I tend to only write about albums I really love, because, quite frankly, I feel it is worth my time to do so. When I get to a time in my life where I have a spare hot second in the day to write reviews upon reviews upon reviews, only then will I critique things that don’t quench my musical thirst at first – but only then. Anyway, I’ve loved Bat for Lashes’ Natasha Khan since I was a bat-wing-jumper-wearing, bright-red-hair-donning, teenage witch, so I was already excited about this album from its point of announcement.
It was therefore paramount that I caught her set at Glastonbury last weekend. Unfortunately, I don’t remember much, which is strange because she played at 4pm on Sunday and I’m quite sure I’d only had around five ciders by then. Having five ciders on any other Sunday would make one very drunk, but somehow by Glastonbury’s standards, it seems almost crude to admit not remembering a set after five ciders. All I clearly remember from her set is the dress she wore, which made her look like a dead movie star, and the Virgin Mary iconography on display during ‘Sunday Love’, because: Catholic guilt.
I remember crying during ‘Laura’, a well-known, mass-heartstring-pulling single off her last record, The Haunted Man, because the last time I heard her perform that same song was at Latitude Festival in 2013, where she was playing it live for the first time. In attendance was my friend Rosie, and tears were shed as NK sang it – there are few songs quite so pure-sounding as Laura. It really got to me at Glastonbury because I’d had five ciders that day, it was raining, and the song has been a safety blanket over the past few years, which have been turbulent at times, and eventful at best. Anyway, there I was sobbing, wimpering at this song, when this woman behind me tapped me on the shoulder and asked if I was alright.
“Yes!”, I said. “It’s just this music. I am in love with this music. I am crying!”
“Yes”, she replied, looking kinda pissed off. “I know. They’re my favourite band too” – as if to say, “Can you please stop drunkenly mewling in front of me, I like this band better than you”, which I can only contest with, being so moved by this set to the point of howling on my knees in the mud, while my friend bopped along to ELO 400 metres away.
Anyway, it’s fair to say that the general consensus of reviews for this record is that it is an excellent one, perhaps one of the best of the year, so my fangirl-influenced adjectives aren’t unjustifiably hyperbolic.
Read my review of it by clicking the word here: Here.