running up that Road, Hounds of Love, The Big Sky and Cloudbusting. The subject matter is varied, including a mother's love for her son, who has committed murder, and exploration of dreams, with inspiration take from the Peter Reich memoir A Book of Dreams. It is Side Two that in my opinion the album flourishes. A suite of seven songs based on the same theme, under the heading, "The ninth wave". The story is of a woman/mother who has fallen through the ice on a frozen lake and is trapped, thinking of those left behind, as she fights to stay afloat and alive. Highlights for me are, "And dream of sheep" and "Hello Earth". There's even a Celtic Jig in there (Jig of Life). What an album! 46 minutes of perfection. Impossible to fault.
Well this is one of the great pop albums, it is difficult to think of a pop album that is resonated with me as much is this one. It is a record that still holds its weight 35 years after its release,There is a time is quality that makes this album still sound young and fresh on each listen. Despite the success of this project Kate this remains an artist it was quite an enigma keeping public appearances minimal. There is something very certain about this record coming out in 1985 as I believe if this was a modern classic album Kate Bush would’ve been pushed in every angle to sell commercially and the genius buying this project would’ve been lost behind horrible chart remixes.This is one of Kate Bush strongest albums to date in my opinion and this album broke the name of Kate Bush across the world making her not only a British popstar but topping the American charts. It is a sound that was much before its time with no popstars creating a sonic landscape like this. Each of the 12 tracks and a purpose and strong identity. It is an album where I feel there is genuinely no fillers, also including one of the greatest intros of all time. The album sound light and airy like a fever dream whilst having roots of electronic music played again. There’s also something crazy about this record being a fifth album but it still self produced sounding DIY but embracing the possibilities of digital sampling synthesisers and marrying that sound with something that is technical genius and a step into the exploration of sound. Not only is it a technical step of genius that it is a project that has incredible song structures and is underpinned by voice of lyrical genius. Capers having vocals that are truly impeccable both sweet dreamy and light whilst being full of emotion and passion. When comparing the content of this records to any modern day pop record you would think the content is cheesy and cringing but there is a genius much more before its time in this project, these lyrics are now what shaped what we listen to today in popular culture. With some of the most beautiful metaphors of love. Each song is written like a poem both beautiful and definitive. The cover for this project is also work about being something truly remarkable, and Like the quality of this project the cover is something that really is up there with the greats being synonymous with Kate Bush. It is a cover which is both simplistic yes affective and you can almost hear the sounds of a spear-headed “running up that hill” bleeding through the cover. To conclude for this project there is little else that’s all I can say, Kate Bush is one of the great popstars and her work is almost on matchable in quality. It is a shame she did so few live shows and she’s not a popstar this is still going but maybe that is part of a genius – always leave the audience wanting more. No words can do this album justice, put it on for five minutes and I promise you you’ll be there for entire track list.
A genuine masterpiece. Incredible vocals and orchestration, few albums achieve this level of power, beauty, emotion and passion and remain popular and even catchy. The first five tracks have to be one of the best sequences on any album ever: The haunting synths on Running Up That Hill; the snapping, urgent drums on Hounds of Love; the luscious orchestral arrangements on The Big Sky; the peculiar melodies on Mother Stands for Comfort; and that incredible violin riff on the immortal Cloudbustin’. Amazing, amazing, amazing. These opening tracks alone would earn five stars. And whilst I find the rest of the album elusive and intangible, these tracks reward repeat listening and immersion. Nobody makes music quite like Kate Bush. Iconic. What an artist.
This is one of the most listened to albums of my life. It’s been in heavy rotation since I discovered it in 1987. I cherish every note. I very rarely listen to single songs off this album. I feel incomplete hearing these songs out of context. Throughout my life, artists come and go and return again as my tastes drift. But Kate Bush has been at the core of my listening without pause for over 30 years regardless of what other musical interests I may be pursuing. This album helped me navigate some of the most challenging times in my life. I am hopelessly in debt to Kate Bush. There isn’t no score high enough to reflect that.
I had never listened to a Kate Bush album before now. I knew a couple of her hits from radio play, but I didn't ever really have an interest in her beyond that. I am glad that this project has brought her back to my attention. I enjoyed the album. It seemed full of drama to me...almost theatrical with the variety of sounds.
By 1986 Kate Bush was eight years into a highly successful career which had seen her rise to be the preeminent British female pop musician of the age which an international reputation. The Hounds of Love was her fifth studio album, all her previous collections had seen remarkable changes in style. Hounds of Love continued in that vein. It benefits the listener to approach Hounds of Love as two separate collection of songs (the two sides as originally released) bound together by similar themes. Side one represents a more traditional approach to song writing with some very strong and compelling pop songs (Running Up That Hill and Cloudbusting stand out). Side two- often referred to as The Ninth Wave- represents a rich journey through musical experimentation and the lyrical exploration of life, death, and rebirth. Deliberately bold, the tracks have both a dramatic and dream like feel. Despite all of its experimentation, the female challenges to the idea of ‘progressive’ rock and the standout song writing, Hounds of Love is a reflection of some very traditional themes: love, loss and the challenges and comforts of childhood memory. It’s impossible to overstate its musical and lyrical pull. It stands at the head of the pantheon of what can be prosaically described as rock or pop music. Score: 5/5
Did not expect to love this as much as I did. Kate bush rocks and has such a unique voice with some great songs to carry it
4.5/5. Almost every track slaps, and it’s the Wall for Women. Can’t go wrong 👍.
I'd never really seen it before, but I think you can really clearly see the influence of Kate Bush on St Vincent on this record.
Kate Bush is able to pave a whimsically emotional journey for the listener. Her haunting voice, the complex poetic songwriting, the dreamlike synths and romantic piano transports you to the depths of a different world. Bush’s lyrics are spilling over with feeling and she has a natural ability to paint vivid dreamscapes with her words. Every track feels so full with expression and experimentation yet never feel crowded or too jarring. You can tell a lot of artists have drawn inspiration from her, from then and til today, and specifically her contribution to the 80’s goth and darkwave scene is definitely felt on Hounds of Love. Top tracks: Running Up That Hill/Cloudbusting Least favourite track: Watching You Without Me
This album is phenomenal. People will (finally) listen to Kate Bush again due to Stranger Things and it's inclusion of Running Up That Hill. And that's OK, because it is an excellent song. But the rest of the album is no less fascinating. It defies genre definitions: Pop meets Art Rock meets Folk meets Chorale .... (I could go on.) Among the twelve tracks on this album nearly every single one is different, and each has something new just waiting to be discovered. The first side (which includes Running Up That Hill) is slightly more pop oriented. Running... , Hounds Of Love, The Big Sky and Cloudbusting are real standouts. The second side is more of a concept album. The listener needs to pay more attention here, but is rewarded with excellent music. Forget everything you thought you knew about 80s music, this album is something else. 5/5
This is it. This is the album praised as the pinnacle of pop. Kate Bush, through her passionate songwriting and dreamy production, has gifted us the Hounds of Love in 1985. As far as anyone is concerned, Kate Bush is in her own league with this album. To just call it a "pop album" would be underselling how truly unique, how damn great it is. Some of it is cheesy, sure, but I think it's easily backed up by the incredible high moments of the album. I will say I find side B noticeably weaker than side A, making me lose interest. Incredible songs otherwise.
The only album with proven anti-Vecna properties. Rating: 4/5 Playlist track: Running Up That Hill (A Deal with God) Date listened: 20/03/23
Is this album a bit over produced? Yes Is it a bit all over the place? Yes Do the bangers make up for it? Yes Can I forgive her for Jig of Life? I’m just not sure
Just a stone cold classic…. Sends you on an artistic journey. One the greatest songwriter and performers this country has ever produced!
The second side is one of the finest suites of pop music in existence. The first side is also immaculate. Words fail.
замечательный альбом, очень броский вокал, аранжировки блещут могуществом и небесной нежностью, слабых песен практически нет и с точки зрения технической все даже сейчас выполнено на невероятно актуальном уровне. 10 из 10.
Very progressive sound for 80th, but it's not experemental at all
Running up that hill got good beats
Incredible man. Also how many times you seen this album cover and not noticed the dogs? The first three are like tip top openers for me and I love all that weird shit. Contemplated dropping to 4 for the end of Hello Earth but cmon, it's the fucking bomb innit.
Rating it 5 stars because, well, Kate Bush. This isn't even my favorite album of hers but she is consistently amazing.
Wow. Forgot how amazing this is
One of the greatest pop albums of all time. The standard by which I hold pop music. 9-10/10 1. Running Up That Hill (A Deal with God) 2. Cloudbusting 3. Hounds of Love
Mind blown! Love hearing the original of songs I didn’t even know were covers. So cool and great album especially considering the 80s.
Absolute bona fide classic. Easy 5*
I wish I had listened to Kate Bush earlier. Only exposure before this was a few singles here and there and "Don't Give Up"
What a weird, cool, beautiful album
Epic album. Each song a story and accompanying videos more like films. Musically more controlled by Kate in her newly built home studio using amongst other things the Fairlight CMI synth.
first ever listen to that, great album
I know the classics, but haven't listened to a whole KB album for - it was absolutely gorgeous
Amazing album. I'm really surprised that I somehow missed her during the 80's. Granted, she's more in my wheelhouse now than she would have been then, but this album is an easy 5 stars.
This one is a masterpiece, I think, within its niche which is perhaps narrow, but important to the evolution of Pop overall.
Love Kate Bush.. want.. Kate Bush!
Easy five stars.
Utterly brilliant. Fantastic. Running Up That Hill and Cloudbursting are gamechanging songs.
Great!! Reminded me of Florence + the Machine!!
kate bush is an icon, love her so much!! one of my favourite albums everrrr
Great album. Was already listening to it the day before it came in the album generator.
The fifth Kate Bush album and the first her album I have listened. Well It's magical! Sounds so dreamy and experimental. Album has got a deserved platinum / gold statuss un many countries. It's just amazing!
I was SO happy to listen to this album today. Although a review I read said that this album helped define 80s music, I thought that it really sounded timeless. "Running Up That Hill (A Deal with God)" has always been one of my absolute favorite songs of all time, so there's that. And of course "Cloudbursting" is another great one, enough so that one line from it made a hit for Utah Saints. The second "side" is pretty magical. "Waking the Witch" has always been mind-blowing. I love the journey this set took me on, and I recommend listening to it in the chilly autumn rain, as I did. I love the mix of instrumentation (from synthesizer to strings), sound and voice samples, and of course, Kate Bush's amazing voice. Going back to the timeless comment, it really stuns me that Kate Bush was the first female British artist to top the charts with a song she wrote herself. I'm so happy she paved the way for so many other creative souls.
Interpretin: Kate Bush Geschrieben von: Kate Bush Produziert von: Kate Bush An ihrem eigenen 24-Spur-Mischpult im der Scheune hinter ihrem Elternhaus. Modern, visionär, zeitlos. Verspukt und großer Pop. Weiblich. Stark. Schwach. Fucking Brilliant!
Surprised me, a couple of excellent tracks, sorry tom.
Classic and a beautiful voice!
One of the very few albums that I would consider "flawless".
Lovely and wintry
Meni jedan od onih svršenih albuma.
iconic, showstopping, life changing, whatever
she is The moment
5 star album. Absolutely love the hits on side 1. The drowning nightmare Ninth Wave suite on side 2 is much more \"difficult\", thought-provoking and arguably impenetrable in a delightful Kate Bush manner. Glad of its inclusion in the legendary Before The Dawn concerts.
Some folk feel Kate’s voice sucks the steam out of a song, like an oven hood’s flu, but I don’t mind it. Some crackers on here, and plenty covered by other bands- a testament to the song writing.
Very possibly one of the best albums ever
Number two from Kate Bush, and it's the album heralded as her pop masterpiece. Certainly more accessible than The Dreaming, but it's still weird in the best ways. So much on here to love, so many amazing and emotionally powerful tracks. The melody of Running Up That Hill is so beautiful, and to hear it half-remembered in Waking Up the Witch is just chilling. There's even a wonderful Irish jig, but not just any jig: the Jig of Life. Man, she's some kind of evil genius. It feels premature to give this a 5 on first listen, but I gave The Dreaming a 4 and very quickly realized it should've been a 4.5 or higher so consider this a redemption. The album is undeniably amazing. I don't know which I'll end up liking more between this and The Dreaming but they both belong in the classics camp. Favorite tracks: Running Up That Hill, Hounds of Live, Under Ice, Waking the Witch, The Big Sky, Cloudbusting, basically all of it. Album art: Glamour shots by Deb energy. Today is the first time I'm noticing the actual hounds, I feel like a dunce. It's a great dreamy picture, and the border and text feels so DIY, I kinda like it. I prefer The Dreaming's cover but this is good too. 5/5
Hermoso, excelente disco
Очень мелодично и разнообразно для своего времени. Завораживает
I am not familiar with KATE BUSH‘s HOUNDS OF LOVE, except for my nephew bringing the album to my attention recently, Thanks to 1001 Albums, I previously reviewed THE DREAMING (1982) which I gave it a 5 star review. So I am looking forward to reviewing this and other KATE BUSH albums. After listening to HOUNDS OF LOVE, I appreciate the two different sides like on a LP. With the second side The Ninth Wave dealing with the subject of water/drowning. In 1001 Albums You Must Hear Before You Die, KATE BUSH - HOUNDS OF LOVE Is joined by the subsequent album: THE SENSUAL WORLD (1989) and the previous album THE DREAMING (1982) which I previously reviewed. Rate Artist: KATE BUSH (5.0) Rate Album (Year): HOUNDS OF LOVE (UK 1985 Original) (5.0) Ranking of KATE BUSH - HOUNDS OF LOVE songs Side one: Hounds of Love No. Title Length Ranking 01. "Running Up That Hill (A Deal with God)" 5:03 10.0/10 02. "Hounds of Love" 3:02 10.0/10 03. "The Big Sky" 4:41 08.5/10 04. "Mother Stands for Comfort" 3:07 08.5/10 05. "Cloudbusting" 5:10 08.5/10 Side two: The Ninth Wave 06. "And Dream of Sheep" 2:45 08.5/10 07. "Under Ice" 2:21 09.5/10 08. "Waking the Witch" 4:18 08.5/10 09. "Watching You Without Me" 4:06 10.0/10 10. "Jig of Life" 4:04 10.0/10 11. "Hello Earth" 6:13 09.0/10 12. "The Morning Fog" 2:34 10.0/10 UK 1985 Original Release 111.0/120 = 9.25 / 2 = 4.63
This was an often played CD in my Minneapolis years. Though it came out in 1985, I don't think I listened to it until 1988 or 1989. Like all music of this era, it conjures up a lot of sensory memories of where I was when I listened to it.
Hab den Verdacht das Album ist mit so meine letzte “pure” Musikexperience, bei der ich einfach nur verzaubert war. Das Album ist eine eigene Welt für sich und auf eine Art und Weise zeitlos, dass das Jahr 1985 neben dem Cover nichts zu bedeuten scheint. Produktion, Vocals, Songwriting — alles richtig groß und schön. Insgesamt fällt mirs ein bisschen schwer das zu rationalisieren im Moment, lieb das Album einfach.
Einer der Höhepunkt und Schlüsselmomente für experimentellen Pop. Das Album ist alles und nichts, man kann es nicht auf den Punkt bringen und ich glaube genau das wardas Ziel. Von Pop-Hymnen über Soundcollagen bis hin zu Folk bekommt man hier wirklich alles um die Ohren geschmissen. Das funktioniert besonders gut auf Platte als Medium. Während Seite A deutlich poppiger und zugänglicher ist befinden sich die zumeist experimentelleren und verfrickelten Lieder auf Seite B. Es steht fest dass das Ganze großartig ist und das Kate Bushs stahlende Stimme verbunden mit Streichern, Synthbeats und allem anderen gerade auf diesem Album nochmal mehr triumphiert als sowieso schon. Es ist einfach nicht zu replizieren und fängt den Kitsch und den Mut der 80er in der Mitte des Jahrzehntes gleichzeitig perfekt ein. Ich mag hier nicht jeden Song gleich, allein schon weil Running up that Hill, Hounds of Love und Cloudbusting perfekte Pop-Songs sind und sich schwer im Direktvergleich mit den experimentelleren Titeln messen lassen. Ich würde bei RYM von meinem Hörgenuss her eine 4 geben, aber mein Gefühl der Bewunderung für dieses wahre erste Pop 2 Album sagt mir klar 5!
Jawolll war gut u abwechslungsreich geht erst so spacy los und dann bei waking the witch dachte ich kurz mein pc wäre abgestürzt (positiv). Dass kollegah kate bush gesampelt hat wusste ich eig aber das hat mich auch völlig aus dem nix erwischt die Stelle
Eins der wichtigsten, wenn nicht das wichtigste experimentelle Pop Album aller Zeiten. Hat so viele Grundsteine gelegt für Künstlerinnen die danach kamen. Krasse Motive, poetische Lyrics, die Vocals sind der Hammer und auch immer wieder bahnbrechend, sei es die glitchy Verzerrungen oder ganz eigenartiges Gebrülle/Gestöhne wie auf Waking The Witch. Eigentlich Wahnsinn, dass dieses Album kommerziell so eingeschlagen ist damals, es ist so left field wie nur ganz wenig aus der Zeit. Krankes Album was soll man noch sagen
keine zeit viel zu schreiben aber ich LIEBE ES vor allem die zweite hälfte ist der wahnsinn
Bevor ich das anhöre, schreibe ich schonmal, dass das wirklich eins meiner absoluten lieblingsalben ist, mit sicherheit bei mir in den top 20. die erste hälfte ist pop-perfektion und mach einfach unglaublich spaß: tolle songs mit extrem starker produktion und kreativen ideen für instrumentation, alles was man sich von pop wünschen könnte. die zweite hälfte ist dann etwas experimenteller und immer noch genial: kate bush schafft hier sogar keltische musik zu integrieren. das ganze immer mit super evokativen lyrics, die immer etwas bei mir auslösen. ein satz wird auf dem album auf deutsch gesprochen: "tiefer, tiefer, irgendwo in der tiefe gibt es ein licht" So ist auch Kate Bushs musik ein Licht in der Tiefe der popmusik, damals sowie heute.
Geiles Album! Glaube ich kenne kaum Synthpop-Alben die da dran kommen, mit jedem Kritierium eigentlich
Very pleasantly surprised by this one. I’ve had a Kate Bush album previously and it really got on my tits, I think I gave it a 2. This album really works for me today though, epic 80s production and I found her peculiar vocals charming rather than maddening. I’d probably give 4 on balance but to make up for how mean I was about her last time let’s push it to a 5.
J'ai découvert cet album il y a quelques mois suite à une recommandation sur un groupe de passionnés de vinyles. Je ne connaissais pas du tout Kate Bush. J'ai été surpris de constater que pour un disque pop des années 80, contrairement à bien d'autres disques, ça vieilli bien. J'aime les arrangements, la voix et l'audace dans les compositions. Le traitement sonore de certains passages et l'ajout d'échantillonnages pour des éléments de textes est super intéressant. Je crois qu'elle a définitivement influencé des artistes féminines audacieuses comme Björk ou Tori Amos. Une superbe découverte. Pièce préférée: Mother Stands For Comfort
She's one of a kind Kate. This is a masterpiece, not without faults, but made with passion and purpose. Got to admire someone who can sing, write, produce and play the instruments, including one the Fairlight. Unique.
An absolute all-timer. Half concept album, half bangers.
The best! Ever!
The soundtrack of my dreams!
I liked it. It was good. A proper album album. Hadn't listened to it properly with headphones before and I'm glad I have now. Highlights for me are "Running Up That Hill", "Hounds of Love", "Waking the Witch"
Kate Bush is a phenomenon. I am in love with every second of this album, and it's near impossible to explain how I felt after listening. The atmosphere that was created is absolutely stunning and I have literally zero hesitation about giving this a 5.
This was different from how I expected it - lots of spoken word and interesting samples scattered throughout. It sounded more modern than I would have thought the whole album would - I mean, I know the big tunes off the album but it was still a pleasant surprise to hear something so fresh and intriguing.
fucking banger album 10/10
5.0 + Awesomely weird. I love the way Kate Bush combines acoustic elements, like beautiful string section, with strange synthesized woodwind sounds. I also love the steady percussions that create tension without ever fully resolving. And her voice sounds amazing, clear and youthful but able to emit some serious growls. All of these songs are fully realized compositions, executed with precision. Even the album’s most outlandish “Walking the Wish” is a great listen.
This album is firmly rooted in the sounds of its time, but is startlingly contemporary. It pulls indiscriminately from 80s pop, 70s piano ballads, and even progressive rock. Songs like ‘Waking the Witch’ sound as though bits of Pink Floyd’s The Wall were brought into a pop format. The album is a masterclass in pop production, arrangement, and experimentalism. It’s incredibly musically interesting and Kate Bush herself is woven throughout in a sort of now you see her, now you don’t fashion.
I'm writing this right after the Netflix series Stranger Things made "Running Up That Hill" a hit in the charts again. But then again, I didn't really need a TV series to be at least aware of Kate Bush's magnum opus, from which this song is the opener. And on a closer listen, I can finally understand the myriad ways in which this record is a treasure trove, and why it is so loved by fans. Its first side ("Hounds Of Love" proper) is not only filled with hits but also with incredible arrangements transcending often off-kilter songwriting skills. In the realm of pop, I'm usually a sucker for verse-chorus-verse structures, but this is not really how Bush proceeds, is it? Her pop songs are more driven by very careful progressions starting from one single idea, and this is where her devilish arrangements--a lot of them handled by herself through synths and whatnot--are playing a key part. Whether they enter the scene as bass drums ("Running Up That Hill"), strings staccatos ("Hounds Of Love" and "Cloudbusting" ), or infectious, frantically slapped basslines ("The Big Sky"), such arrangements are always bringing a peculiar atmosphere that makes such pop songs one-of-a-kind, almost "goth" in their intent. *Some* of those flourishes sound admittedly a little dated today (I still dream of a version of "Cloudbusting" without that oversimplistic binary drum part, with just the strings, for instance), but even those have their quaint charms now. And Kate's vocal work is rich enough to make up for those somewhat dated flaws anyway. Such work is often mellifluous, expansive and mystical--with even Bulgarian chants overtones sometimes, not up to a Meredith Monk-level of craziness, but quirky enough to keep you on your toes. Yet this voice that muses and yodels and grunts and coaxes can also be restrained from time to time, as in the delicate "Mother Stands For Comfort", whose synths, basslines and ambiguous lyrics about the mother of a possible murderer haven't aged a day... In the second part of the record, The Ninth Wave suite, Bush then goes to a full experimental mode, and this where her genius shines the most. Even more than on the first, more "normal" side, she uses her kaleidoscopic voice the way a painter uses a color palette, adding spots and dots and streaks throughout the suite, dizzying the listener into a sonic whirlwind (I'm pretty sure Björk or Tori Amos took a lot of notes here). This second side places the listener in media res inside a loose tale about death and rebirth, something apparently disconnected from the first part of the record.... But more than this vague narrative conceit, it is the sounds and notes that are the true narrators of the tale here. Chilly synths evoke a frozen lake ("Under Ice"), voice collages of all sorts suggesting posession and curses and witchcraft bring a postmodern, Laurie Anderson-like flavor to the middle of the yarn ("Waking the Witch", "Watching You Without Me"), while uilleann pipes, fiddles and bouzouki trigger a celtic tornado that suddenly resets all expectations (thus creating a frantic "Jig Of Life" whose clever harmonies can send you to an exhilarated state, and this even if, just like me, you're not a fan of celtic music)... As for "Hello Earth" and its slow-motion clash between sinister Hollywood-style strings (arranged by film composer Michael Kamen) and eerie choirs interpolating a traditional Georgian lament, it just simply takes you to... space. There you can admire our fragile blue planet just the way that gigantic baby does ominously at the end of Kubrick's *2001* ("Hello, Earth... Peek-a-boo, peek-a-boo..."). After such a cosmic trip, Kate seems to wake up, as if from a feverish dream, and offers us a very short coda in the shape of a miniature track, "The Morning Fog", a very lively pop song totally at odds with everything before, led by John Williams's licks on acoutic guitar. Here it sounds as if Bush is ready to start the day and join her loved ones, her long dream becoming just a distant memory in the space of seconds... Rarely have closers sounded so *both* out of place and yet so effective, in a way... But this should come as no surprise after so many twists and turns. Kate Bush is indeed an enigma, a true sorceress whose cauldron teems with sounds and colors and ideas. She's admittedly an acquired taste for many music fans. Yet legions of them will eventually come (back) to her, again and again. And "Hounds Of Love" being her most ambitious record, *both* in its experimental leanings and its pop instincts, it is obviously *the* one place where you must start if you want to know more about the damn witch. If said witch floats instead of sinking into you--namely, if this album goes over your head on the first listen--send her back to the river, and spin the record again. At some point, its spell will work on you, at least if you're open enough to sorcery. *This* is a wizard's promise... Number of albums left to review or just listen to: 880 Number of albums from the list I find relevant enough to be mandatory listens: 65 (including this one) Albums from the list I *might* include in mine later on: 29 Albums from the list I will certainly *not* include in mine (many others are more important): 27
this album was a whole experience and one i wasnt ready for but added to the thrill. found one more comforting track in 'and dream of sheep'. voila babooshka
Really enjoyed this album. Cool synth rock type
A conveniently timed album to receive thanks to Running Up That Hill's resurgence on the charts from its feature in Stranger Things. And although that song definitely hooked me into Kate Bush's work, I didn't really gain a great appreciation for her until listening to this album two years ago. It was COVID time and stuck in lockdown, Running came up a lot on song radios and decided to check Hounds Of Love out. The thing that stood out the most then was The Ninth Wave suite. After some decent to great pop songs, you got a soft lullaby which after a somber gathering of clouds, bursts over Waking Up The Witch which scared the shit out of me. It was so dark and sinister after the first side being joyous and a bit happy with songs like Cloudbusting, The Big Sky and the title track. The Ninth Wave then goes to a calm state before going Celtic in Jig Of Life, a resurgence in Hello Earth and then the curtain call in Morning Fog. It was such an interesting listen as you have a pop artist whose prime was the 70s/80s and they could do both great singles, and weird as hell concepts and suites. Since then I have gotten the album on vinyl and listened to a bunch of Kate Bush's albums and though she isn't in my top 3 artists, have gained a massive amount of respect and love for her. And post Stranger Things, I am very pleased her work is in the limelight again, and hopefully some of those who came for Running, will like this album and some of her other works.
Fantastic album and Kate Bush’s most accessible. This album has really grown on me. You could draw a lot of parallels to the music of Pink Floyd which makes sense seeing as David Gilmour was the one who discovered her. The instrumentation piano/synths/drums/ lyrics are all excellent
Had heard some tracks but recently listened the first time the whole way through because of the Stranger Things hype and it's a masterpiece. Cloudbusting huge, Running Up That Hill, Hounds of Love. That whole second side run. Love it.