Posts Tagged ‘The Bad Seeds’

“Carnage” is a new album by Nick Cave & Warren Ellis, recorded over a period of weeks during lockdown. Although the pair have composed & recorded many soundtracks together, and Ellis is a long-term member of The Bad Seeds, this is the first time they have released an entire album of songs as a duo. After cancelling his already rescheduled 2021 UK and European tour due to the spread of coronavirus, Cave described this period as an “opportunity to take stock” and “time to make a new record”. Cave describes the album as “a brutal but very beautiful record nested in a communal catastrophe. Making “Carnage” was an accelerated process of intense creativity,” says Ellis, “the eight songs were there in one form or another within the first two and a half days.”

Cave said that his inspiration came from “reading, compulsively writing and just sitting on my balcony thinking about things”. With no initial intention of making an album, he said “the record just fell out of the sky. It was a gift.”

Cave & Ellis’ sonic and lyrical adventurism continues apace on Carnage, an album that emerged almost by accident out of the downtime created by the long, anxious, global emergency. Carnage is a record for these uncertain times – one shot through with moments of distilled beauty and that resonates with an almost defiant sense of hope. Cave and Ellis’ creative chemistry is rooted in their long history of music making, both as collaborators and as individual artists. They first crossed paths in 1993, when Ellis played violin on several songs for the Nick Cave & The Bad Seeds album, Let Love In, before going on to join the band as a full time member. The two have also recorded as Grinderman, formed in 2006, and have composed and recorded numerous, film, TV and theatre soundtracks together.

Nick Cave & Warren Ellis. Credit: Joel Ryan

Warren Ellis: “Two people sitting in a room taking risks and letting whatever happens, happen. The eight songs were there in one form or another within the first two and a half days and then it was, ‘let’s just make a record!’ There was nothing too premeditated about it.”

Nick Cave: “The inspiration came from reading, compulsively writing and just sitting on my balcony thinking about things”. The record just fell out of the sky. It was a gift.”

NME says: “‘Carnage’ is arguably Cave and Ellis’ best record since The Bad Seeds’ latter day reinvention on 2013’s ‘Push The Sky Away’, or maybe even ‘Abattoir Blues’. It’s certainly two master craftsmen at the peak of their melodramatic powers.” first Impression: A mix of the romantic crooner and the haunting crooner. Growing with every spin. Compelling orchestrations, classical arrangements, with Ellis showing his musical skills once more. Can’t remember when Cave made an average album. Did he, actually? Okay, Carnage once again on my headphones.

Cave told fans via The Red Hand Files that these songs were born from missing the sensation of “the complete surrender to the moment” that comes from being on stage. They’ve certainly captured that abandon, along with all the heightened rushes of panic and mania that come with lockdown and recent world events, and those merciful moments of peace, serenity and hope for what’s to come. Cave and Ellis have taken a bold leap into the COVID era’s dark night of the soul, and found a truth that we all share.”

Kid Congo, who’s played in Gun Club, The Cramps, The Bad Seeds and more, releases a new EP that’s a tribute to the late non-binary, African American singer and Los Angeles legend Sean De Lear.  It’s been a while. He’s got a new EP of groovin’ garage goodness with some songs about life, death and the slippery world of memory and dreams. Here he comes strutting on out of the desert in a pale pink linen suit just as cool as an evening breeze. Kid Congo might be dressed sharp and have things weighing on his mind but he’s not to cool to bust a move or throw some shapes. His band The Pink Monkey Birds know all about shaking their tail feathers and so “Swing From The Sean DeLear” is an infectiously funky set that’ll have you toe tappin’, head noddin’ and finger snappin’ before you even know it. 

Kicking off with the title track, ‘Sean DeLear’ is a rough and excitable stomp with some old school Iggy Pop swagger about it. The song is a remembrance and a celebration of a Los Angeles underground star. Sean DeLear was a non-binary, African American singer and scene fixture, by all accounts a force of nature and embodiment of the sort of subcultural vitality we’re all sadly missing these days, sat at home watching our screens. The band kick out the jams to keep the flame burning. Eventually ‘Sean DeLear’ wanders off into the night in search of further adventure and the tune unravels. ‘(Are You) Ready, Freddy?’ brings the full tilt rock ‘n’ roll freak out ending that it might have got. Apparently a staple of their live set it’s an overheated guitar riot, with occasional yells of the title, anchored by the pulse of its tight, elastic bassline and hectic, driving drums.

“We’re at the end of the end of privilege.” Now here’s something, Kid hasn’t gone in much on politics in the past but these have been some severely trying times for us all, ‘(I Can’t Afford) Your Shitty Dreamhouse’ is a righteous middle finger to the man. A traditional rock ‘n’ roll “fuck you” to an ugly establishment consensus of “racist, conservative… disgusting bullshit.” More than the increasingly impossible dream of a secure, affordable, home the dream house here is a particular vision of America. That sickly nostalgia for a better day that never was. I puzzled over the line “get your hair, out of my hair” but I’m now pretty sure it refers to the mysterious coiffure of the last President, whose time in office Kid seems to have sat out as a recording artist. All that fun and the tune is infectiously, unstoppably, funky into the bargain, clap your hands and chant along brothers and sisters.

The final track is an hallucinatory wonder. A loose Chicano groove that takes your hand and leads you into the dream space. There’s atmospheric flute breezing by through a kind of tough cocktail jazz. Kid pops up with an occasional spoken interlude. These concern a dream in which his friend and former Gun Club bandmate, Jeffrey Lee Pierce, wanders into his kitchen to pay a visit. Pierce has been dead 25 years but there’s no great revelation passed on or anything particularly eventful that occurs, just Kid’s warm sense of happiness in seeing his friend again that fills the whole track. About midway through the tempo picks up and the playing becomes a touch more dramatic but the magic of it is that it just kind of hangs there, a full 14 minutes worth of percolating sound without a big lyrical narrative or even really much in the way of musical development and yet it rolls by without ever dragging its feet.

It’s a joy and a surprise, which seems to be how Kid Congo felt about the dream itself. This whole EP is solid greatness, really a spirit lifting tonic. It’s good to welcome them back, the band sounding sharp and limitless. Hopefully it means a new album is out there on the not too far horizon. In the meantime this will do just fine.

“Swing From The Sean DeLear” by Kid Congo & The Pink Monkey BirdsIn The Red Records

Last year, Nick Cave and his band, the Bad Seeds, embarked on one of the most emotional tours of his career, supporting an album recorded in the aftermath of the death of one of his sons. Now he’s releasing a film, Distant Sky, of a concert the band played in Copenhagen as a one-night only screening in movie theaters around the world.

The screening will take place April 12th. David Barnard, whose credits include films and documentaries about Radiohead, Björk, Alice Cooper and the Spice Girls, directed the film. At the Copenhagen concert, the band played a career-spanning set list that went back to the title track of their first album, 1984’s From Her to Eternity. Though the majority of the set focused on the moving 2016 album, Skeleton Tree, which Cave & Co. recorded in the wake of his personal tragedy. The subsequent tour was one of the most powerful and touching of his career, as he connected with audiences, even holding hands with some people in the front row. The poster for the film shows Cave holding a towel to his face as if he were weeping.

At the time of Skeleton Tree’s release, Cave declined to do interviews, opting instead to release a documentary film, One More Time With Feeling, which showed fans how he was coping with the loss at home along with footage of the group recording the album. “It wasn’t conceived as a work of entertainment,” director Andrew Dominik said. “It was a practical solution to a practical problem. I think there may be a certain voyeuristic interest in what happened to him. But I think his fans are very much interested in how he and his family are doing, and that’s the subject of the film: How they are.”

Cave completed the Skeleton Tree tour late last year with a pair of performances in Tel Aviv, Israel, after facing criticism from Roger Waters and Brian Eno who support a cultural boycott of the country, claiming it supports apartheid with regard to Palestine. “At the end of the day there are two reasons why I am here,” Cave said at a press conference about his decision to play Israel. “One is that I love Israel and I love Israeli people and two is to make a principled stand against anyone who wants to censor and silence musicians. So really you could say in a way that the [boycott] made me play Israel.”

Image result for nick cave and the bad seeds

Nick Cave & The Bad Seeds have shared a new music video for “Magneto” from their recent album “Skeleton Tree”.

The clip, which you can watch below, is taken from Andrew Dominick’s accompanying film One More Time With Feeling.

Nick Cave and the Bad Seeds recently confirmed a tour of Australia and New Zealand for January of next year. They will then play North American dates during May and June. One More Time With Feeling returns to cinemas 1st December,

 

Nick Cave and the Bad Seeds have premiered the heart-wrenching video for “I Need You”, coinciding with the September 9th release of their 16th studio album Skeleton Tree, along with the accompanying film One More Time With Feeling which premiered on the 8th September at various cinemas around the UK.

This follows the release of the  previous Jesus Alone—a song seemingly about despair, but in the case of I Need You, Nick Cave rather than sing…more so weeps the song—as his piano playing is accented by the synth organ dirge emanating from long time collaborator Warren Ellis’s lap. This video is hard to watch, given the emotion is a raw and authentic catharsis, emphasizing Cave’s loss of his son Arthur during the album’s production.

This is truly a song in which to weep.

‘Skeleton Tree’, the new album