Things between Kate and I never worked out. She released “The Sensual World” and I got a little bored at how the album wasn’t as challenging as the previous two. Her next effort, “The Red Shoes,” was more of the same and even less inspired.
Then Kate disappeared.
If you’re retardedly obsessed like me, you learned that she had a kid and was focusing her efforts on being a Mother. Last year, I learned that she was hanging around Abbey Road Studios which could only mean that a new Kate album was on the horizon.
“Aerial” marks the first album from her in twelve years and possibly her best in twenty. With that being said, don’t expect it to be another “Dreaming” or “Hounds.” It couldn’t be and most certainly isn’t. Instead, we have another Bush album placed squarely in middle age and a reflection on domestic bliss. While that it itself isn’t adventurous by any stretch of the imagination, enough time has passed in between albums for her new effort to sound refreshing.
The album, broken into two separate discs (“A Sea Of Honey” b/w “A Sky Of Honey”), begins with the single “King Of The Mountain,” an interesting study in Elvis. What’s even more interesting is how she’s finally thrown out the heavy handed production values that’s plagued the vast majority of her work in the past. Analog drums and effect-free guitars back Kate as she manages, using only her voice, to lift the song into familiar, weird territory. It’s the first time we’ve seen her use a subject matter of recent history, as she typically finds comfort in biographical figures from other eras. The follow-up, a song about a man with a deep fascination of numbers (“π”) goes a step further before we get reeled back into middle-of-the-road song structures. “Bertie” is a song about her son (“you bring me so much joy/then you bring me more joy”) and it demonstrates her focus for the past seven years. Then she provides us with probably the strangest topic ever put on a Kate Bush album: washing clothes. As if you could imagine, “Mrs. Bartoluzzi” doesn’t work at all (“Slooshy sloshy slooshy sloshy/Get that dirty shirty clean”) and it’s quite possibly one of the worst songs on a Kate Bush record.
The second disc is hands-down the winner and it saves “Aerial” from remaining in the adult contemporary section. Like the second side of “Hounds Of Love” (entitled “The Ninth Wave”), “A Sky Of Honey” follows a song-cycle that centers on the dusk til dawn passage of a day. Impeccably constructed, it tinkers with both weirdness and professionalism while (again) repeating the praises of everyday life. It seems that she has had enough time to focus on the things that most of us would tend to overlook. In some ways, it also illustrates that she is no ordinary woman and, perhaps, a tad out of touch with the rest of us. While you and I were getting through this thing called life, it seems that Kate was merely hanging around the estate, birdwatching. By then end of “A Sky Of Honey,” you can hear Kate laughing alongside actual birdcalls. This is the kind of strangeness that has been missing from her last two efforts and probably the reason why fans like me are so tolerant of a twelve year gap.
At forty-seven, Kate’s voice remains strong and vital. It’s the focal point of “Aerial” but it doesn’t receive the workout of some of her earlier work. And like I mentioned before, this is probably the most organic record that Kate has made. It seems that she has finally stopped trying to make a contemporary sounding record and, instead, settled on making an album that reflects her current state of mind. And judging from “Aerial,” it sounds like things are pretty good at the Kate Bush castle.
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