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Kate Bush/Aerial
To say that I held high expectations for this record would be an understatement. I've always looked to the music of Kate Bush for some kind of reaffirmation of the existence of true beauty; that there does indeed exist in the world that essence rare, that sublime creation sprung forth from a wholly human soul that embodies all in life that is better than the best like a combination of nostalgia, sex and really, really, really good chocolate. 'Aerial' doesn't so much disappoint as confound. My confusion is, I'm sure, due to being overwhelmed by so much music at one time and attempting to sum my feelings up in a review before the spin cycle's complete, so to speak.
The first rush of hearing Kate's voice on the opener 'King of the Mountain' must be what heroin feels like. A letter from a long, lost friend (it has, after all been 12 years since her last record' The Red Shoes', a record that still spells that time of my life for me, and as a result holds a very dear place in my heart.) that speaks in different voices than much of her previous work. More personal and on a smaller, though no less glorious a scale than, say, 'The Dreaming' or 'Hounds of Love', 'Aerial' flies on the wings of real pianos more than the electropoptronic madness of earlier work, although synths do pop and electrodrums loop herein, they do so in service of a, to me, more organic, more cohesive whole. Meshing with one of the most beautiful voices to ever come from a human throat, the electronics and jazz tinged trios support and caress and lift these songs on high in a magnificent combination of grace and technique.
I miss the blood curdling screams of 'The Dreaming' as I miss the Trio Bulgarka's other worldly backing vocals, but not that much really. 'Aerial' tells more human tales, songs of motherhood ('Bertie'), the loss of Kate's own mother ('A Coral Room'), the aforementioned celebrity skinning of 'King of the Mountain' which name checks Elvis P. and Citizen Kane, easy targets to be sure, but touchstones guaranteed to touch a chord in all of us, no? More precise and Katelike, to me, is 'Joanni', apparently a love song to Joan of Arc and is the record's closest sounding tune to 'classic' Kate. The 1st CD is subtitled 'A Sea of Honey' and contains te unrelated tunes mentioned while the 2nd CD is subtitled 'A Sky of Honey' and is a conceptual piece/suite, piano driven and lowkeyed and smooth, tracing the course of one day. Which is all we get, right? One day at a time.
The subleties of this record will, I'm sure, reveal themselves to me upon subsequent listenings, as Kate's music is not the kind to give up all it's secrets at once. But having only owned this CD these 2 days now it has made me laugh and cry and regret and wonder. It has told me tales of my own life; not all of which were/are comfortable to hear. By singing her own life, Kate Bush helps me to look harder, smarter and more honestly at my own and, really, isn't that what great art is supposed to do?
