That flutter of a true leap into the unknown never truly goes away. Vincent dares to reinvent herself, we hear the hounds again. When Bush wrote of her hopes that fans would ‘enjoy listening to it in different ways again and again’, I doubt even she could imagine how true that would prove to be of its legacy. Hounds is of that time, but its experimentation keeps it unmoored. You listen to ‘80s albums by the likes of Michael Jackson or even Public Image Ltd and the sound is so heavy-handed, so thick. Hounds is messier than Low, but that feels appropriate. The juxtaposition reminds me a little of David Bowie’s Low in that sense a punchy cluster of songs followed by a foray through the soundscapes. The sense of sonic adventure overrides any incredulousness at the places mapped. The innocence of that push - the cleanness - is part of what makes the whole journey so seductive. Side two rides that sonic palette to strange, mystic extremes. That’s where the hits are, strange bait with killer hooks. Side one establishes a lush, experimental blend of technology and old-world instrumentation, all in killer art-pop package. The album’s two sides are essential to its success in this respect. This was to be a record in her space, on her terms. A clean way of working.’ Three years in the pop wilderness wasn’t enough to make the album a comeback per se, but it did guarantee a freshness. ‘You cut all the crap, don’t have all these people around and don’t have expensive studio time mounting up. In Hounds there’s a clear sense of someone stepping back, breathing in, and trying something extraordinary.įinding sanctuary in her own pristine home studio, Bush finally had complete freedom. Bush’s first four albums were a whirlwind, released in quick succession and with near-furious creative energy. Hounds of Love travels to the outer reaches of pop, and it often feels like it does so simply out of curiosity. That Bush could create something so deliriously weird and wild yet also break through to the mainstream world is great proof of her powers. Whilst Hounds of Love is not without its defects, it’s held high on the pedestal of art-pop for good reason.
In general, the second side shares an astonishing amount of resemblance to video game music, which is just further testament to the innovation on show. Furthermore, the steady stride of “Watching You Without Me” shares an identical ambience to that of temple music from The Legend of Zelda. Vincent have cited Bush as a major influence, and you can hear so much of Hounds of Love in the music of Florence and The Machine, Bat for Lashes, and countless more. Multiple musical innovators such as Björk and St. The stunning ornamentation is a huge part of the record’s success, and its influence and legacy truly cannot be overstated. Timbre is a key part of why it remains a captivating listen 30 years later: the tribal percussion that leads the way on “Running Up That Hill” the delicate picking of the bouzouki that decorates “And Dream of Sheep” the deep tones of the double bass that beautifully embellishes “Watching You Without Me the theremin-like whistle that plays on “Mother Stands for Comfort”. All the sounds on Hounds of Love exude extraordinary amounts of character. Bush doesn’t have a conventionally strong pop voice, but it is remarkably expressive, and she uses it in weird and wonderful ways. The enthusiasm and motivation to experiment is not just impressive, it’s thoroughly engaging. The mystical quality that runs throughout Hounds of Love not only arouses mystery and wonder, it covers a few minor blemishes on the way too. These imperfections are perhaps merely part of the charm, such is the aura of abnormality. The pirate frolic of “Jig of Life” is as jarring as it is aggravating, though undoubtedly still a lot of fun.
Indeed, whilst it’s clear to see what Bush was envisaging on “Waking the Witch”, the implementation is certainly clumsy, somewhat lumbering and heavy-handed, and it ends up feeling overblown as a result. There’s a direct purpose behind every move, even if the execution isn’t always flawless. There’s a lofty concept behind the albums structure - the weight and meaning of its two sides - but Bush rarely lets the music slip away from pop arrangements. Despite its quirks, the record retains a level of accessibility that keeps it well within the territory of pop. The music is beautifully dramatic, like a howling wind moving ferociously through a magical landscape. Very few albums evoke the sense of mystery and wonder like Kate Bush’s Hounds of Love.
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