Posted on 04/27/2009
The work of Brighton, England native Natasha Khan, performing under the stage name Bat for Lashes, has been lauded and favorably compared to Kate Bush, Bjork, label mates Radiohead, and even Stevie Nicks. However, Khan’s sound is much more than knock-offs of those earlier greats. The singer/songwriter/visual artist brings to life her own style with sharp lyrics and melodies that border on the mystic. Her second album, Two Suns, is an enjoyable metaphoric journey of a fictional character named Pearl and the theme of duality between lovers – basing it loosely on a recently failed relationship.

The album begins with “Glass,” where a sonically haunting Khan uses her voice sparsely and the somber tone is enhanced by tribal drums and beautifully chaotic harmonies. The next track, “Sleep Alone,” is a very literal examination of loneliness, but the production is full of big booming drums and other audio elements (synths, slight harmonies, etc.) that don’t allow the listener to sink in despair even for a moment. The album’s first single, “Daniel,” is immersed in the now popular synthesizer and power pop sound of the 80s with pained lyrics aimed at a fictional first love. “Siren Song” begins with Khan pleading beautifully to her lover; the lyrics clear and resonating all the while. The sparse production, which soars during the chorus, makes good use of her vocal instrument. “Pearls Dream” is a welcome turn of tempo and the song benefits from a quicker pace. The electronic elements of the song are boosted by Khan’s confident vocals; the lyrics are, however, harder to decipher.

“Two Planets” is another production marvel with Khan’s haunting vocals working well with the lilting track. Present in this song is the loose theme of duality – which doesn’t really gel well as a concept on the album as much as press releases would have you believe. The songs all seemingly blend into one another, yet still remain individual works full of merit, strong lyrical content and ethereal production to boot. The album’s closer, “The Big Sleep,” features the somber vocals of Scott Walker. The song is as puzzling as it is haunting. The melodramatic vocals from Walker and the pained singing from Khan form an odd mix of emotion. Khan has made a strong follow-up to her debut and fans of airy, sparse production should find that the empty spaces are filled with, at times, uncanny vocal and lyrical wizardry.

- D.L. Chandler