Kate Bush - 50 Words for Snow

In a world of ever-changing musical scenery and festering hype there can be some warmth in the solace that there's still some of the old pioneers still standing. It's no secret that Kate Bush is far and away my favourite female musician of all time, and I feel I needn't explain that decision. Thus the end of 2011 was an excellent one - as Christmas loomed, Bush invited the world into her frosty and enchanting creation, and as ever, the experience was a bit weird.

Everyone's already covered how she sings about having sex with snowmen and gets Stephen Fry to make up some new...uh...words for snow. But even musically, Bush has stretched herself here. The shortest track being a mighty 6 minutes and 48 seconds long, this is clearly a record to be taken seriously. What may have perished in potential for radioplay, however, is more than made up for with atmosphere and sensory indulgence.


To kick us off, Bush invites her son, Bertie, to sing over 'Snowflake'. A piano-led track that's quietly reminiscent of Ryuichi Sakamoto's work that most famously graced the soundtrack of Babel, we have here a ten minute description of the descent of a snowflake. As ever, though, Bush manages to disect each second into an eternity of agonisingly poignant and serene reflection. "The world is so loud. Keep falling, I'll find you," is a lyric that's difficult to ignore, and quickly wraps the listener up into a blanket of warmth. In 'Lake Tahoe' the lyrical theme gets a bit deeper: conjuring ghosts and dead dogs. Again Bush is joined by male vocalists with alarmingly higher voices than hers - which if anything adds to the eccentricity.

The album's longest track - 'Misty' - contains the much-discussed copulation with a snowman. Lyrically it's a stand-out: who else would have the imagination to suggest "His crooked mouth is full of dead leaves" or "his ice-cream lips"? The musical accompaniment is as restrained and subtle as ever; almost inviting you to fill in the spaces with your own emotions. Comparatively, then, 'Wild Man' is a snappy offering - detailing the quest in the Himalayas for a yeti - and thrives off of unusual loops and a triumphant, yet awkward, chorus. Few would've predicted an Elton John duet, and at first the prospect frightened me since he's about the furthest from subtle you can get. However, 'Snowed In At Wheeler Street' lingers sublimely. Their vocals collide in a way that accurately matches their doomed love story (he's gay for a start, Kate, you silly girl), and a persisting synth, as John says, "keeping the fire going".

Drums and rhythm finally find their way into the fray on the title track, where Bush is joined by Stephen Fry. Or rather, he's joined by her ethereal counting and sideline encouragement. "Stellatundra" is probably my favourite neologism, by the by. But any hope of an energetic tidal shift is dashed with the closer 'Among Angels', another strikingly bleak and minimal performance that stretches Bush's voice to the limits.


This is never going to be an album to stick on for drivetime accompaniment - but if you have the patience this is an intensely rewarding listening experience. The attention to detail and the slow pace might strike others as boring, but those others are fools. 50 Words for Snow is beautiful.

Rating: 9/10
Highlights: Snowflake, Among Angels, Wild Man, Snowed In At Wheeler Street
Avoid: n/a

Artwork Watch: Probably the least sexy kiss of all time.