Hounds of Love adopted Kate’s fourth album The Dreaming – the primary file she self-produced, and one she was once going through numerous drive for. Despite attaining quantity 3 in the United Kingdom album charts, it offered not up to its predecessors and had blended critiques. Kate determined it was once extra vital to be in keep watch over artistically, so self-produced Hounds of Love in her personal studio.
“Normally I all the time be apologetic about any compromises that I make.”
“I think it was probably the most difficult stage I’ve been at so far, because The Dreaming, the album before, I’d never produced an album before that one. And because it had a lot of unfavourable attention from some people, I think it was felt that me producing Hounds of Love wasn’t such a good idea. And for the first time I felt like I was actually meeting resistance artistically. I felt the album had done very well to reach number 3 but I felt under a lot of pressure and I wanted to stay as close to my work as possible. And everyone was saying ‘oh she’s really gone mad now’ you know ‘hey listen to this it’s a really weird record’. But it was very important that it happened to me, because it made me think right do I really want to produce my own stuff? Do I really care about being famous? And I was very pleased with myself that no, it didn’t matter as much as making a good album. So we started Hounds of Love in our own studio, and I started to find out an awful lot of things that I wouldn’t have realised otherwise. I relaxed tremendously within my own environment for a start.”
Studio prices have been too dear for the experimental means Kate was once operating, so she were given her personal studio to have complete ingenious keep watch over.
And it paid off… the album showcased Kate’s prolific inventive energy in storytelling and manufacturing, embracing the probabilities of virtual sampling the use of synthesizers, in particular the Fairlight – a ground-breaking synthesizer that Kate had mastered with an excellent stability between method and exploration.
“Most of the songs were written on Fairlight and synth and not piano which was moving away from the earlier albums where all my material was written on a piano… Quite often I find synthetic sounds create a coldness, that if a track is lonely or sad or dark, sometimes you want that kind of coldness, that machine-like coldness, which is very specific. And with acoustic instruments you get a real warm human presence, something that’s intimate and really there, something that breathes you know, it’s not this sort of dead cold machine. I feel like both are very usable depending on what you want to say.”