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Rock - Uscito il 12 gennaio 2009 | Parlophone UK

Libretto Riconoscimenti Pitchfork: Best New Music - Mercury Prize Selection
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Rock - Uscito il 15 ottobre 2012 | Parlophone UK

Riconoscimenti Pitchfork: Best New Music
Natasha Khan's two previous Bat for Lashes albums -- 2006's Fur and Gold and 2009's Two Suns -- were lavish affairs from their cover images to their intricate songs. However, The Haunted Man's album artwork, which depicts Khan as naked except for the also nude man slung over her shoulders, was one of the first hints that she was taking a slightly different tack with this set of songs. More proof came with "Laura," the soft, spare ballad she picked to be the album's lead single. While Khan explored her flair with character studies on Two Suns, this song's intimacy and the keenly observed details in lyrics like "your tears feel hot on my bedsheets" felt more like a natural progression from songs like "Sad Eyes," off of Fur and Gold. As that album (and Two Suns' more restrained moments) showed, Khan's singing and writing are more than strong enough to be more or less naked, and she finds freedom in this throughout most of The Haunted Man. Feeling alive is a refrain on many of these songs, most vividly on the proudly sexual "Oh Yeah," where Khan is "waiting like a flower to open wide" and the unearthliness of her upper register adds a fairytale sparkle to her desire. This mix of rawness and delicacy makes her among the best of all the Kate Bush disciples dotting the early 21st century pop landscape at emulating the will-o-the-wisp willfulness of La Bush's work, particularly on the silvery, shivery opening track "Lilies" and "Winter Fields," which soars above the English countryside with just a little bit of fear shading its wonder. When The Haunted Man strays from these sparer sounds, the results are mixed: the tribal/primal rhythms and vocals on "Horses of the Sun" add to its rough-hewn beauty, but the electronic squiggles and processed vocals on "Marilyn" are distracting and indulgent. Still, much of The Haunted Man caters to Khan's strengths, and songs such as "All Your Gold," "A Wall," and "Rest Your Head" are among the catchiest she's written in some time. Focus and restraint might not sound exciting in and of themselves, but The Haunted Man is more direct than any of Bat for Lashes' previous work, and manages to keep the air of mystique around Khan that has made her one to watch and listen to since her early days. © Heather Phares /TiVo
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Rock - Uscito il 02 luglio 2007 | Parlophone UK

Riconoscimenti Mercury Prize Selection
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Musica alternativa e indie - Uscito il 06 settembre 2019 | Bat For Lashes

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Musica alternativa e indie - Uscito il 01 luglio 2016 | Parlophone UK

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Musica alternativa e indie - Uscito il 03 febbraio 2020 | Bat For Lashes

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Musica alternativa e indie - Uscito il 01 luglio 2016 | Parlophone UK

Exploring femininity in all its personas is a major part of Bat for Lashes' music, and never more so than on The Bride. On Natasha Khan's fourth album, the titular character undergoes a more dramatic transformation than most brides do at their weddings: After her fiance is killed in a car accident en route to the wedding, she flees the church and goes on her honeymoon alone. It's a more single-minded concept than some of Bat for Lashes' other albums, and since Khan's music is as theatrical as it is vulnerable, it should be a perfect fit. However, The Bride's journey through romance, horror, grief, and healing is more subdued than might be expected. The album begins vividly: Bedecked in fluttering harps and some of Khan's loveliest vocals yet, "I Do" has all the showy nuptial romance of a petal-strewn aisle. It's so incredibly sweet that it feels like it's tempting fate, offering the perfect setup for the brewing terror on "In God's House," as well as the slow-building drama of "Joe's Dream" and the hallucinatory panic of "Honeymooning Alone," both of which give the death-obsessed pop of the '50s and '60s a highbrow update. Depending on listeners' patience, however, The Bride's slower second half may be hypnotic or dreary. To trace the arc from mourning to recovery, Khan relies on ballads that range from bitter ("Never Forgive the Angels") to empowering ("I Will Love Again," which sounds more like the kind of fare Adele or Christina Aguilera would sing). And though she gives the bride a surprisingly happy ending with "In Your Bed" -- which finds the character wanting to stay in her lover's arms rather than go out on the town -- it feels like her story is missing several chapters. Similarly, The Bride often feels like a missed opportunity to revisit the drama Bat for Lashes delivered so ably on Two Suns. Khan rectifies this somewhat on more mystical songs like the witchy invocation of "Widow's Peak" and "Close Encounters," an eldritch lovers' meeting that recalls Wuthering Heights (both the book and the Kate Bush song). Still, it's hard not to want Bat for Lashes to go further down this path; while Khan used restraint eloquently on The Haunted Man, The Bride is beautifully crafted, but not always thrilling. © Heather Phares /TiVo
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Musica alternativa e indie - Uscito il 28 settembre 2020 | Bat For Lashes

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Musica alternativa e indie - Uscito il 29 maggio 2009 | Manimal Vinyl Records

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Musica alternativa e indie - Uscito il 05 agosto 2019 | Bat For Lashes

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Rock - Uscito il 20 luglio 2012 | Parlophone UK

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Musica alternativa e indie - Uscito il 02 settembre 2019 | Bat For Lashes

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Musica alternativa e indie - Uscito il 10 giugno 2019 | Bat For Lashes

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Rock - Uscito il 03 aprile 2009 | Parlophone UK

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Pop - Uscito il 15 febbraio 2008 | Parlophone UK

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Musica alternativa e indie - Uscito il 08 giugno 2010 | MANIMAL VINYL RECORDS

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Musica alternativa e indie - Uscito il 07 giugno 2016 | Warner Records

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Rock - Uscito il 27 febbraio 2009 | Parlophone UK

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Musica alternativa e indie - Uscito il 19 agosto 2019 | Bat For Lashes