Bat For Lashes The Haunted Man Download
| The Haunted Man | ||||
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| Studio album by Bat for Lashes | ||||
| Released | 12 October 2012 (2012-x-12) | |||
| Recorded | 2010–2012 | |||
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| Genre |
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| Length | 51:28 | |||
| Label | Parlophone | |||
| Producer |
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| Bat for Lashes chronology | ||||
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| Singles from The Haunted Human | ||||
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The Haunted Homo is the 3rd studio anthology by English singer and songwriter Natasha Khan, known professionally equally Bat for Lashes. It was released on 12 October 2012 by Parlophone. The album was preceded by the lead single "Laura", which was released on 24 July 2012.
Background [edit]
Khan stated in July 2012 that, after she returned home in March 2010 from touring in support of Two Suns (2009), she tried to rehabilitate herself to rebuild a sense of who she was without the music.[five] In May 2010, Khan stated that although she had enough songs to put out as an anthology, she wanted to take more time working on new textile, as she had been on tour for a long time, and plant it boring to write songs about being on tour.[6] She experienced a "profound writer's block", which led her to phone call Thom Yorke, lead vocalizer of Radiohead, to ask, "What do yous exercise when you lot feel like you're going to die considering you can't write anything?"[5] He brash her to draw, and afterwards Khan took life-cartoon classes and a children's analogy form. Combined with intensive dance classes to heave her confidence, Khan began to experience inspiration enough to begin writing over again, penning the album'southward opening song, "Lilies", which she said was inspired by a scene in the 1970 moving-picture show Ryan's Daughter.[5]
The album's artwork was photographed by American photographer Ryan McGinley,[7] and features a naked Khan carrying an as naked human on her dorsum.[8] Khan told NME: "I actually wanted to strip things back in honor of women like Patti Smith; only these raw, honest women. I had no make-upwardly on, information technology'due south just me and my haunted man!"[vii]
Singles [edit]
"Laura" was released equally the album'southward pb single on 24 July 2012.[9] The vocal reached number 144 on the Britain Singles Nautical chart.[10] "All Your Gold" was released equally the second single from the album on 19 September 2012,[xi] and was sent to U.s.a. triple-A radio stations on 22 October.[12] "A Wall" was released as the album'due south third and last single on 18 February 2013.[13]
Disquisitional reception [edit]
| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 7.six/10[14] |
| Metacritic | 78/100[15] |
| Review scores | |
| Source | Rating |
| AllMusic |   [16] |
| The A.V. Guild | B−[17] |
| The Daily Telegraph | [18] |
| The Guardian | [19] |
| The Independent | [20] |
| NME | 8/x[21] |
| Pitchfork | viii.4/10[22] |
| Q | [23] |
| Rolling Stone |  [24] |
| Spin | 8/x[25] |
The Haunted Human being received generally positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 78, based on 36 reviews, which indicates "generally favorable reviews".[fifteen] Pitchfork 's Marc Hogan named The Haunted Human being "i of the yr'south near beguiling albums", writing that information technology "sounds like attempt magnificently realized. The rawness of feeling is achieved through equally raw appetite."[22] Ben Hewitt of NME commented that "while The Haunted Man deals in less trinkets than its predecessor, information technology's not scant in splendour. Instead, for large swathes, information technology's like existence plunged into a fairytale soundtracked by skin-prickling electro and populated by downtrodden sods hunting for breadcrumbs of comfort."[21] Rolling Rock 's Will Hermes praised the album as Khan's "sexiest, spookiest LP", stating that "the visions hither seem all her own. And they're pretty awesome."[24] Spin 'southward Julianne Escobedo Shepherd felt that it was "strongest in its simplest moments".[25] The Guardian critic Alexis Petridis wrote that The Haunted Man "sounds similar a bold, confident anthology that strips away a lot of the sonic embellishments from Khan's sound", calculation that "[p]erhaps it'due south the sound of someone who's worked out that less can sometimes be more than, that not trying too hard isn't the same as non trying."[nineteen] Q noted a sense of clarity on the anthology "that comes from the sense of physical boundaries being pushed, of personal space being tested to its limits".[23]
Heather Phares of AllMusic opined, "Focus and restraint might not sound exciting in and of themselves, but The Haunted Man is more direct than any of Bat for Lashes' previous piece of work, and manages to keep the air of mystique around Khan that has made her i to watch and listen to since her early on days."[16] Slant Mag 'south Kevin Liedel viewed that "while the album's insufficiently restrained arrangements occasionally wilt in the confront of Khan'southward trigger-happy melodrama, The Haunted Homo is nonetheless a worthy, frequently gorgeous entry in the Bat for Lashes canon."[26] In a mixed review, Annie Zaleski of The A.5. Club critiqued that Khan's "moody charisma and piercing vocals ensure the anthology is still an enjoyable listen. Yet, information technology's disappointing that The Haunted Homo 's dazzler is also oftentimes only skin deep."[17] Despite citing the album equally Khan's "strongest yet", The Observer 'southward Kitty Empire felt that information technology "does not [...] deal the killer blow of originality that by now Khan should have in her power", concluding that "The Haunted Man is an bodacious and sonically seductive record—if only it didn't repeat a lilliputian as well often the sound of other women's work."[27] Andy Gill of The Independent argued that "[t]here are moments on The Haunted Human when Natasha Khan's advisedly-marshalled musical forces evoke exactly the right ambient for songs pivoting on the notion of renewal. But sometimes the recurrent mood of ecstatic affirmation of life that'southward evident in her singing can be short-inverse by arrangements that fuss to no great purpose, dissipating their bear upon in brittle beats and pointless particular."[twenty] Neil McCormick of The Daily Telegraph expressed that although the album "occasionally draw[south] blood", it "doesn't live upwards to its stripped and dangerous cover", calculation, "For every vocal that opens up and invites you in to experience the startling wonders of [Khan'southward] private world, there's another that just hangs similar a gauzy veil of unusual sounds and vague lyrics, non and then much impenetrable as too insubstantial to be worth the endeavor of investigation."[eighteen]
Accolades [edit]
Commercial performance [edit]
The Haunted Man debuted at number six on the U.k. Albums Nautical chart, selling 13,334 copies in its offset week.[43] The following week, it savage to number 36 with iii,991 copies sold.[44] The anthology entered the Billboard 200 at number 64, becoming Khan'due south highest-charting anthology so far in the United States.[45]
Track list [edit]
All tracks are written past Natasha Khan, except where noted.
| No. | Title | Producer(s) | Length |
|---|---|---|---|
| 1. | "Lilies" |
| four:45 |
| 2. | "All Your Gold" |
| four:31 |
| 3. | "Horses of the Sun" |
| four:59 |
| 4. | "Oh Yeah" |
| 4:54 |
| 5. | "Laura" (writers: Khan, Justin Parker) |
| 4:25 |
| half-dozen. | "Winter Fields" |
| 3:41 |
| vii. | "The Haunted Man" |
| 5:sixteen |
| 8. | "Marilyn" |
| four:35 |
| ix. | "A Wall" |
| 4:00 |
| 10. | "Rest Your Head" |
| 4:03 |
| xi. | "Deep Ocean Diver" |
| 6:nineteen |
| No. | Title | Length |
|---|---|---|
| 12. | "Lumen" | 2:23 |
| 13. | "Daphne" | 3:24 |
| 14. | "Laura" (video) | 4:thirty |
Notes
- ^a signifies an additional producer
Personnel [edit]
Credits for adapted from the liner notes of The Haunted Human.[47]
Musicians [edit]
- Natasha Khan – vocals (all tracks); autoharp (tracks one, 3); bass synth (tracks ane, seven, viii, 11); clarinet synth, celesta, horn synth (runway ane); beat programming (tracks 1, 4, 8); glass percussion, harp (track 2); synths (tracks ii, 4, 6–11); piano (tracks ii, seven, 11); Omnichord, alive cymbals, cord arrangement (track three); sampler, bass piano, bells, shaker (runway 4); horn organisation, string system (track v); drums, programming, cord arrangement, woodwind organization (track 6); choral words (track seven); bass (track 9); string synth (tracks 9, 11); Mellotron, thumb piano, MPC programming, QY70 (track ten); harmonium (rail eleven)
- David Kosten – keyboards, programming (tracks i, iii, 4, half-dozen–eleven); beats (track 1); synths (tracks iii, 9); vocoder programming (track eight); vocoder (rail ix); beat programming, harmonium beat out (track 11)
- Dan Carey – beat programming (tracks ane, eight, eleven); drum programming (tracks two, 9–11); guitar (tracks ii, four, 9, 10); pianoforte, percussion (track ii); bass, programming (track iv); synths (tracks viii, ten); Omnisphere (runway nine); sampler, atmospheric sounds (rails 11)
- Dave Sitek – synth audio (rails one); synths (rail 9)
- Finn Vine – guitar (tracks i, 3)
- Leo Taylor – alive drums (tracks ane, 9); drums (rail 4)
- John Metcalfe – orchestral arrangement (track 1); sampler (tracks one, 3); boosted programming, arrangement, conducting (track 7)
- Everton Nelson – violin leader (tracks two, 7, 8)
- Rick Koster – violin (tracks ii, vii, eight)
- Ali Dods – violin (tracks two, vii, viii)
- Ian Humphries – violin (tracks 2, 7, 8)
- Louisa Fuller – violin (tracks 2, 7, 8)
- Jeff Moore – violin (tracks 2, vii, viii)
- Kate Robinson – violin (tracks ii, 7, 8)
- Natalia Bonner – violin (tracks ii, 7, eight)
- Bruce White – viola (tracks 2, vii, 8)
- Nick Barr – viola (tracks 2, vii, eight)
- Vicci Wardman – viola (tracks two, 7, 8)
- Ian Burdge – cello (tracks ii, five, 7, 8)
- Chris Worsey – cello (tracks 2, 5, 7, 8)
- Sophie Harris – cello (tracks 2, five, 7, 8)
- Sally Herbert – organisation (tracks 2, 7); conducting (tracks 2, v, 7); boosted arrangement (tracks 5, 7)
- Michael Spearman – drums (tracks three, vii, 9)
- Jeremy Pritchard – bass (tracks three, 9)
- T.J. Allen – synths (rails 3)
- Adrian Utley – additional synths, guitar (track iii)
- Tim Pigott-Smith – violin (tracks iii, half-dozen)
- Oli Langford – violin (tracks three, six); string organisation (track three); additional arrangement (track six)
- Maximillian Baillie – viola (tracks 3, 6)
- Lucy Railton – cello (tracks 3, vi)
- Rob Ellis – marimba, drums (track 4); choral singer (track 7)
- Brendan Ashe – piano (rails four); choral singer, choral arrangement (track 7)
- Justin Parker – pianoforte (rails 5)
- Richard Watkins – French horn (tracks 5, vii, 8)
- Dan Newell – trumpet (tracks 5, seven, 8)
- Mike Kearsey – trombone (tracks 5, 7, 8)
- Oren Marshall – tuba (track 5)
- Richard Pryce – double bass (tracks 5, 7, 8)
- Steve Rossell – double bass (tracks 5, 7, eight)
- Eliza Marshall – bass flute (rails 6); flute (tracks 7, viii)
- Sarah Jones – backing vocals (rail vii)
- Ben Christophers – choral vocalist (track 7); choral sampler, piano, synths (rail 8)
- Chris Vatalaro – timpani (tracks 7, viii)
- Brook Hansen – guitar, synths, beat programming, pulsate car (rail eight)
- Charlotte Hatherley – additional arrangement (track 8)
- Tariq Khan – synths (runway 10)
- James Ford – synths, programming (rail x)
Technical [edit]
- Natasha Khan – production
- David Kosten – product (tracks 1, 3, 6–nine); engineering science (tracks 1, 3, 6, 7); additional production (tracks 2, four, 5, 10, 11); boosted engineering (tracks 2, 4, v, 8–11); mixing (tracks three, 6, 7)
- Dan Carey – mixing (tracks ane, ii, 4, v, eight–11); mix engineering (track ane); production, engineering (tracks two, 4, 5, viii–eleven)
- Alexis Smith – mix engineering (track i); applied science (tracks 2, 4, 5, 8–11)
- Sam Okell – cord recording, cord technology (tracks 2, 5, 7, 8); horn recording, horn applied science (tracks 5, 7, 8)
- Isabel Seeliger-Morley – mix engineering assist (tracks 3, 6, 7)
- Tom Loffman – additional engineering (track iii)
- Mo Hausler – additional technology (tracks 3, 4); engineering (tracks half dozen, vii)
- Drew Smith – additional engineering science (track 3); engineering assistance (tracks 4, 6, 7)
- Rob Ellis – additional production (rail 4); additional engineering on choral arrangement (track 7)
- Kato Ådland – additional engineering (track 4); boosted engineering on choral arrangement (track 7)
- Justin Parker – song recording, vocal production (track 5)
- Dean Nelson – additional engineering (track viii)
- Cole Marsden – boosted engineering (track eight)
- Cassidy Turbin – additional engineering (track 8)
- John Davis – mastering
Artwork [edit]
- Natasha Khan – concept, design
- Ryan McGinley – photography
- Dan Sanders – photographic commissioning
- Richard Welland – blueprint
- Zosienka – sketches
Charts [edit]
Certifications and sales [edit]
Release history [edit]
Notes [edit]
- ^ Tracks 1–6 and 8–11
- ^ Tracks two, 4, 5 and viii–11
- ^ Tracks iii, 4 and half dozen
- ^ a b Track three
- ^ Strings and horns on tracks 5, half dozen and 8
- ^ Track five
- ^ Track 7
References [edit]
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