Kate Bush

On "Wild Man", the first single from Kate Bush's winterized 10th album, the singer tells of an expedition searching for the elusive Abominable Snowman. "They want to know you," she coos, "They will hunt you down, then they will kill you/ Run away, run away, run away." Of course, when it comes to modern popular figures-- who often court fame and adulation with an obsessiveness that can be fascinating or just plain sad-- Bush herself is something of a mythical beast. 50 Words for Snow is only her second album of original material in the last 17 years, and she hasn't performed a full concert since her groundbreaking and theatrical Tour of Life wrapped up its six-week run in 1979. So it's no surprise that she readily sympathizes with the misunderstood monster at the center of "Wild Man": "Lying in my tent, I can hear your cry echoing round the mountainside/ You sound lonely."

50 Words for Snow is teeming with classic Bush-ian characterizations and stories-- fantasies, personifications, ghosts, mysteries, angels, immortals. As quoted in Graeme Thomson's thorough, thoughtful recent biography Under the Ivy, she explained her attraction to such songwriting: "[Songs] are just like a little story: you are in a situation, you are this character. This is what happens. End. That's what human beings want desperately. We all love being read stories, and none of us get it anymore." She's onto something; in our postmodern era, the idea of a tale can seem quaint and simple.

But Bush continues to infuse her narratives with a beguiling complexity while retaining some old-school directness. Because while most of this album's songs can be easily summarized-- "Snowflake" chronicles the journey of a piece of snow falling to the ground; "Lake Tahoe" tells of a watery spirit searching for her dog; "Misty" is the one about the woman who sleeps with a lusty snowman (!)-- they contain wondrous multitudes thanks to the singer's still-expressive voice and knack for uncanny arrangements. And mood. There's an appealing creepiness that runs through this album, one that recalls the atmospheric and conceptual back half of her 1985 masterpiece Hounds of Love. Indeed, when considering this singular artist in 2011, it's difficult to think of worthy points of reference aside from Bush herself; her onetime art-rock compatriots David Bowie and Peter Gabriel are currently MIA and in rehash mode, respectively. And while current acts including Florence and the Machine are heavily inspired by Bush's early career and spiritual preoccupations, none are quite able to match their idol's particular brand of heart-on-sleeve mysticism. In an interview earlier this year, the 53-year-old Bush told me she doesn't listen to much new music, and after listening to the stunningly subtle and understated sounds on Snow, it's easy to believe her.

The album's shortest song, the gorgeous closing piano ballad "Among Angels", clocks in at almost seven minutes. "Misty" rolls out its brilliant, funny, and bizarrely touching tale across nearly a quarter of an hour. It's not one second too long. During the 12-year gap between 1993's The Red Shoes and 2005's Aerial when she was raising her son Bertie, Bush gained a new level of compositional patience. She's now allowing her songs to breathe more than ever-- a fact reinforced by this year's Director's Cut, which found her classing-up and often stretching out songs from 1989's The Sensual World and The Red Shoes via re-recordings. So while "Misty" is an eyebrow-raiser about getting very intimate with a cold and white being with a "crooked mouth full of dead leaves," it hardly calls attention to its own eccentricities. Propelled by Bush's languid piano and the jazzy, pitter-pattering drums of veteran stick man (but relatively new Bush recruit) Steve Gadd, the song is about as appealingly grown-up as a song about having sex with a snowman can possibly be. In her early career, Bush sometimes let her zaniness get the better of her, highlighting her tales of sexual taboo and bizarre yarns with look-at-me musical accompaniment and videos. Those days are long gone. And her heightened sophistication works wonders here. So when the song's titular being is nowhere to be found the following morning-- "the sheets are soaking," she sings-- there is nothing gimmicky about her desperation: "Oh please, can you help me?/ He must be somewhere."

The ending of that song brings up another common thread through Snow, aside from its blizzard-y climate. This is an album about trying, oftentimes futilely, to find connections-- between Bush and her characters, reality and surreality, love and death. "Snowflake" is a duet with her 13-year-old son, where he plays the small fleck of white falling down from the sky, his high-pitched, choir-boy voice hitting the kind of notes his mom was originally famous for. On the track, Bush encourages her son-- "The world is so loud/ Keep falling/ I'll find you"-- and yet the plaintive piano that steers things is seemingly aware that, once the flake arrives, it'll either melt or disappear among millions of other icy bits. Similarly, while the lake-bound ghost of "Lake Tahoe" is overjoyed to find her long-lost dog-- coincidentally named Snowflake-- at the end of the song, the reunion comes with its own specter of bittersweet afterlife. The same sort of disconnect defines "Snowed in at Wheeler Street", an eerie duet with Bush's teenage idol Elton John about a star-crossed pair who have "been in love forever"-- literally. The time-traveling track finds its leads going from ancient Rome to World War II to 9/11, always losing each other along the way. It acts as something of a sequel to Bush's "Running Up that Hill", another tale of pained co-dependence. There's no happy ending. "When we got to the top of the hill/ We saw Rome burning," sings Elton.

While much of 50 Words for Snow conjures a whited-out, dream-like state of disbelief, it's important to note that Bush does everything in her power to make all the shadowy phantoms here feel real. Her best music, this album included, has the effect of putting one in the kind of treasured, child-like space-- not so much innocent as open to imagination-- that never gets old. "I have a theory that there are parts of our mental worlds that are still based around the age between five and eight, and we just kind of pretend to be grown-up," she recently told The Independent. "Our essence is there in a much more powerful way when we're children, and if you're lucky enough to... hang onto who you are, you do have that at your core for the rest of your life." Snow isn't a blissful retreat to simpler times, though. It's fraught with endings, loss, quiet-- adult things. This is more than pure fantasy. When faced with her unlikely guest on "Misty", Bush pinches herself: "Should be a dream, but I'm not sleepy."