Having crafted a sonic language that’s as varied as it is distinctive, Natasha Khan hits creative paydirt in a big way on her third record, adding a refreshing hooky urgency to her trademark forays into alt-pop’s ethereal outer reaches. Picking just one standout track is a battle. Whether it’s the pastoral drama of “Lilies”, the glistening electronica powering “A Wall” or the way the spare, languid piano on “Laura” gives Khan’s spine-tingling vocal performance space to unfurl, The Haunted Man is a bottomless banquet of strange, subtle pleasures.
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