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streaming in full now:
Thoughts? I'm enjoying it....
will check it later. loved Laura.
bit of a tribute to Bjork's Vespertine in parts (in a good way, that is). Works better as a whole than 'Two Suns' did.
'touch the rocks and lick the light' from Oh Yeah. later on in the same song she entreats us to 'kiss my thighs'. Well, if you insist...
I 100% agree about Vespertine.
'Oh yeah' would appear to be about shagging. Good groove too.
I like the song that mentions the Sussex coast by virtue of it's mention of the Sussex coast.
The 'yoo-hoos' in Marylin are total Kate Bush. I like them.
Don't get why reviewers think this album isn't 'personal' enough in relation to the others.
and seems to incline that way too. Also complains, as other reviews do, that the album is a bit too 'normal'. Not sure what is going on here. Lazy listening? An expectation that every track has to sound like it arrived from a different planet in order to impress? This album is beautifully layered and deserves closer listening than most critics seem willing to give it.
I guess we coulda run a review in a week or two.
I got hold of it at the start of last week, and it's def backloaded, and works a lot better on headphones. Some really gorgeous Gang Gang Dance-esque bits that took my breath away yesterday.
The mix doesn't seem to work quite as well through normal speakers in my opinion, but then if you are gonna listen via laptop, you probably aren't listening for 'sound'.
the percussion sounds so limp that it might as well not even be there! This album could have been really good but the synths and drums just sound terrible and I feel that it's always missing the clout needed for those huge sweeping moments. Still enjoyable though
But for every song? Too exhausting on the ears.
the problem on this album is they barely even sound like drums, sounds like someone is spitting into a microphone
sound like they were recorded from a children's keyboard, but why not?
I don't think you could possibly say 'Oh Yeah' benefits from those drums.
I think you could say that it does indeed benefit from them. I love strong drums, but too much music these days overdoes the percussion. Here they are used sparingly and inventively.
but I just don't think the drums sound good, thats the only thing I'm getting at. It's just my opinion, that's why I didn't like the album as much as I thought I would.
I do miss something along the lines of 'Two Planets'
The low-fi drums sort of suit 'Oh Yeah'
'scaredy rabbits' line. Momentarily destroys the atmosphere for me. I'll probably learn to enjoy it.
though the drums only seem bad if you focus on them.
I put it one and thought my speakers where on the blink
'A Wall' and the penultimate track 'Rest Your Head'. Shame they didn't open the album. Think the whole record would have had a different tone.
I think the production is pretty good, takes that thump that I loved so much on Two Planets then stretches it out over.. nearly an entire album. Though a bit exhausting at times, it's an interesting album with some great moments.
Laura is great but it also reminds me a LOT of moon and moon from 2 Suns and Kate Bushs - Lyra. No biggie cause I love both of those songs but still.....
I found the album a bit disappointing .
Haven't listened to it yet so haven't much else to say at this stage.
getting into Patti Smith again. So I just downloaded Horses and I'm on my third playthrough in a row. I think I'll listen to The Haunted Man again after.
But it sounds a bit lacking/empty at times. I appreciate that she's deliberately stripped back her sound, but there are a handful of tunes here that could be so greatly elevated by a shameless bit of bombast.
on a bus home after a late shift at work. Perhaps it's an album you have to be in a certain mood to listen to. I've got a ticket for one of her Forum gigs in a few weeks. I haven't seen her live before. Is she any good live?
Just sounds like another great Bat For Lashes album to me
I think all this 'stripped back' stuff is nonsense, and applies only to the cover. Ok, she's naked, which is hard to ignore, but I don't think the album cover is in keeping with the music. It's an afterthought which journalists have mistaken for a founding stone. The music itself is very well dressed, though I accept someone's earlier point that the drums occasionally lack a bit of 'oomph', as if the record company (who seem to have been especially 'hands on' in this case) asked Natasha to turn the bass down a bit, so as not to offend weaker-willed listeners...
another thing journalists keep lazily pushing is this idea of her 'having to prove herself' - she's won an Ivor Novello and got nominated twice for a Mercury, not to mention her pretty large fanbase, and that she's making fairly independently-minded music on a respectable label. it's not a masterpiece but it is a really good album, possibly great, which is fine.
it just doesn't really feel or sound like a Bat For Lashes album to me & that wouldn't be a problem if I found it all captivating but it isn't. Personal taste on the production aside the are some great songs and it'll translate very well live, arguably better then her older material.
which I'll take. Better than all right ('apologies' for all these quote marks)
and spent most the day lying in bed listening to this (some other albums too) and playing Final Fantasy VII. I've just put this on again after getting back from work and now every track seems to make me tingle a bit, it's fucking beautiful. Also it reminds me of FFVII now. I love it when albums remind me of certain games.
is my favourite Bat for Lashes song.
'Winter Fields' is a pleasant enough track but it leaves no lasting impact and the title track is a bit flat and long winded. It starts well enough but I find myself wishing it would hurry up and finish about 2 and half minutes in.
It needed a better song as a centerpiece if you ask me.
Apart from that, it's got some great tracks - 'All Your God', 'The Wall', 'Marilyn' and 'Rest Your Head' are faves here on planet Violator.
is genius. I want to kiss this album's bare botty.
And it's a corker
They have to be big and ambitious. This one tries to have a track like that near the middle but sadly, the result doesn't do it for me.
I like the bonus tracks on the iTunes download - 'Daphne' and 'Lemur' - they're nice but still, they're not big songs.
Sounds like a winter album to me, might sound silly but can't wait to listen to it once there's snow on the ground etc. Highlights are Lilies, All Your Gold, Oh Yeah and the title track. Could do without Horses of the Sun.
Pitchfork have BNM'd t: http://pitchfork.com/reviews/albums/17174-the-haunted-man/
For my own part, I keep coming back to it, like a horse of the sun to water...
I've loved a lot of albums this year but this is the first one to make me think "this makes me feel completely differently to all the others" much like The Antlers Burst Apart and Aidan Moffat/Bill Wells' albums did last year and John Grant did the year before it.
all other releases this month for me, but this is definitely up there.
Pitchfork never gets British music right though, we should just accept that. Limp album.
True, Natasha did seem to be flaunting her body in the very way she often seems to criticise other women for flaunting theirs... And I think her general concept of men and women tends towards stereotypes. Her women are all nurturing and mysterious; her men beasts at war...
it's good! I like that it sounds different to her previous stuff. It's lighter, but more consistent imo. Does anyone know what those weird chirpy samples are from on Marylin? I swear it's from this videogame I used to play when I was young called Nights into Dreams on the Sega Saturn (made by the same people that made Sonic).
And I know what you mean. I hope so!
but been listening to the new one on Spotify. Tempted to get a ticket for Brighton.
most of her songs sound better live - and she's charismatic enough to hold a crowd...
I would be her slaveeeee
It's an exclusive b-side on the 7'' single for 'All That Gold'.
Heard a sample and would very much like to hear all of it. :0)