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[Album Review] Bat For Lashes ‘The Haunted Man’

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It was in 2009 that I got hooked into Bat For Lashes’ sophomore album Two Suns. Something about the haunting, ethereal songs touched me and I was unable to stop listening to the album for a good few weeks. I still come back to it on occasion, playing the album from beginning to end without skipping a single track. But there came a point where I realized that, for as much as I loved those songs, I wanted something new, a new journey to undertake.

So when I heard that a new album was on the way, I was immediately intrigued and full of anticipation. After all, Bat For Lashes puts out a style of music that I don’t really hear anywhere else, so it’s like getting a breath of fresh air, a new playground in which to have fun. And so I entered into The Haunted Man with somewhat baited breath, wondering if it could match what I had wanted for the past year.

The album kicks off with “Lilies”, which starts off almost like a mellow surf rock ballad and morphs into a more electronic piece, yet still holds onto the ballad aspect from the beginning. It’s one of those tracks that just puts a smile on your face, especially when Natasha Khan jubilantly cries out, “Thank god I’m alive!” right before strings triumphantly sing forth.

From a production point, the album is stunning. Full of rich, diverse tones, this is an album that needs to be listened to through either fantastic speakers or headphones. It was incredibly easy for me to get hypnotized and lost in the mix, drifting from one beautiful sound to another.

Above I wrote that Bat For Lashes’ music is like entering a playground, which might be the best way to describe The Haunted Man. Each song is a new area to explore, full of rich possibilities that cater to and encourage the imagination. It can also be described as a phantasmagoric, labyrinthine experience, where rays of light and hope are sprinkled throughout.

The Final Word: The Haunted Man plays out like a rich poem where every line can be appreciated for its phrasing, length, and meaning. Bat For Lashes has put out another stunning release. Very highly recommended.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Managing editor/music guy/social media fella of Bloody-Disgusting

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“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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