Cloudbuster said:

Well, she better. I hear her next album is a collaboration with Björk and an ode to gay penquins. It's a musical. Noseflutes ar einvolved.

HamsterHuey said:

That would be some trip.

HamsterHuey said:

I love that story where Bjork said she wanted to have sex in a room full of 97 ostriches and ping pong balls.

GangstaFam said:

Cheek said:

She's a very tactile kinda girl.

Ping Pong balls havent been the same ever since Priscilla...

HamsterHuey said:

HamsterHuey said:

Or Winona Ryder.

MORE, MORE, MORE...

Some news from EMI Australia:

*Aerial will be released as a 2-CD digipak with a 25 page booklet
*A compilation CD of older Kate Bush tracks will be sent to radio stations also as part of promotion
*Kate will only do two interviews - The Guardian and Mojo. Anything else, she will only talk over the phone.
*No word yet on their being a second single released - it depends on how the KOTM/Aerial goes.
*Aerial will be released in Australia on Nov 6 (not 7th) and KOTM hits radio stations within the next 2 weeks (to be available for purchase on Oct 23)

Also The Guardian says Kate's gonna be on the telly!

I'm away this weekend, so have fun everyone and I look forward to next weeks news- STEVEN xxx

A pigeon?

sinisterpentatonic said:

Rookoo
Rookoo

A reporter from The Sun newspaper has heard side 1 of Aerial and says that the track Pi starts with Kate reeling off the neverending number 3.14159265358979323846264... Sounds amazingly strange.

This from the Observer on Sunday:


After 12 years of silence, pop's prodigal genius Kate Bush returns. We've had a sneak preview of her new album, and can assure you - it's been worth the wait

Barbara Ellen
Sunday October 2, 2005
The Observer

Bush has a double album coming out called Aerial. It's been 12 years since her last one, The Red Shoes; two decades since her masterpiece, Hounds of Love; 27 years since her debut, The Kick Inside; and an astonishing 31 years since David Gilmour of Pink Floyd heard one of her early homemade demos and recommended the gifted doctor's daughter from Bexleyheath to EMI, where she remains signed to this day.

It is to EMI I go to get my sneak preview of Aerial - or at least part of it. I'm allowed to listen to one side - I choose the first - so long as I sit in a room at the EMI offices with a man guarding me, presumably in case I try running home with it, thereby committing the crime of trying to listen to an album properly. Despite these shenanigans, first impressions of Aerial are as good as one hoped. It is in fact vintage Bush: a melodic, organic sprawl of wind, sea, seasons, time passing, dreams, secrecy and revelation, all mixed up with a sound that seems to segue smoothly on from The Red Shoes and The Sensual World.

Elvis Presley seems to be the subject of the first single, 'King of the Mountain' (why does a multimillionaire fill up his home with priceless junk?). Joan of Arc pops up in the stunning, atmospheric 'Joanni'. Most intriguingly, there is a song called 'Bertie' where one hears a whole new Kate Bush - a mature, doting creature both energised and sucker-punched by mother love. 'Where's that son of mine?' sings Kate, adding breathlessly, 'Here comes that son of mine.'

Indeed, for some, the big news about Aerial may be that Bush is now 47 years old and has a seven-year-old son named, natch, Bertie. Which may come as a surprise to those for whom she remains pickled in the public consciousness at 19 years old, performing her debut hit, 'Wuthering Heights', wearing little more than a skin-tight leotard and an anguished expression. For many, this remains the most vivid Kate Bush image of all: the feral child-woman shrieking through the charts like some strange dream the Bronte sisters might have had after too much cheese one night.

However, despite being possibly the most impersonated person ever, Bush could never be dismissed as a joke; a trippy hippy novelty act with windmilling arms. Over her lengthy career, taking in albums such as Lionheart, The Dreaming, Never For Ever and The Sensual World, she has emerged as one of the most gifted, enigmatic and maddening artists this country has ever produced, occupying a unique place in musical history - a leftfield artist, instinctive populist (have you ever tried not dancing to 'Wow'?) and everything in between. And for a 'girl-thing' she seems to pack a male punch. I have noticed over the years that even guys who own no other 'female wailing rubbish' happily tug the forelock to the majesty that is La Bush. She is considered a true pop eccentric: an Ophelia for the masses.

A universally acknowledged genius-perfectionist, Bush combines rock, pop and Celtic tribalism with random elements of theatre, film, dance, mime and literature. All wound up with themes that have taken in everything from love, lust and jealousy to nuclear destruction, war, aboriginal rights (on the 'difficult' album The Dreaming), gay relationships, incest, and, on the song 'Heads We're Dancing', even a night out with Adolf Hitler. Looking at such a list, you can see why Bush once said it was a good thing the tabloids never read lyric sheets.

You can also see why her fans love her, stick by her, even after a 12-year wait. Admittedly, Bush attracts her fair share of the more 'intense' variety of fan. But then there is also the argument that wait was all Kate fans could do. There is, after all, only one Kate Bush.

Certainly Bush has emerged as one of the most influential female artists of all time. The Futureheads covered 'Hounds of Love', and everyone from Katie Melua to OutKast, Muse and PJ Harvey has name-checked her as an inspiration. Former Sex Pistol John Lydon has described Hounds of Love as 'beyond an album - an opera'. However, Bush's reach seems to extend far beyond even that. Her superb musicianship aside, she actually kick-started her own genre, being the first woman to risk looking demented, unhinged; even 'ugly'. Not in terms of those tight leotards (which I'm sure many a gentleman found very fetching), but in terms of exposing the beautiful mess that is the full-blown female psyche.

Now that everyone from Alanis to Tori, to Madonna, Courtney and Bjork, has spilled their guts, it is difficult to imagine that BK (Before Kate) this really didn't happen that much; if at all. As a fellow fan said to me, it was as if Bush 'got all the madwomen down from the attic and into the charts'. She certainly gave them a new voice. When Joni Mitchell spoke directly to men ('I'm as good as you'), and Patti Smith was even more direct ('I'm better'), from the start, Bush seemed to speak above and around men, and only in so far as they fitted in with her vision.

It was precisely this non-girlie self-absorption, this commitment to truly expressing herself, which made Bush so revolutionary, and spread her influence far beyond music: not just encompassing the likes of Dido, Alison Goldfrapp, Gwen Stefani and Edie Brickell, but as far afield as the art of Tracey Emin, and the books of Alice Sebold and Elizabeth Wurtzel.

It may also have played a large part in the reason people were prepared to wait for her. And wait they have. Despite the 12-year hiatus, Aerial and the first single, 'King of the Mountain', are still confidently expected to top the charts.

What's more, remarkably for a female artist a whole pop generation before Madonna, Bush did it all on her own terms. Shy, insular, easily bruised, Bush has long refused to compromise in any way. She has only ever done one tour (tried it in 1979; didn't like it); she also built her own studio to ward off any kind of creative interference and has a reputation for being an obsessive self-doubter, which may be why she is taking longer and longer to produce albums (in 1993, when The Red Shoes came out, Tony Blair was just a twinkle in new Labour's eye). In fact, Bush's time-keeping is fast becoming part of her legend. There is even a novel, Waiting for Kate Bush by John Mendelssohn, which starts with a scene in which a man agrees not to leap off a building only if she releases an album within the next six months. If Bush's track record is anything to go by, she'd probably have let him jump.

Apart from that, the self-described 'shyest megalomaniac you'll ever meet' is so reclusive she makes Prince seems sociable (collaborating together for a track on The Red Shoes, the pair never met, preferring to exchange tapes). On the rare occasion Bush grants interviews, the High Priestess of Pop Mystique has remained stubbornly unknowable, adamantly refusing to discuss 'anything but the music', insisting that it is the only thing that's interesting about her.

'I am just a quiet reclusive person who has managed to hang around for a while,' she said recently. However, if Bush is a tight-lipped recluse, she is damned good at it. In these uber-media-saturated times it says something that no one knew that son Bertie had been born for 18 months, until long-time family friend Peter Gabriel let it slip.

Personally, I believe there's a slight whiff of sexism about the way Bush's aloof countenance in interviews is endlessly commented upon. (No one slagged off Picasso for being hard to talk to.) However, maybe it is out of this void that the Kate Bush myths spring. Is it really true, as various news reports will have it, that Bush is now an overweight paranoid hermit, skulking in her secluded mansions in Berkshire and South Devon, with her new partner, Danny McIntosh, spending her days crying at her reflection in the mirror, and taking Bertie to school in a limousine with blacked-out windows?

Probably not, but I was ready to believe anything by the time I listened to Aerial. What I discovered is that nothing much has changed in Kate Bush's world, except perhaps everything. She's still seething with strangeness and brilliance. Even the fact that she's a mother now isn't likely to change anything. Bush has always written beautiful songs on all manner of themes including motherhood, and will doubtless continue to do so. It's just kind of cute that far from being coy and privacy-obsessed (What me? Have a baby? No way!), Bush can't seem to shut up about it. As well as the song one of Bertie's drawings graces the cover of 'King of the Mountain'; he's credited on the sleevenotes as 'The Sun'. Finally, you might cry, the human face cracks though the Pop Ophelia's ethereal visage.

Mind you, for some of us, it always did.


STEVEN XXX

i couldn't help but drool after reading that article.

NEWS JUST IN!!!
The video for KING OF THE MOUNTAIN will be shown exclusively on Channel 4 on Saturday the 15th of October at 22.40.

MUSIC: Kate Bush: Video Exclusive
Channel: Channel 4
Date: Saturday 15th October 2005
Time: 22:40 to 22:45
Duration: 5 minutes.

-YES!!!

BRAND NEW KATE BUSH PORTRAIT FOR NEW ALBUM PROMOTION- BEAUTIFUL!!!!

stevenpottle said:

Kate looks good for her age.

stevenpottle said: