Find many great new & used options and get the best deals for Haunted Man by Bat for Lashes (CD, 2012) at the best online prices at eBay! Free shipping for many products! By signing up you agree to receive news and offers from Bat For Lashes. You can unsubscribe at any time. For more details see the privacy policy. Metacritic Music Reviews, The Haunted Man by Bat for Lashes, Natasha Khan worked with such artists as Beck, Dan Carey, Rob Ellis, David Kosten, TV on the Radio's David Sitek, and Portishead's Adrian Utley for Bat For Lashes is the sort of artist that could be described either as "mercurial" or "a right prancy pain in the arse". On debut Fur and Gold and breakthrough follow-up Two Suns, she showed both Label: Parlophone ‎– P915 5402, Echo ‎– 5099991554024 Type: 2 x Vinyl, LP, Album CD, Album Country: Europe Date of released: 15 Oct 2012 Category: Electronic Bat for Lashes (2009 m.) Nataša Chan ( Natasha Khan; g. 1979 m. spalio 25 d.) – britų dainininkė, žinoma savo sceniniu vardu „Bat for Lashes“. Atlieka alternatyvią ( indie, dream) pop muziką, alternatyvųjį roką. Gimė Londone, imigranto iš Pakistano, žymaus skvošo žaidėjo ir trenerio, Rehmano Chano ir britės motinos šeimoje. . Review: Bat For Lashes, 'The Haunted Man' For all its dark and mysterious overtones, Natasha Khan's music lets rays of hope and joy leak out of every shadow. Throughout The Haunted Man, she infuses her songs with grace and grandeur. October 14, 201210:31 PM ET Audio for this feature is no longer available. For all its dark and mysterious overtones, Natasha Khan's music lets rays of hope and joy leak out of every shadow. From the first song on The Haunted Man — in which the artful English pop singer, who performs under the name Bat for Lashes, exclaims, "Thank God I'm alive!" — Khan infuses her songs with grace and grandeur. Still, for all her music's soaring qualities, she spends her new album marinating in the realities of love, want and loss. Listen to the sinister, slinky "All Your Gold," about a woman who weighs the costs and benefits of marrying a man who doesn't excite her, and you'll hear a singer who knows when to douse her Technicolor canvas with shades of gray. Bat for Lashes' third album and first since 2009's Two Suns, The Haunted Man doesn't soar to the peaks of its predecessor: It's not as infectious as "Daniel," as sumptuously pretty as "Moon and Moon," or as worldly (and otherworldly) as Khan's past work on the whole. But it's got moments that sparkle, arrangements that deftly employ worldly beats and whirring electronics, and an affecting single in "Laura," which paints a piano-driven portrait of Hollywood tragedy. Comparisons to Khan's musical predecessors are, as always, inevitable — her voice bears heavy traces of Tori Amos, Siouxsie Sioux, Portishead's Beth Gibbons and especially Kate Bush — but at least her taste is impeccable. Don't be surprised if Bat for Lashes joins their ranks among the inspirations of tomorrow. Whatever else you make of it, you'd be hard-pushed to call the cover of Natasha Khan's third album anything other than striking. Shot in black and white, Khan faces the camera naked, her modesty covered by the trailing limbs of the equally naked man she's carrying over her shoulders. The most intriguing thing might be the expression on her face, which carries a distinct hint of FFS about it: don't you just hate it when you end up with a naked man draped over your shoulder?It all makes for an intriguing contrast with the way Khan presented herself on the previous Bat for Lashes albums. Gone are the horses, head-dresses, candles and hippy accessories, the stuff that could cause a passer-by to label her kooky, one of the most dispiriting adjectives in the English language. The dictionary definition is eccentric, which fits Khan just fine: if you encourage audiences at your gigs to howl in order to "shed their humanity" and are given to telling journalists that wearing a head-dress can "draw the attention of the gods to your consciousness", you're clearly not targeting that corner of the market that voted Aiden Grimshaw off The X Factor because they thought he was a bit too weird. But kooky has somehow ended up redolent of a ghastly, grating, self-conscious zaniness. That doesn't really fit at all with Khan's music, which is inventive and dark and sensual. The Haunted Man's predecessor, Two Suns, managed to entice a rare guest vocal out of Scott Walker, not a man you imagine has much truck with self-conscious zaniness. There's a sneaking suspicion that the way Bat for Lashes is perceived might have put people off, either because the very idea of buying an album by a kooky female singer-songwriter makes them feel a bit poorly, or because that area of their record collection is already full to bursting point: there are a lot of artists out there making with the watch-out-I'm-a-loony faces and crazy Spotify content?This article includes content provided by Spotify. We ask for your permission before anything is loaded, as they may be using cookies and other technologies. To view this content, click 'Allow and continue'. Reading on mobile? Listen the cover matches the contents. For one thing, the peeved look and wilting companion fit with at least some of the words on The Haunted Man, which deal with hopeless men of varying shades of horridness: nice but pathetic amid the tick-tocking guitars of All Your Gold, violent and angry against the electronics of A Wall. For another, The Haunted Man sounds like a bold, confident album that strips away a lot of the sonic embellishments from Khan's sound. Apparently nothing could be further from the truth: it's the product of some tortuous sessions, during which Khan was beset by fears that she'd never make another album, but you'd struggle to work that out from listening to fairness, you'd never call The Haunted Man a triumph of unadorned simplicity. The episodic title track features a strident male chorus and martial snare drums; it falls away into a lengthy coda of hushed burbling electronics. Among its indelible choruses, Marilyn contains what can only be described as an interlude comprised entirely of people shouting "yoo-hoo!". Oh Yeah opens with a mass of sampled voices singing the title over and over again, before resolving into more straightforward synth-pop. Elsewhere, timpani is in evidence on more than one occasion. Nevertheless, it certainly feels more streamlined and sleek, more obviously pop-oriented than its predecessor. The studio hasn't always been Khan's friend: her 2006 debut album, Fur and Gold, was hobbled by an over-glossy production, which left songs that sounded visceral and gripping on stage buckling under the weight of their own varnish. But here the uncluttered approach seems to fit Khan's voice – you notice her affecting ability to suddenly switch from strident to bruised in the middle of a phrase better when it's not fighting for sonic space – and the material. Opener Lillies has one of those effortless melodies that sounds immediately familiar. The piano ballad Laura doesn't need colouring with anything more than a gentle shading of woodwind because it's a fantastic song, with a simple, naggingly effective piano line and a chorus irresistible enough to make its lowly placing on the singles chart seem a bit are a couple of moments where you can just about make out the album's difficult gestation: Horses of the Sun and Rest Your Head aren't bad songs as such, but they feel slightly laboured, where the rest of The Haunted Man feels unforced. Perhaps it's the sound of someone who's worked out that less can sometimes be more, that not trying too hard isn't the same as not trying. Bat For Lashes: The Haunted Man [2CD]Bat For Lashes: The Haunted Man (Standard) [1CD] Lista utworów1. Lilies - Bat For Lashes 2. All Your Gold - Bat For Lashes3. Horses Of The Sun - Bat For Lashes 4. Oh Yeah - Bat For Lashes 5. Laura - Bat For Lashes 6. Winter Fields - Bat For Lashes7. The Haunted Man - Bat For Lashes 8. Marilyn - Bat For Lashes 9. A Wall - Bat For Lashes 10. Rest Your Head - Bat For Lashes 11. Deep Sea Diver - Bat For Lashes stan produktu:Produkt ORYGINALNY. Płyta zupełnie NOWA. (w przypadku konieczności zabezpieczenia dysku przed wypadnięciem folia fabryczna zostaje zmieniona) Is Bat a verb or noun? Or both? Natasha Kahn has said her peculiar stage name “doesn’t really mean anything, it just conjured up Halloweeny images and sounded metal and feminine.” For me, there is a sense of childhood dressing-up games, perhaps a baseball bat being swapped for fake eyelashes, touching on that twilight area where innocence and imagination awaken to sexuality, the kind of imagery reflected in Kahn’s early artwork. But on her third album, the cover suggests she has finally put away childish things: she stands naked with a man draped around her shoulders, like a huntress bringing home her prey. Kahn is a quirky, interesting singer-songwriter and multi-instrumentalist, distinctive enough for both her 2006 debut, Fur And Gold, and 2009 follow up, Two Suns, to be nominated for the Mercury Prize. Her penchant for combining almost abstract sounds with flighty, poetic lyrics drew immediate comparison to such potent artists as Bjork, PJ Harvey, Tori Amos and the goddess of them all, Kate Bush. But at 32, it is surely time for her to deliver something bolder and more coherent to justify the hype. Despite occasionally drawing blood, The Haunted Man doesn’t live up to its stripped and dangerous cover, often retreating to gambol about in the backwaters of Khan’s imagination, trilling about “scaredy rabbits” and “paper ghosts” while drum machines stutter and arrhythmic synths fizz. There is more emphasis on rhythm than on previous outings, but not in an accessible pop sense – these are broken grooves to get feet in a tangle. For every song that opens up and invites you in to experience the startling wonders of her private world, there’s another that just hangs like a gauzy veil of unusual sounds and vague lyrics, not so much impenetrable as too insubstantial to be worth the effort of investigation. The Ivor Novello nominated Khan can certainly write when she wants to. All Your Gold is a dramatic, driving gothic pop song on which Khan wrestles brilliantly with the complexities of being unable to give someone the love they deserve. Laura is an affecting, minimalist piano ballad with a gorgeous melody, written with Justin Parker (who co-wrote Lana Del Rey’s Video Games) in a deliberate attempt to create a more orthodox single. The album could do with more of this kind of shameless commercialism in an era when the best mainstream pop is every bit as weird and wonky as anything the arty left field can come up with. Never forget that Kate Bush was a pop superstar. After a promising start, Khan is beginning to sound more like Thom Yorke’s introverted little sister, turning her back on listeners to rummage about in the privacy of her own dressing-up room. Download this All Your Gold Nowości ciąg dalszy. Sezon rozpoczął się w bardzo melancholijnym nastroju i nic nie zapowiada większych zmian. Pierwsza rzecz, która przyciąga do tego albumu to okładka – kto nie lubi nagich kobiet? Druga to doświadczenie – jeśli poprzednie kompozycje artystki nie zawiodły, dlaczego ta ma być gorsza? Przedstawiamy trzeci album Bat for Lashes – „The Haunted Man”. Natasha Khan od początku swojej kariery roztaczała wokół siebie aurę tajemnicy. Przy pierwszym albumie, „Fur and Gold”, było to jak leśna nocna przygoda, przy „Two Suns” panowała atmosfera ponętnego wieczoru. Natomiast album „The Haunted Man” jest, jak tytuł wskazuje, nawiedzony, a jednocześnie bardzo kobiecy. W aranżacji utworów znajduje się jeden wspólny wykładnik: wysunięty zawsze na pierwszy plan i otoczony pogłosem wokal. O ile na poprzednich albumach dominowały brzmienia naturalne, tj. żywe instrumenty, tutaj Natasha zdecydowała się raczej na subtelne elektroniczne akcenty niż plemienne zaśpiewy. Od delikatnych „Lilies”, poprzez „Oh Yeah” o trochę patetycznym wybrzmieniu, aż do horrorystycznego „Rest Your Head” – elektroniki aż po brzegi. Nie brak słodkich, nostalgicznych ballad, gdzie poznajemy kolejne kobiece bohaterki przedstawione na tle fortepianu – „Laura” czy „Marilyn”. „All Your Gold” jako najbardziej radiowy utwór ma w sobie coś z „What’s a Girl to Do?” – żywiołowość i taneczne zacięcie. Wszystko zbalansowane, wyważone co do pojedynczej pauzy, jednak po kilku utworach zaczyna nam być tęskno do Bat for Lashes, które już dobrze znamy – małą wiedźmę, wywołującą duchy z lasu. Ponoć przy tworzeniu “The Haunted Man” Khan zainspirowała się swoim drzewem genealogicznym i rodzinnymi historiami. Pogodziła się ze swoją przeszłością i spontanicznie pozwoliła swojemu instynktowi kierować swoją twórczością, bo tak właśnie wyzwala się ‘playful energy’, która prowadzi za rękę do tworzenia rzeczy wielkich i małych. Let it sing through you. Bat for Lashes zapewnia nam prywatne minidisco w słuchawkach. Bo nie da się ukryć, iż utwory biją echem lat 80. czy Björk jeszcze z czasów Sugarcubes. Artystycznie dojrzała 33-letnia wokalistka i kompozytorka prezentuje słodko-przejmujący album pełen małych muzycznych niuansów i smaczków, a wszystko w harmonijnych współbrzmieniach. „The Haunted Man” nie jest tak przebojowy jak poprzednie nagrania, jest za to albumem z electrokickiem, definiującym styl brytyjskiej gwiazdy jako dream pop z dystansem, gdzie wszystko się może zdarzyć. Bat for Lashes – “The Haunted Man”; Echo Label Ltd, EMI Records Ltd, 2012 Ocena Reflektora (1-5):

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