Kate Bush Kate BushDirector’s Cut
As Kate Bush took twelve years to release the follow-up to “The Red Shoes” (1993), the critically acclaimed “Aerial”, we didn’t think she would use half that time to release a new album. Yes, “Director’s Cut” could be considered a new album, even though it’s only half true. The return of Bush mainly consists of the vocal –and partly instrumental– reinterpretation of some of the songs included on “The Sensual World” and “The Red Shoes”, her two last recordings before disappearing for more than a decade.
Is it a remix album? Not at all. A cover album? Nope. An update? Not exactly. You could say it’s a refurbishment of some parts of her career that the artist looks back on unsatisfied, some things she wishes to redo, with the tools now available. That smells like a swindle, some might say. Understandable. There is some difference between the new versions and the originals, but the question of whether the reworks are worth the investment remains, and is a legitimate one. If you ask me, I’d say the wise option here is to go all the way and get the deluxe triple edition, which, apart from this album, contains remastered versions of “The Sensual World” and “The Red Shoes”. The plain version isn’t really worth the money and will disappoint more than one customer.
Returning to the album’s contents, these aesthetic and expressive reforms basically consist of the use of the Auto-tune on some tracks to purify the vocal parts, the elimination of some nineties producing tics and, in general, enforce a process where the scores become somewhat more barefaced, austere and minimalist, as if the things that bothered Kate Bush in the originals were the embellishments and the excessive production. The result, hardly noticeable in some songs – “Top Of The City”–, shocking in others – “Deeper Understanding”– and satisfactory in a few – “Rubberband Girl”–, is far from exceptional and doesn’t really generate the sensations a Kate Bush fan should feel with the arrival of a new album.