The Making of Hounds of Love: Inside Kate Bush’s Masterpiece

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Hounds of Love marked a pivotal moment in Kate Bush's career, blending pop accessibility with avant-garde storytelling and innovative production. Here's how Bush crafted one of the most revered albums of the 1980s, changing pop music forever.

Released in September 1985, Hounds of Love stands as a defining work in Kate Bush’s career and one of the most revered albums in pop and art-rock history. Following a three-year hiatus, Bush returned with a record that was both ambitious and deeply personal, crafted in her own studio and layered with experimental sounds and storytelling. The album’s unique structure—split between the accessible, hit-driven tracks of Hounds of Love on Side A and the haunting, conceptual suite The Ninth Wave on Side B—showcased her fearless artistry and technical innovation.

Context and Background

By the time Hounds of Love was in development, Kate Bush had already established herself as a groundbreaking artist with an unconventional approach to pop music. She burst onto the scene in 1978 with her single “Wuthering Heights,” becoming the first woman to top the UK charts with a self-written song. Over the next four albums, Bush continually pushed creative boundaries, with each release showcasing her evolving sound, complex narratives, and theatricality. However, her 1982 album, The Dreaming, marked a shift; it was darker, more experimental, and polarizing for listeners and critics. The album’s modest commercial success led Bush to withdraw from the public eye, taking a three-year break to reimagine her creative direction.

During this hiatus, Bush made a significant move toward artistic independence by setting up a home studio, dubbed the “Family Studio.” This private workspace allowed her unprecedented freedom to experiment with sound, structure, and production techniques on her own terms. Without the constraints of a rented studio or the pressure of onlooking executives, Bush could explore ideas at her own pace. The shift to full creative control was crucial to the making of Hounds of Love, giving Bush the space and time to craft the album’s intricate layers and ambitious, conceptual storytelling.

In developing Hounds of Love, Bush drew from an eclectic mix of influences. Musically, she was inspired by the innovative soundscapes of artists like Peter Gabriel and the synthesizer-driven textures that were emerging in pop and electronic music. Literature and film also played a vital role, from gothic novels to classic cinema, all woven into the album’s narratives of fear, survival, and transcendence. These influences helped shape Hounds of Love into an album that defied traditional genre constraints, blending art-rock with pop sensibilities and poetic, often cinematic storytelling.

Writing and Concept Development

Hounds of Love is structured with a distinctive duality, dividing the album into two thematic halves that showcase Kate Bush’s talent for storytelling in contrasting ways. The first half, Hounds of Love (Side A), features a collection of standalone songs with a more accessible, pop-rock feel, while The Ninth Wave (Side B) is a conceptual suite that takes listeners on an intense, immersive journey through fear, survival, and the struggle for self-preservation.

On Hounds of Love, Bush explores themes of love, vulnerability, and the emotional intensity that comes with human relationships. Tracks like “Running Up That Hill” deal with the desire for empathy and understanding in love, while the title track, “Hounds of Love,” uses the imagery of being chased by hounds to represent the fear and thrill of commitment. Each song on Side A offers a glimpse into personal and psychological themes, pairing relatable subjects with Bush’s distinctive lyrical depth and textured production.

The Ninth Wave

The album’s second half, The Ninth Wave, shifts dramatically in tone and structure. This seven-track suite tells the story of a woman stranded alone at sea, facing a life-or-death ordeal over the course of a long night. As the protagonist battles with waves, cold, and exhaustion, Bush explores primal themes of survival, fear, and transformation. Songs like “And Dream of Sheep” capture her longing for rescue, while “Under Ice” delves into the terror of isolation. In “Hello Earth” and “The Morning Fog,” the suite moves toward a surreal resolution, touching on rebirth and transcendence.

Bush’s creative approach to Hounds of Love reflects her affinity for narrative-driven music and her ability to weave cinematic elements into her songwriting. Each track, particularly on The Ninth Wave, is like a scene in a larger film, with sound effects, layered vocals, and shifting musical arrangements used to build tension and emotional depth. Rather than relying solely on lyrics to tell the story, Bush uses tone, ambiance, and structure to create a visceral experience. This approach not only amplifies the album’s impact but also highlights Bush’s skill as a visionary storyteller, crafting songs that resonate far beyond their immediate sound.

Recording Techniques and Innovation

Recording Hounds of Love in her own home studio was a pivotal change for Kate Bush, allowing her unparalleled creative freedom to experiment with sound and technique. Her studio, known as the “Family Studio,” provided a secluded, comfortable environment where she could explore new ideas without the time or budget constraints typical of commercial studios. This freedom let Bush work on her own terms, revisiting tracks as often as needed and fine-tuning intricate details. The result was a highly personal and meticulously crafted album that pushed the limits of what could be achieved in a home setting.

Central to Bush’s innovative sound on Hounds of Love was the Fairlight CMI (Computer Musical Instrument) synthesizer, a groundbreaking tool in the 1980s that allowed for digital sampling and manipulation of sounds. Bush had already experimented with the Fairlight on The Dreaming, but Hounds of Love saw her fully harnessing its potential. She used the synthesizer to incorporate nontraditional samples and sound effects, blending organic and digital textures to create an otherworldly atmosphere.

For instance, she sampled everyday sounds, from breaking glass to bird calls, which she then transformed to evoke the intense emotional landscapes of her songs. This approach helped shape the album’s distinctive character, with tracks like “Running Up That Hill” and “The Big Sky” featuring sounds that were both unconventional and mesmerizing.

Experimentation

In addition to the Fairlight, Bush employed a range of experimental techniques that were pioneering for the time. Her use of multi-layered vocals became a defining characteristic of Hounds of Love, with harmonies stacked to create lush, haunting textures that added depth to each track. In songs like “Cloudbusting” and “Hello Earth,” Bush’s layered vocals create an almost choral effect, amplifying the emotional intensity. She also incorporated unusual instrumentation—such as the balalaika, didgeridoo, and Irish bouzouki—to achieve sounds that were rarely heard in pop music, creating a sonic landscape that was as diverse as it was cohesive.

Bush’s combination of sampling, vocal layering, and eclectic instrumentation was far ahead of its time, setting new standards for what could be achieved in pop and art-rock music. Her willingness to experiment and blend traditional and synthetic elements made Hounds of Love a landmark in recording innovation, further solidifying her reputation as a boundary-pushing artist and inspiring generations of musicians in the process.

Key Tracks Breakdown

“Running Up That Hill”

As the album’s lead single, “Running Up That Hill” became one of Kate Bush’s most iconic songs, thanks to its potent lyrics and striking sonic impact. The track centers on the desire to swap perspectives with a partner to achieve true empathy, capturing the emotional push-and-pull of intimate relationships. Musically, it’s driven by a relentless drum machine beat and the haunting synth lines of the Fairlight CMI, creating a dark, hypnotic energy that complements the song’s introspective theme. This song’s innovative production and powerful, relatable lyrics made it a defining piece of Hounds of Love, introducing Bush to a wider audience while solidifying her artistic credibility.

“Hounds of Love”

The title track, “Hounds of Love,” explores the fear and thrill of commitment, with Bush likening the experience to being chased by a pack of hounds. Its rhythmic structure—highlighted by a driving beat and layered percussive effects—gives the track a sense of urgency and suspense. Bush’s vocals, alternately fierce and vulnerable, underscore the song’s themes of courage and apprehension in love. This track’s use of rapid shifts between loud and soft dynamics amplifies its emotional impact, reinforcing Bush’s knack for creating songs that are as cinematic as they are personal.

“Cloudbusting”

“Cloudbusting” is one of the album’s most narrative-driven tracks, inspired by the story of psychologist Wilhelm Reich and his experiments with a “cloudbuster” machine, as recounted by his son. Bush’s lyrics tell the story from the perspective of a child watching his father attempt to control the weather, blending innocence with awe and sorrow. Musically, the song is anchored by a powerful orchestral arrangement, featuring a repetitive string line that builds tension and momentum. The song’s sweeping orchestration and vivid storytelling make it both a standout on the album and a testament to Bush’s talent for blending narrative and musical complexity.

“The Ninth Wave” Suite

The album’s second half, The Ninth Wave, is a seven-song suite that tells the story of a woman stranded in icy waters, facing a psychological and existential struggle to survive. Bush uses innovative storytelling techniques to capture this journey, making each track feel like a chapter in a larger, haunting narrative. In “Under Ice,” sparse instrumentation and echoing vocals evoke the terror of being submerged, while “Hello Earth” incorporates choral vocals and samples of Georgian chanting to create a sense of cosmic vastness.

The suite culminates in “The Morning Fog,” where the protagonist finds hope and resolution, her survival symbolizing rebirth. Through layered sounds, unconventional arrangements, and vivid imagery, The Ninth Wave becomes an emotionally immersive experience, showcasing Bush’s ability to transform music into a form of cinematic storytelling.

Reception and Legacy

Upon its release in September 1985, Hounds of Love was met with widespread critical acclaim and commercial success. Critics praised the album’s inventive soundscapes, bold storytelling, and Bush’s artistic control. The album shot to the top of the UK Albums Chart, marking Bush’s second No. 1 album, and produced several successful singles, including “Running Up That Hill,” which became her biggest hit in the United States. This commercial success was a breakthrough, bringing Bush to a wider global audience while cementing her status as one of the most original voices in music.

Hounds of Love garnered numerous accolades, including nominations for several British music awards, and it has consistently appeared on lists of the greatest albums of all time. The album’s distinctive style and innovative production earned Bush recognition as a pioneering female producer and songwriter in a male-dominated industry, with many viewing it as her magnum opus.

The influence of Hounds of Love has been profound, shaping the work of artists across genres and generations. Musicians as varied as Björk, Tori Amos, St. Vincent, and Solange have cited the album as a major inspiration, drawn to its blend of vulnerability and audacity, as well as Bush’s unfiltered creative vision. The album’s mix of electronic elements, layered vocals, and storytelling has become a blueprint for experimental pop, art-rock, and electronic music, reinforcing Bush’s reputation as a trailblazer. Over time, Hounds of Love has only grown in stature, solidifying Kate Bush’s legacy as a groundbreaking artist who redefined the boundaries of pop music and left an indelible mark on music history.

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