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Rock - Released January 12, 2009 | Parlophone UK

Distinctions Pitchfork: Best New Music - Sélection du Mercury Prize
Natasha Khan's debut album as Bat for Lashes, Fur and Gold, was so vivid and fully realized that it was a tough act to follow: she found ways to make her wildest flights of fancy into music with the immediacy of pop and the intimacy of a singer/songwriter's confessions. It takes a lot of ambition to pull off that kind of alchemy, and that ambition defines Two Suns. Khan's sounds and visions are even more widescreen here, full of pristine electronics and heady concepts, and Scott Walker, the undisputed king of high-concept music, duets with her on the ultra-theatrical finale "The Big Sleep." Since Bat for Lashes' songs practically burst with characters and ideas, a concept album seems like a logical next step for Khan's music, but the magic her songs had previously feels dissipated this time around. Two Suns revolves around Khan's "desert-born spiritual self" and her "destructive, self-absorbed, blonde femme fatale" alter ego Pearl as it covers "the philosophy of the self and duality, examining the need for both chaos and balance, for both love and pain, in addition to touching on metaphysical ideas concerning the connections between all existence." That's a lot to pack into just 11 songs, and it's not always entirely clear just what they're about, despite motifs like "blue dreams" that run through them. Some songs are just plain overdone: "Traveling Woman" and "Peace of Mind," with its tribal rhythms and gospel choir, aim for majesty but end up dragging. Others use the album's posh polish to make an impact, like "Glass" -- on which Khan hits some amazing high notes -- and "Daniel," which nods to the poppier side of her music. The directness that made Fur and Gold's modern-day fairy tales so enchanting and moving is often missing, and nothing on Two Suns is as musically or emotionally immediate as "What's a Girl to Do?" or "Sad Eyes." However, the subtler spells Khan casts with hypnotic tracks like "Sleep Alone" and "Moon and Moon" eventually reveal their beauty. And as Two Suns unfolds, it gradually shifts from overt attempts to dazzle listeners to focusing on Bat for Lashes' greatest strengths: Khan's voice and her considerable skills at telling a story and setting a mood. Pearl may be the album's dark side, but she's responsible for some of its best songs. "Siren Song" sets her seductive false promises to dramatic pianos, while "Pearl"'s Dream," with its battles and kingdoms, is classic Bat for Lashes. "Good Love" reaffirms Khan's way with bruised ballads, and "Two Planets"' pummeling beats and swirling voices make the mystical power the rest of the album reached for crystal-clear. Ultimately, Two Suns is nearly as graceful and poetic as Bat for Lashes' best work; it's just that the album's massive concepts and sounds require a little more time and patience to unravel to get to the songs' hearts. It's clear that Khan's talent and ambition are both huge, and for her to slightly overreach is better than not aiming as high as she can. ~ Heather Phares
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Rock - Released October 15, 2012 | Parlophone UK

Distinctions Pitchfork: Best New Music
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Rock - Released July 2, 2007 | Parlophone UK

Distinctions Sélection du Mercury Prize
With Fur & Gold, Bat for Lashes -- aka Natasha Khan -- brings a fairytale quality and air of mystery to her music, performing a delicate balancing act between everyday emotions and the power of fantasy. As the title suggests, there's something gorgeous but raw about her songs, which fly from spare British chamber folk to shades of lavish rock, pop, and dance as she throws herself into stories that update the traditions of other iconic female artists. She's a warrior princess of the moors with only her steed to keep her company on "Horse and I," a song whose dramatic sweep would do Kate Bush proud; on the fable-like sensual duet "Trophy," Khan sings "creatures of mercy/shoot them down and set me free" with Björk-like urgency. Despite Fur & Gold's unabashedly mystical vibe, Khan emphasizes the reality in her magical reality, whether she makes it sound like it's perfectly natural to sing "drink his blood and he's our leader" on "The Wizard," or crafts strong heroines on songs such as "Prescilla"'s urban folk or "Sarah"'s surprising rock. The most remarkable thing -- out of a lot of remarkable things -- about Fur & Gold is the emotional power of Khan's songs. "What's a Girl to Do?" might be decorated with beautifully ghostly girl group beats and harmonies, but the pain of falling out of love is palpable. Best of all is "Sad Eyes," a love song so warm and fragile that the way it cuts to the quick when Khan sings "trying to keep it together/keep my love as light as a feather" is breathtaking. As far flung as these songs can be, they never sound scattered, and only rarely overdone: the thunderstorm-laden ballad "I Saw a Light" is the only moment that feels close to over the top. Fortunately, the final track, a soaring cover of Bruce Springsteen's "I'm on Fire" that shows off Khan's vulnerable, old soul voice to its finest, more than compensates. This is a vivid, accomplished, transporting debut. ~ Heather Phares
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Alternative & Indie - Released September 6, 2019 | Bat For Lashes

Some artists just fit into the whole 80s revival genre effortlessly. Vintage synths, saxophone solos and gated reverb have never been further away from cheesy than with Lost Girls by Bat For Lashes. Maybe because those tools are at the root of a baroque electro-pop sound that’s been brewing for over a decade. Natasha Khan’s ever-changing approach to music started with Fur and Gold (2007)’s lascivious chamber-folk: the seeds of her 5th album were already planted by then – an astonishing soprano, an overactive imagination, and colorful instrumentation. Comparisons with Kate Bush came one after the other. These days, it might be easier to reference contemporaries such as CHVRCHES or Ladytron, thanks to her recognizable synth groove signature.However, that first comparison still stands today, despite some stylistic changes. Bush and Khan have the same propensity for ambivalence: the ambiguity of desire, or melancholy and feminine strength, in addition to being a major theme for both singers, is manifested through tasteful vocal nuance that allows each to glide between whispers and sky-high melodies. The voices on Lost Girls are characterized by that same sense of restraint, but the instrumentation doesn’t necessarily follow in the same stride. For example, on the barely camouflaged sexual allegory of The Hunger (supposedly about vampires …), Khan combines the majesty of a reverb-drenched organ with a syncopated funk bass line, communicating a very on-point sense of urgency. As far as albums go, this one is enjoyably retro, bringing the listener far away from 2019 and any socio-political turmoil. Some much-needed escapism for “interesting” times. © Alexis Renaudat/Qobuz
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Alternative & Indie - Released July 1, 2016 | Parlophone UK

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The Bat for Lashes universe is one that is all its own. When seeking inspiration for the album, the British singer and producer Natasha Khan wrote and directed a short film. Put together between LA, London, her native Brighton, and Woodstock in New Jersey (where she has a home studio), the whole of The Bride will be performed in a very particular way, like the first singles, which were first performed live in churches. The album itself narrates the story of a woman who watches her husband die en route to their marriage, a theme that is sometimes particularly melancholy (Joe’s Dream). Between the overuse of reverb and lilting vocals, the album is nevertheless pretty and destabilising, which showcases the genuine artistic method that is at work. The producer Dan Carey (Nick Mulvey) and musician Ben Christophers have both supported Natasha Khan, to iron out the creases in this otherwise well-conceived whole.
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Alternative & Indie - Released August 5, 2019 | Bat For Lashes

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Alternative & Indie - Released June 10, 2019 | Bat For Lashes

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Alternative & Indie - Released July 1, 2016 | Parlophone UK

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Alternative & Indie - Released July 26, 2019 | Bat For Lashes

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Alternative & Indie - Released August 19, 2019 | Bat For Lashes

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Alternative & Indie - Released September 2, 2019 | Bat For Lashes

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Rock - Released February 27, 2009 | Parlophone UK

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Alternative & Indie - Released October 28, 2008 | Centaurus A Pictures

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Rock - Released April 3, 2009 | Parlophone UK

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Rock - Released September 4, 2009 | Parlophone UK

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Rock - Released September 14, 2012 | Parlophone UK

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Pop - Released February 19, 2008 | Parlophone UK

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Alternative & Indie - Released February 19, 2016 | Parlophone UK

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Alternative & Indie - Released November 17, 2017 | MANIMAL GROUP, LLC

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Alternative & Indie - Released May 27, 2016 | Parlophone UK

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