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Bat for Lashes – Two Suns

The stunningly sexual, sensual, and one-of-a-kind sounding Natasha Kahn has returned almost 3 years later, with her second solo album: “Two Suns”, and as predicted, it’s been worth the wait.
However, always regarding her as a bit of a hidden gem, not being tarnished by being focused in the mainstream musical, and media spotlight, this time round, she has had much hype and acclaim, which may raise expectations at first, but you do have to take into account this IS a very different album from “Fur and Gold”, but superb nonetheless.

“Daniel”, the first release of the new album is probably her most “single”-like material to date. It’s got that 80’s smoky dance floor feel; hypnotic with pulsating rhythmic beats; it’s reminiscent of Berlin’s “Take My Breath Away” in terms of the beat, whilst also similar to Fleetwood Mac’s “Dreams”. It’s haunting and eloquent, from her husky voice, to that 80’s stereotypical sound we’re all familiar with.
“Glass” is another chilling track, truly hair-on-end- stuff. With an intriguing intro, the harmony offers a great and varied sound of strings, mixed with a deep and plugging bass line; carrying you away to your own distant and magical land which she always manages to convey.
The beauty in her voice makes as much of an impact as her music. Like a nightingale, her English diction in her song accentuates it in richness and complexity to make for a very textured and distinct sound. “Moon and Moon”, “the romantic one” of the album is strikingly similar to that of Fur and Gold’s “I Saw a Light”, with it’s beauty lying in the simplicity of a piano accompanying the vocal.
Throughout the record, her wistful wails are definitely inspired by those of Kate Bush, yet she makes it timeless, this could be an album of the 1980’s, or 2009, either way it fits. Yet, at the same time, this could be a soundtrack of the future, what with its tribal beats and chanting vocals (similar to the softness of “Clannad”), and as always, she draws on nature to illustrate her lyrics, which is ironic as her elegance lies in her raw and pure vocals.
“Pearl’s Dream” once more draws reference to the decade at hand, you can tell Kahn was born in 1979 and founded her future idols, as the layers of vocals here, resembles that of the Eurythmics and their trademark sound.
More wise wiles are found in her mature and romantic sounding of “Travelling Woman”. “Don’t fall in love with potential” she warns, whilst drawing on her experience of travelling as she showcases her music to the world. The end of the album, “Big Sleep”, is a bit of an epic in its own right; it’s dreamlike, classical and experimental.

This was always going to be a difficult second album in follow up to her Mercury Prize winning debut album. It may not be as rich in sound as “Fur and Gold”, but “Two Suns” has the edge on being more dark and sinister, and there isn’t any loss of touch. It is a different album, but it is a collective one all the same. There are new sounds, and she still manages to make you marvel at her own uniqueness, and talent for lavish sounds, as well as her beautiful harmonies which creates the whole vibe of escapism. It is pretty much faultless, but does lack somewhat of the energy and fire captured in “Fur and Gold”, however, it’s still full of splendor, charm, nature and the fabulous, all of which you can own on this very CD.