Hounds of Love
A brilliant split-screen masterpiece of art-pop. Side one delivers soaring, synth-driven anthems, while side two plunges into a haunting, cinematic suite of survival at sea.
July 30, 1985 · EMI (2)
A brilliant split-screen masterpiece of art-pop. Side one delivers soaring, synth-driven anthems, while side two plunges into a haunting, cinematic suite of survival at sea.
July 30, 1985 · EMI (2)
A Fairlight CMI synthesizer mimics the heavy thud of a steam engine, transforming high-art paranoia into the most triumphant pop music ever made. This is the moment a brilliant recluse mastered the studio as her primary instrument, rescuing her career from avant-garde isolation by fusing massive, chart-topping hooks with a terrifyingly intimate B-side suite about drowning. You are pulled from the ecstatic, cinematic heights of soaring string arrangements straight into the dark, freezing waters of the English Channel. It remains the definitive proof that uncompromising, self-produced genius could conquer the mainstream without losing an ounce of its strange, wild magic.
How does Hounds of Love sound next to the rest of Kate Bush's catalogue?
By utilizing the Fairlight CMI as a primary compositional tool, the arrangements rely on a highly sample based foundation where digitized whip cracks, heavy breathing, and chopped vocal fragments form the very bedrock of the pop hooks.
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