Kate Bush

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Kate Bush (born 30 July 1958) British singer and songwriter; sister of John Carder Bush

Contents

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Sourced

  • I think you're all completely mad! —and thank you very much.
    • At the Kate Bush Convention, November 17, 1990, after being asked if she had anything to say to her fans.
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The Kick Inside (1978)

  • Moving stranger,
    Does it really matter,
    As long as you're not afraid to feel?
    • "Moving"
  • We raise our hats to the strange phenomena.
    Soul-birds of a feather flock together.
    • 'Strange Phenomena"
  • I love the whirling of the dervishes.
    I love the beauty of rare innocence.
    You don't need no crystal ball,
    Don't fall for a magic wand.
    We humans got it all, we perform the miracles.
    • "Them Heavy People"
  • Out on the wiley, windy moors
    We'd roll and fall in green.
    You had a temper like my jealousy:
    Too hot, too greedy.
    How could you leave me,
    When I needed to possess you?
    I hated you. I loved you, too.
    • "Wuthering Heights"
  • Nobody else can share this.
    Here comes one and one makes one,
    The glorious union.
    Well it could be love,
    Or it could be just lust,
    But it will be fun.
    It will be wonderful.
    • "Feel it"
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Lionheart (1978)

  • I spent a lot of my time looking at blue,
    The colour of my room and my mood...
    • "Symphony in Blue"
  • When that feeling of meaninglessness sets in,
    Go blowing my mind on God:
    The light in the dark, with the neon arms,
    The meek He seeks, the beast He calms,
    The head of the good soul department.
    • "Symphony in Blue"
  • My terrible fear of dying
    No longer plays with me,
    for now I know that I'm needed
    For the symphony.
    • "Symphony in Blue"
  • The more I think about sex, the better it gets.
    Here we have a purpose in life:
    Good for the blood circulation,
    Good for releasing the tension,
    The root of our reincarnations.
  • I no longer see a future.
    I've been told when I get older
    That I'll understand
    It all.
    But I'm not sure if I want to.
    • "In Search of Peter Pan"
  • They took the game right out of it.
    When I am a man
    I will be an astronaut,
    And find Peter Pan.
    • "In Search of Peter Pan"
  • Emily...
    We're all alone on the stage tonight.
    We've been told we're not afraid of you.
    • "Wow"
  • We know all our lines so well, uh-huh.
    We've said them so many times:
    Time and time again,
    Line and line again.
    Ooh, yeah, you're amazing!
    We think you're incredible.
    You say we're fantastic,
    But still we don't head the bill.
    Wow! Wow! Wow! Wow! Wow! Wow! Unbelievable!
    • "Wow"
  • Ooh, yeah, you're amazing!
    We think you are really cool.
    We'd give you a part, my love,
    But you'd have to play the fool.
    • "Wow"
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Never For Ever (1980)

  • He cannot win the war with ego.
    Give the kid the pick of pips,
    And give him all your stripes and ribbons,
    Now he's sitting in his hole,
    HE might as well have buttons and bows.
    • "Army Dreamers"
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The Dreaming (1982)

  • Only tragedy allows the release
    Of love and grief never normally seen.
    • All the Love
  • I dedicate
    My life's work to the friends I make,
    I give them what they want to hear.
    They think I'm up to something weird
    And up rears the head of fear in me.
    • All the Love
  • We needed you
    To love us too.
    We wait for your move.
    • "All The Love"
  • With a kiss
    I'd pass the key
    And feel your tongue
    Teasing and receiving.
    • "Houdini"
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Hounds of Love (1985)

  • I just know that something good is going to happen.
    I don't know when,
    But just saying it could even make it happen.
    • "Cloudbusting"
  • For Now does ride in on the curl of the wave,
    And you will dance with me in the sunlit pools.
    We are of the going water and the gone.
    We are of water in the holy land of water
    And all that's to come runs in
    With the thrust on the strand."
    • Jig of Life
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The Sensual World (1989)

  • He said I was a flower of the mountain, yes,
    But now I've powers o'er a woman's body, yes.
    Stepping out of the page into the sensual world.
    Stepping out...
    To where the water and the earth caress
    And the down of a peach says mmh, Yes...
    • "The Sensual World"; The lyrics of this song are derived from the last lines of Ulysses by James Joyce. Kate had initially wanted to set much of Molly Bloom's Soliloquy to music, just as Joyce had written it, but when the Joyce estate refused, she altered it enough as to not infringe on copyright. As she explained it: "The song was saying 'Yes, Yes' and when I asked for permission they said 'No! No!'".
  • You don't need words— just one kiss, then another.
    • "The Sensual World"
  • As the people here grow colder I turn to my computer
    And spend my evenings with it
    Like a friend.
    • "Deeper Understanding"
  • It lay buried here. It lay deep inside me.
    It's so deep I don't think that I can speak about it.
    It could take me all of my life,
    But it would only take a moment to
    Tell you what I'm feeling,
    But I don't know if I'm ready yet.
    • "Love and Anger"
  • I look at you and see
    my life that might have been
    your face just ghostly in the smoke.
    They;re setting fire to the cornfields
    as you're taking me home.
    The smell of burning fields
    will now mean you and here.
    • "Never Be Mine"
  • I want you as the dream,
    not the reality.
    That clumsy goodbye kiss could fool me,
    but I'm looking back over my shoulder
    at you happy without me.
    • "Never Be Mine"
  • This is what I need.
    This is where I want to be,
    But I know that this will never be mine.
    Ooh, the thrill and the hurting
    Will never be mine.
    • "Never Be Mine"
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The Red Shoes (1993)

  • We used to say
    "Ah Hell, we're young"
    But now we see that life is sad
    And so is love.
    • And So Is Love
  • Now and here we'll find the constellation of the heart.
    Steer your life by these stars
    On the unconditional chance
    —'Tis here where Hell and Heaven dance
    This is the constellation of the heart.
    • "Constellation of the Heart"
  • What am I singing?
    A song of seeds
    The food of love.
    Eat the music.
    • "Eat the Music"
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Aerial (2005)

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King of the Mountain

  • Could you see the aisles of women?
    Could you see them screaming and weeping?
    Could you see the storm rising?
    Could you see the guy who was driving?
    Could you climb higher and higher?
    Could you climb right over the top?
  • Elvis are you out there somewhere
    Looking like a happy man?
    In the snow with Rosebud
    And King of the Mountain.
  • Another Hollywood waitress
    Is telling us she's having your baby
    And there's a rumour that you're on ice
    And you will rise again someday.
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Mrs. Bartolozzi

  • Washing Machine, washing machine, washing machine ....
  • I think I see you standing outside, but it’s just your shirt hanging on the washing line waving it’s arm as the wind blows by
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How To Be Invisible

  • I found a book on how to be invisible
    You take a pinch of keyhole,
    And fold yourself up,
    You cut along the dotted lines.
    You think inside out.
    You're invisible.
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Sunset

  • Who knows who wrote that song of summer,
    That blackbirds sing at dusk,
    This is a song of colour,
    Where sands sing in crimson, red and rust,
    Then climb into bed and turn to dust.
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Singles and rarities

  • The white city, she is so beautiful.
    Upon the black soot icicled roofs,
    Ooh, and see how I fall,
    See how I fall.
    See how I fall like the snow,
    Come to cover the lovers,
    (But don't you wake them up)
    Come to sparkle the dark up,
    With just a touch of make up.
    Come to cover the muck up.
    Ooh with a little luck—
    December will be magic again.
    • "December Will Be Magic Again" (1980)
  • December will be magic again.
    Don't miss the brightest star,
    Kiss under mistletoe,
    I want to hear you laugh,
    Don't let the mystery go now.
    • "December Will Be Magic Again" (1980)
  • Warm and soothing
    That's how I remember home.
    Walking into arms through the back door
    Hearing voices I know well and long for.
    • "Warm And Soothing" (1980)
  • I'm reeling in the music,
    And I've only had a few...
    And I'm afraid by the way we grow old...
    My darling...
    • "Warm And Soothing" (1980)
  • This little girl inside me
    Is retreating to her favourite place.
    Go into the garden.
    Go under the ivy,
    Under the leaves,
    Away from the party.
    Go right to the rose.
    Go right to the white rose
    (For me.)
    • Under the Ivy
  • It's not easy for me
    To give away a secret—
    It's not safe…
    • Under the Ivy
  • I know it works for me.
    As we cross the bridge— the burning bridge—
    With flames behind us,
    We front the line.
    It's you and me, baby, against the world.
    • Burning Bridge (1985)
  • I don't know you,
    And you don't know me.
    It is this that brings us together.
    • "Be Kind To My Mistakes" in the collection This Woman's Work
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Interviews

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MOJO interview (2005)

Excerpts from an interview in MOJO magazine (due out on 3 November 2005) quoted in The Guardian (28 October 2005)

  • I do think I go out of my way to be a very normal person and I just find it frustrating that people think that I'm some kind of weirdo reclusive that never comes out into the world. Y'know, I'm a very strong person and I think that's why actually I find it really infuriating when I read, 'She had a nervous breakdown' or 'She's not very mentally stable, just a weak, frail little creature'.
  • There were so many times I thought, "I'll have the album finished this year, definitely, we'll get it out this year." Then there were a couple of years where I thought, "I'm never gonna do this." If I could make albums quicker, I'd be on a roll wouldn't I? Everything just seems to take so much time. I don't know why. Time... evaporates.
  • There was a story that some EMI execs had come down to see you and you'd said something like: "Here's what I've been working on," and then produced some cakes from your oven. True?
    "No! I don't know where that came from. I thought that was quite funny actually. It presents me as this homely creature, which is all right, isn't it?"
  • For the last 12 years, I've felt really privileged to be living such a normal life. It's so a part of who I am. It's so important to me to do the washing, do the Hoovering. Friends of mine in the business don't know how dishwashers work. For me, that's frightening. I want to be in a position where I can function as a human being. Even more so now where you've got this sort of truly silly preoccupation with celebrities. Just because somebody's been in an ad on TV, so what? Who gives a toss?
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Attributed

  • I think quotes are very dangerous things.
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Quotes of others about Bush or her work

  • I simply think she is one of the greatest figures in British music over the last 30 years. There are an awful lot of people in the business wandering around claiming to be artists, but she is one of the few who can genuinely make that claim... I don't think there is any competition, she's on a different level and quite outside them all. ~ Paul Rees, editor of Q Magazine as quoted in The Independent (2 September 2005)
  • One of music's most reclusive and enigmatic figures has re-emerged into what some have seen as a rich era for British female singer-songwriters. Bush's new double album, Aerial, is due out in November, only her eighth after three decades in the business. It will be treated with due reverence. ~ Terry Kirby in The Independent (2 September 2005)
  • I didn't realise how commercially successful she might be. I thought of her more really, I suppose, in the terms of someone like Joni Mitchell — the level of a lady who's very talented, but would appeal to a more esoteric audience. But she had different ideas. ~ David Gilmour of Pink Floyd who helped Kate's career get started.
  • With a voice you either love or hate, she belts out a song with a desperation that grabs you and won't let go. ~ Amy Standen in Salon (20 March 2001)
  • I know this may give her a mystique and make the press all the more curious about her, but that's not the intention; it's not a ploy to get her more attention. She genuinely doesn't see why people should be interested in her personal life and she certainly doesn't like going out to clubs or trendy restaurants. It's just not her. ~ Paddy Bush, Kate's brother.
  • When EMI invites a group of journalists to the Royal Academy of Music, in London, for a one-off listen to Kate Bush's new album, they are sending a clear signal — this album is not to be dismissed lightly.
  • A Sky of Honey is, in a sense, a lyric poem set to music. Full of lush, fecund melodies which swing from jazz to rock, it is threaded through with bird song and chatter and feels distinctly organic and earthy.... Side two is the album Pink Floyd might have made if Kate Bush had been their lead singer and lyricist in 1979.
    • BBC Review: Kate Bush's Aerial (28 October 2005)
  • A Sky of Honey is a celebration of song itself, which has a child's joyful lack of inhibition about it — Kate Bush is heard laughing freely towards the end while a young child, possibly her son, is heard several times... Aerial stands alongside The Hounds of Love and The Kick Inside as her finest work.
    • BBC Review: Kate Bush's Aerial (28 October 2005)
  • Her music remains reassuringly the same ecstatic alchemy of the humdrum and otherworldly. Recalling the hello-clouds wonder of The Big Sky from 1985's Hounds of Love or the frank paean to menstruation that is Strange Phenomena from her debut, The Kick Inside, Aerial finds Bush marvelling in the magic of the everyday: the wind animating a skirt hanging on a clothes line, the trace of footprints leading into the sea, the indecipherable codes of birdsong. ~ MOJO magazine as quoted in The Guardian (28 October 2005)
  • To me, Kate Bush will always represent the age of exploring your sexuality, when you change from a girl to a woman. I guess that's what I found fascinating about Kate, she totally stuck out. She created her own look and sound. There's a timelessness to her music. ~ Björk
  • I think she is still relevant. It's nice to see people reinvent themselves. She was a great performer and a great singer. I like that song, you know the one, "It's me, I'm Cathy..." I love that song. I remember listening to it growing up. ~ Mutya Buena of Sugababes
  • For me, it's not important how well the songs will be received because I think she's already an amazing influence in what she's done. I listen to her stuff a lot while I sketch and I think there is a weird sense of emotional encouragement in her work. There's something therapeutic in her voice and in her attitude, so that sometimes just listening to it can encourage you or give you some kind of energy. ~ Hussein Chalayan, fashion designer
  • I'm really looking forward to Kate Bush's return — I'm no expert on her work but I know some of it and I think she's an incredibly original and talented artist. Anyone who writes most of an album like her first album, The Kick Inside, at 15 years old has got to be pretty special. ~ KT Tunstall
  • Of course she's still relevant. I wasn't actually in the country when her music first came out, so I only discovered it three or four years ago. What's amazing is that something like "Wuthering Heights" still sounds so different. I actually saw her about nine months ago, we were just passing at an industry event and I went up to her and said I was a big fan and asked her about the new record. She was really excited about it but quite nervous because she felt that everyone was hyping it up a bit and she just wanted to bring out an album. You know, she's a musician. ~ Katie Melua
  • One of the main things that brings people to the Brontë Museum from all over the world is Kate Bush. We have copies of her No 1 hit single " Wuthering Heights" in our collection of Brontë-related items. People often arrive at the Brontë novels through that song. ~ Alan Bentley, director of the Parsonage Museum
  • I always heard about Kate Bush being considered one of the most influential female artists during the modern era of pop/rock music, but never understood what her appeal was... But when I recently stumbled upon her debut 1978 single, “Wuthering Heights,” I found myself spending hours absorbing as much of her pre-1985 material as possible . . . Listening to an early Kate Bush album brings you far, far, away to a dreamworld filled with pixies and love and Peter Pan and pure hearts . . . “Wuthering Heights” and the rest of The Kick Inside display all of Bush’s trademarks: a literary consciousness; flourishing, heartfelt waves and the ability to successfully incorporate just about every eccentric vocal style you’ve never heard into each song. ~ Jared Wolfe, in The Cornell Daily Sun (20 October 2005)
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The Unique Poetry Of Kate Bush

Review by Sue Hudson in Hi-Fi & Record Review (December 1985)

  • We've been holding our breath for a long time. Three years of playing the old songs and wondering "whatever next?" Would it be even weirder than The Dreaming? Would it leave more admirers by the wayside, shaking their heads?... The real fans will happily go along for the ride, even if she isn't going the pretty way.
  • Kate journeys into new and exciting territories. She is an original in a music world dominated by cover versions, regressive movements and identikit superstars. The direct opposite of the archetypal rock star: compulsively introvert in a world of screaming extraverts, middle-class and deeply English amid England's all-pervasive working class American ethos, boldly feminine in rock's macho climate. Her melodic genius and articulate lyrics make the rest seem moronically simplistic.
  • After a thousand songs on the theme of boy-meets-girl-boy-loses-girl or Thatcher's Britain, exposure to her music comes as an imaginative release as we go giddily flying into the limitless possibilities of the poetic viewpoint. Here is talk of whales, of Peter Pan, kites, Houdini, mysticism... Acquaintances have observed, "She lives in a world of her own." But it's a world that lives within all of us, and her songs shine light into neglected areas of our minds.
  • Her subjects come tripping from library shelves, television and cinema screens and musty books of fairy tales, the stuff that dreams are made of. She spins tunes that haunt, twist and turn the mind, triggering long forgotten moods. Listening intently to her albums is an experience akin to having a lucid and feverish dream. Jungian symbols of youth, innocence, spiritual escape and the dark, feminine realm abound. Ghosts haunt the black vinyl grooves... But it's not all brooding intensity. There are jokes, too...
  • It's a mischievous paradox that, while rock at its ultra-macho best is exhilarating and energizing, yet just at the moment when it is most strident and loud it leaves you needing something more. Then along comes a shy doctor's daughter from Welling who out-screams the best, out-powers the noisiest and tops it with the satisfying impact of musical and psychological depth. It's almost Wagnerian.
  • Her talent was precocious. "The Saxophone Song" and "The Man With the Child in His Eyes" were recorded as demo tapes when Kate was still at school. The first album, The Kick Inside (1978), caused tremendous media interest and is still the public's favourite. Her voice, criticized at the time, was small and childlike, the range erratic, if impressive. Since then it has improved enormously, deepening and gaining power and flexibility, until now it is a great asset, individual and capable of both subtle and stunning effects.
  • The album Never for Ever came next and starts in happy mood, with a summer night of a cha-cha-cha tribute to a new-found hero, "Delius". The philosophic All We Ever Look For creates a remarkable and rare mood of reassurance and upbeat resignation, a Bush specialty . . . The end comes in the horrifying "Breathing", a vision of the nuclear holocaust through the eyes of an unborn child.
  • On to The Dreaming, a strange, alien album full of mysticism and obscurantae. Its impact owes much to sheer production quality. Kate has gradually taken over this aspect of her records since Lionheart, and each LP is technically more impressive. Her voice here is forward and strong and, on "Leave It Open", deliberately distorted to create a surreal effect. Get Out of My House is a shattering trip into madness, with a stunning culmination which finds Kate braying like a mule amid a chorus of Indian drum talk.
  • The new album, Hounds of Love, breaks new ground for Kate with the b-side. This is a story — The Ninth Wave — told in a series of songs, like a Pink Floyd concept album.
  • Casual listeners will miss the depth of the music. You must sit down with the lyric sheet and find out what's going on. All the vocal acrobatics and weird sounds click into place when you know what ideas, stories and situations they are expressing. In most rock and pop, the music and words may be linked, but are basically separate. Kate creates, more and more, a fusion between the two — the sounds directly expressing the subject. This is a throwback to Wagner's music-drama, with its leitmotifs, turning music into an idea. The Beatles revived the technique, and bands of the hippy era like Pink Floyd carried the banner. . . Kate is fast becoming a master in the use of this sonic montage, perhaps because the ideas she is using are far more complex, have more "resonances", than those of her contemporaries.
  • Kate will never be an academic artist, drily applying intellectual music theory to the delight of a handful of peers, forging into new areas for the sake of "progress". Her style is personal, individual, impressionistic. Like Delius, her music will always flow from poetic necessity, breaking from the confines of tradition because expression demands it. I just hope that she will have the confidence to follow her instincts and not be discouraged by the music press, who in the main are baffled and annoyed by her uniqueness. Unable to pigeon-hole her music, they turn instead to ridicule and condescension to fill the pages. Which is a disservice to the British public who, to their undying credit, have made Kate Bush such a popular success.
[edit]

Kate Bush rules, OK?

by Michael Berkeley , published in The Guardian (11 October 2005)

  • When the conductor Richard Hickox rang me one day in 1984 to ask if I could help with a rather unusual job for which he and his choir had been engaged, I was intrigued. Kate Bush, it transpired, was working on her new album, Hounds of Love, and for one track, Hello Earth, she wanted a chorus to recreate the orthodox singing/chanting that made such a contribution to the film Nosferatu.
  • I had always considered Kate Bush truly original both as a performer and as a songwriter with an unusually fresh sense of harmony. If her new album next month is awaited with some excitement after a long fallow period, then in 1985 it was assumed that Hounds of Love would be something of a final fling at the conclusion of a waning career. I soon realised how wrong this assumption was when Kate sent me a cassette: it was zany, ambitious and yet utterly Kate Bush, but with gaps where I was to do her bidding. Having chatted at length, she sent me a long letter with the words of the song and precise instructions on how it should unfold... Structure was carefully delineated, verses and choruses written out fully and marked up in colour, and she talked of the sound quality in the most graphic terms.
  • Although she had piano and violin lessons at school, Bush is essentially self-taught). I have always been fascinated by the difference of dynamics at work between popular artists and conventionally trained classical musicians, and had a similar experience with the Edge, of U2, when we worked together on the score of a film called Captive. In fact, gifted "pop" musicians like Bush and U2 are far more demanding of themselves in the studio than classical musicians can afford to be, and will spend days working on a tiny fragment.
  • Come the recording day, a group of male choristers, more accustomed to singing church services than backing vocals, descended on Bush's home, which was equipped with its own studio. Doubtless they were imagining that they were about to meet a wild-eyed rock babe, but Kate, quiet and unassuming — the kind of sympathetic, slightly shy girl who greets you from behind the counter at the local chemist — introduced us to her friend the bass player Del Palmer, who engineered the session. None of the singers or Richard had ever gone over and over four or five phrases so exactingly. No measure of Bach or Mozart had, in their experience, been subjected to such surgical scrutiny, and I began to worry that their voices might begin to tire. But Bush knew and got what she wanted and Hello Earth is, I think, a remarkable track on the album that finally broke the American market and established her as an iconic and hugely influential figure. I can't wait to hear what she has been up to now.
[edit]

Kate Bush : Finally, something for the grown-ups

The Independent (21 October 2005)

  • Such is the idiosyncratic nature of her work that she could probably disappear for a half-century and still sustain her own unique position in the pop firmament. But then, who else would write about an obsessive-compulsive housewife or attempt a vocal duet with trilling birds, or, in the most courageous of the album's many unusual strategies, sing huge strings of numbers, a gambit that brings new meaning to the old critic's chestnut about being happy to listen to someone singing the telephone directory?
  • Many years ago, back near the start of her career, she regarded the domestic demands of motherhood as a dubious prospect, claiming her work was her love, and how could she do that and bring up a child at the same time? The answer, presumably, was not to work for a dozen years.
  • She has always freely admitted being like a little girl in many ways, and furthermore, happily presumes she'll still be that way in her dotage. It's certainly still a factor on Aerial , both in the track "Bertie" itself and in the memories and reminiscences that cobweb some other songs. But compared to the darker corners of the mind sometimes mined in earlier songs, the new album seems a much sunnier affair: an enduring image I took away from it — not necessarily a lyric, though it might have been — was of windows flung wide open, their curtains billowing out in the breeze, a room's long-dormant dust stirred into life again.
  • She's unafraid, too, of tackling more problematic areas of sexuality, as for instance when she dealt with cradle-snatching in "The Infant Kiss" and incest in "The Kick Inside". But not all that seems erotic in her music is about sex, as an EMI employee discovered when he found her working on the hypnotic "out-in-out-in" chant section of "Breathing" (from 1980's Never For Ever), and expressed outrage at EMI's young pop princess making such an overtly sexual record. The song is, of course, about breathing. Duhhh!
  • At around an hour and a half, Aerial is unquestionably a substantial piece of work, and its manifold peculiarities and quirks offer much more interesting fare than that available from today's AOR mainstream. It's also a more mature undertaking than any of her previous albums, an extended meditation on art and light, fame and family, creativity and the natural world. Indeed it seems, come to think of it, like an expansion of the theme of Laura Veirs' gorgeous "Rapture". And since that was the finest song of last year, I'd have to say that leaves Kate Bush still operating at the cutting-edge of intelligent adult pop, every bit as relevant now as at any point in her career. Just a little bit weirder, thank heavens.
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Admit it, guys, she's a genius

Article by Kitty Empire, in The Observer (30 October 2005)

  • For me, Kate Bush was always a trump card when the tiresome 'question' of female artistic genius came up. ... Before disgust stopped me getting dragged into these skirmishes, I had a ready arsenal of Girl Greats — Patti Smith, Bjork, Nina Simone, Delia Derbyshire, Polly Harvey, and so on. And yet, there would often be some caveat why genius eluded my candidates (ripped off Dylan etc). Until we would get to Kate. Female genius? Kate Bush. End of.
    Aerial, the first Kate Bush album in a young lifetime (12 years), re-establishes the fact. It is extraordinary — jaw-dropping, no less.
  • Aerial succeeds because it's all there for a reason. And because the good stuff is just so sublime. 'King of the Mountain', Bush's Elvis-inspired single, is both a fine opener and a total red herring. Bush's juices really get going on 'Pi', a sentimental ode to a mathematician, audacious in both subject matter and treatment. The chorus is the number sung to many, many decimal places. It's closely followed by a gushing ode to Bush's son, Bertie, that's stark and medieval-sounding. The rest of disc one (aka A Sea of Honey) sets a very high bar for disc two, with the Joan of Arc-themed 'Joanni' and the downright poppy 'How to Be Invisible' raising the hair on your arms into a Mexican wave.
    Disc two, subtitled A Sky of Honey, is a suite of nine tracks which, among other things, charts the passage of light from afternoon ('Prologue') to evening ('An Architect's Dream', 'The Painter's Link') and through the night until dawn. Things get a little hairier here.
  • It's clear Bush is still a force to be reckoned with. The problem, though, with female genius — for many men at least — is that very frequently it is not like male genius. And with its songs about children, washing machines going 'slooshy sloshy', Joan of Arc, Bush's mother, not to mention the almost pagan sensuality that runs through here like a pulse, Aerial is, arguably, the most female album in the world, ever. ... the artistry here is so dizzying, the ambition and scope so vast, that even the deafest, most inveterate misogynist could not fail to acknowledge it. Genius. End of.
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