Album Closure: Ends with a song called "The Morning Fog" that wraps up the lost-at-sea subplot of the album's second half and discusses themes of redemption and new beginnings."'Cause every time it tropes, you're here in my head"
"Running Up That Hill ("A Deal with God)" (5:03).Bush would feature a similar model on Aerial two decades later, with that one being split across two discs rather than two sides. Over the course of the story, set across a single night, she is visited by the ghosts of her past, present, and future selves while nearly freezing to death, ultimately regaining the will to live and being rescued as the sun rises. Side two (tracks six through twelve), labeled "The Ninth Wave," is a hazy, nightmarish tale of a woman lost at sea after a shipwreck. Side one (tracks one through five on CD) is labeled "Hounds of Love" and acts as an anthology of unrelated vignettes, ranging from stories of personal introspection to childhood memories to biographical tales. The record is unique in the way it is presented. The result was a middle ground between The Dreaming's percussive avant-pop and the Baroque Pop of her earlier work. Ignoring both of these commands, Bush built a studio in the backyard of her house and recorded demos there throughout 1983 up to the start of 1984, spending the next year and a half fleshing them out with session musicians and the Fairlight that played a major role in the making of her previous record. Hounds of Love, released in 1985, is the fifth studio album by British art pop musician Kate Bush.įollowing the release of the highly experimental The Dreaming, EMI urged Bush to go for a more commercial sound with her next release as well as taking less time to make it.