Hounds of Love contemporarily received positive reviews in the UK.
Sounds journalist Ronnie Randall hailed the album as "dramatic, moving and wildly, unashamedly, beautifully romantic", It ranked at number 10 on the magazine's list of the best albums of 1985. A more reserved review came from
Melody Makers
Colin Irwin, who found that Bush had "learned you can have control without sacrificing passion" despite "some overly fussy arrangements that get the better of her", although the
Ninth Wave suite "is too confused and the execution too laborious and stilted to carry real weight as a complete entity." In the US, reaction to the record at the time was mixed. "With traces of classical, operatic, tribal, and twisted pop styles," raved Steve Matteo in
Spin, "Kate creates music that observes no boundaries of musical structure or inner expression... While her eclecticism is welcomed and rewarded in her homeland her genius is still ignored here – a situation that is truly a shame for an artist so adventurous and naturally theatrical." In
The New York Times,
John Rockwell characterised the album's music as "slightly precious, calculated female
art rock" and said that Bush had become "a real master of instrumental textures".
Rolling Stone, in their first review of a Kate Bush record, was unimpressed: critic Rob Tannenbaum wrote that
Hounds of Love "both dazzles and bores" and felt that while Bush's "orchestrations swell to the limits of technology", she "often overdecorates her songs with exotica... There's no arguing that Bush is extraordinarily talented, but as with
Jonathan Richman, rock's other eternal kid, her vision will seem silly to those who believe children should be seen and not heard." In a retrospective piece for
The Independent,
Nick Coleman described
Hounds of Love as Bush's "acknowledged masterpiece... a
prog-pop masque of an album built with the cold instrumentation of a neophiliac age".
Spin called it an "
art-pop classic", and Barry Walters of
Pitchfork noted that the album draws from
synth-pop and progressive rock whilst remaining wholly distinct from either style. == Legacy ==