Albums to watch

Lost Girls

Bat For Lashes

Lost Girls

Fifth album from baroque pop singer-songwriter Natasha Khan influenced by 1980s music and cinema

ADM rating[?]

7.3

Label
Bat For Lashes
UK Release date
06/09/2019
US Release date
06/09/2019
  1. 10.0 |   The Line Of Best Fit

    She gives you everything, expecting nothing in return, lavishing you with luxurious, gothic glamour and saturnine pleasure. A modern masterpiece
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  2. 8.0 |   Exclaim

    An unflinching honesty permeates the album: Khan channels anxieties over loving too strongly on "Safe Tonight," while "Mountains" finds comfort in reflection. Pleasure and happiness live alongside unease on Lost Girls
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  3. 8.0 |   XS Noize

    On “Lost Girls” Khan is unashamed in utilizing what has become trademark 80’s sonics and making them her own. For listeners who came of age in the ’80s, there is significant enjoyment trying to envision which songs would be best paired with the movies of that era
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  4. 8.0 |   Q

    Imbues an overused retro aesthetic with intrigue once more. Print edition only

  5. 8.0 |   music OMH

    Lost Girls is hardly uncharted territory, yet Khan manages to embolden it with her canny narrative, some truly beautiful sonic touches and her trademark gorgeous harmonies
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  6. 8.0 |   The Skinny

    Natasha Khan returns with a sumptuous soundtrack to misspent LA evenings
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  7. 8.0 |   The Music

    More playful in tone than the dark melancholy of her last album The Bride, Khan's gothic imagination provides the dark undercurrents that steer this album
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  8. 8.0 |   The Irish Times

    Nostalgia is everywhere, and Khan is masterful at conjuring up a sense of mystery and romance
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  9. 8.0 |   The Independent

    Like Stranger Things, everything about it is unashamedly nostalgic: the power drums, the moody atmospherics, the arpeggiated synths
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  10. 8.0 |   The Guardian

    This has to be Natasha Khan’s most playful album yet, recorded for pleasure in the US and centred around a desert-dwelling blood-sucking girl gang
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  11. 8.0 |   NME

    Inspired by 1980s cinema, Natasha Khan's fifth album is a widescreen reimagining of her trademark danceable sound, though the underlying menace remains
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  12. 8.0 |   The Arts Desk

    It turns out she wasn't finished with pop in the slightest: this album is very possibly her boldest and brightest
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  13. 7.6 |   Sputnik Music (staff)

    Just like the movies from that period, you have to accept a number of cliches to truly enjoy the ride. Nevertheless, most of the tracks fare well when taken out of context and are easy to get into
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  14. 7.5 |   Spectrum Culture

    Lost Girls is a day-glo slice of synth-pop that pushes back against the dourness of its predecessor
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  15. 7.2 |   Pitchfork

    Natasha Khan’s latest is a synth-pop love letter to the ’80s sci-fi and fantasy films of her youth
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  16. 7.0 |   DIY

    Doomy disco for dark times
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  17. 7.0 |   Paste Magazine

    Natasha Khan explores youthful innocence through a Lost Boys-referencing storyline
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  18. 7.0 |   Clash

    Despite being heavily influenced by the 80’s, ‘Lost Girls’ has a timeless feel and is sonically pleasing
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  19. 7.0 |   Rolling Stone

    With more pronounced new wave influences, Natasha Khan, makes her yearning sound exquisite
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  20. 7.0 |   God Is In The TV

    A giddy throwback for those who grew up in the 80s decade and proves that once again Natasha Khan is a genius at creating concept albums with unparalleled storytelling
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  21. 6.0 |   PopMatters

    In contrast to Bat for Lashes' previous efforts—whose dense peculiarities and poeticisms rewarded deep listening—the retro Lose Girls is too run-of-the-mill and inconsequential
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  22. 6.0 |   Mojo

    In places the concept is a little too arch and pumped up. Print edition only

  23. 6.0 |   The FT

    Collection fuses the artist’s gothicky, heavy-lidded music with the synth-driven sound of 1980s cinema
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  24. 6.0 |   The Observer

    It’s familiar territory in our retromanic times, but who could resist the dark, gothic pulse and veiled shimmer of The Hunger, or the clash of Cure guitar and wild sax in Vampires?
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  25. 5.5 |   The 405

    The production on Lost Girls seems so indebted to the idea of ramming the 80s vibe down the throat of the listener that many of the actual songs are lost, buried under the bland sheen of synths and weak sub-Soulboy style basslines
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