A Ten Tonne Catastrophe / The Nick Cave Thread

[philpritchard]

I still don't know all their stuff so it may not even end up being my favourite of theirs in the end, but holy shit "No More Shall We Part" is one of the best albums I've ever heard.

[Simple Torture]

Idiot Prayer is gorgeous.

[raven2001]

Idiot Prayer is gorgeous.

Pretty excited for that one, just ordered it...

[psychobain]

I still don't know all their stuff so it may not even end up being my favourite of theirs in the end, but holy shit "No More Shall We Part" is one of the best albums I've ever heard.

try The Boatman's Call next

[philpritchard]

I still don't know all their stuff so it may not even end up being my favourite of theirs in the end, but holy shit "No More Shall We Part" is one of the best albums I've ever heard.

try The Boatman's Call next

I initially got into them by just listening to all their songs on shuffle and adding the ones I really liked to a playlist. A lot of The Boatman's Call ended up on it, so I know a lot of the individual songs really well. Now that I'm realizing how amazing they are I'm planning on spending time getting to know the albums better.

[kreng]

How is your lockdown?
TOBIAS, LONDON, UK

Dear Tobias,

In many ways lockdown has felt weirdly familiar, like I’ve experienced it before. I guess this should come as no surprise as I was a heroin addict for many years and self-isolating and social distancing were the name of the game. I am also well acquainted with the mechanics of grief — collective grief works in an eerily similar way to personal grief, with its dark confusion, deep uncertainty and loss of control. For me, lockdown feels like a state mandated version of more of the same — a formalisation of the kind of hermit-like behaviour to which I’ve always been predisposed, and so, as difficult as it has been to see the devastation and anguish caused by the pandemic — including to the lives of those close to me, and many who have written into The Red Hand Files — I have been doing okay.

I am surprised, though, at just how hard not being able to play live has felt. I have come to the conclusion that I am essentially a thing that tours. There is a terrible yearning and a feeling of a life being half-lived. I miss the thrill of stepping onto the stage, the rush of the performance, where all other concerns dissolve into a pure animal interrelation with my audience. I miss the complete surrender to the moment, the loss of self, the physicalness of it all, the feeding frenzy of communal love, the religion, the glorious exchange of bodily fluids — and The Bad Seeds themselves, of course, in all their reckless splendour, how I miss them. As much as sitting behind my desk can bring me a lot of joy, and the imagination can be a stimulating, even dangerous place, I long for the wanton abandon of the live performance.

Anyway, as promised in my last issue, I did go into the studio — with Warren — to make a record.

It's called CARNAGE.

Love, Nick

[kreng]

How is your lockdown?
TOBIAS, LONDON, UK

Dear Tobias,

In many ways lockdown has felt weirdly familiar, like I’ve experienced it before. I guess this should come as no surprise as I was a heroin addict for many years and self-isolating and social distancing were the name of the game. I am also well acquainted with the mechanics of grief — collective grief works in an eerily similar way to personal grief, with its dark confusion, deep uncertainty and loss of control. For me, lockdown feels like a state mandated version of more of the same — a formalisation of the kind of hermit-like behaviour to which I’ve always been predisposed, and so, as difficult as it has been to see the devastation and anguish caused by the pandemic — including to the lives of those close to me, and many who have written into The Red Hand Files — I have been doing okay.

I am surprised, though, at just how hard not being able to play live has felt. I have come to the conclusion that I am essentially a thing that tours. There is a terrible yearning and a feeling of a life being half-lived. I miss the thrill of stepping onto the stage, the rush of the performance, where all other concerns dissolve into a pure animal interrelation with my audience. I miss the complete surrender to the moment, the loss of self, the physicalness of it all, the feeding frenzy of communal love, the religion, the glorious exchange of bodily fluids — and The Bad Seeds themselves, of course, in all their reckless splendour, how I miss them. As much as sitting behind my desk can bring me a lot of joy, and the imagination can be a stimulating, even dangerous place, I long for the wanton abandon of the live performance.

Anyway, as promised in my last issue, I did go into the studio — with Warren — to make a record.

It's called CARNAGE.

Love, Nick

surprise drop today:

https://open.spotify.com/album/6xWNh0mU ... g6dQ5APeHg

[VinylGuy]

I will listen to it later. I havent listened to Idiot Prayer yet.

[Higgs]

How is your lockdown?
TOBIAS, LONDON, UK

Dear Tobias,

In many ways lockdown has felt weirdly familiar, like I’ve experienced it before. I guess this should come as no surprise as I was a heroin addict for many years and self-isolating and social distancing were the name of the game. I am also well acquainted with the mechanics of grief — collective grief works in an eerily similar way to personal grief, with its dark confusion, deep uncertainty and loss of control. For me, lockdown feels like a state mandated version of more of the same — a formalisation of the kind of hermit-like behaviour to which I’ve always been predisposed, and so, as difficult as it has been to see the devastation and anguish caused by the pandemic — including to the lives of those close to me, and many who have written into The Red Hand Files — I have been doing okay.

I am surprised, though, at just how hard not being able to play live has felt. I have come to the conclusion that I am essentially a thing that tours. There is a terrible yearning and a feeling of a life being half-lived. I miss the thrill of stepping onto the stage, the rush of the performance, where all other concerns dissolve into a pure animal interrelation with my audience. I miss the complete surrender to the moment, the loss of self, the physicalness of it all, the feeding frenzy of communal love, the religion, the glorious exchange of bodily fluids — and The Bad Seeds themselves, of course, in all their reckless splendour, how I miss them. As much as sitting behind my desk can bring me a lot of joy, and the imagination can be a stimulating, even dangerous place, I long for the wanton abandon of the live performance.

Anyway, as promised in my last issue, I did go into the studio — with Warren — to make a record.

It's called CARNAGE.

Love, Nick

surprise drop today:

https://open.spotify.com/album/6xWNh0mU ... g6dQ5APeHg

You beautiful man.

[Higgs]

Hand of God has a disjointed start - it's actually really jarring going from the genuinely gorgeous Cave vocal/piano intro to the cut into the song proper, but damn doesn't it just build and drag you in from there.

Great great tune. Could be a killer set opener this.

[Higgs]

Into Old Time and the rhythm continues. I'm enjoying this groove that Cave and Ellis have here.

Apparently the 8 songs where formed in some way or another within the first two and a half days they spent together.

This certainly feels effortless.

[Higgs]

Carnage brings it back a bit, Cave, piano, easy. Nice.

[Higgs]

White Elephant brings the groove right back. And Cave's lyrics are striking.

This is great. Cave and Ellis are both menacing here. Wow.

<Edit> Posted above before getting to the close out of the song. Really out of left field, but... I think I like it?

[Higgs]

Albuquerque is quite beautiful. Cave/piano, lovely.

Perhaps a bit...theatrical...in the end, but what do I know?

[Higgs]

I dare you to listen to the opening notes of Lavender Fields and not start singing "She's a gooood girl, loves her mama!".

Or maybe it's just me...

I couldn't get past that. No further opinion given on this song at this time.

[Higgs]

Shattered Ground has the lyric "There's a madness in her and a madness in me and together it forms a kind of sanity, oh baby don't leave me." . Fucking hell that's good.

This song is amazing.

[Higgs]

Balcony Man starts out as an 80's synth tune from a John Hughes flick but slides into something else. Piano-led but love the 'count in' bass beats.

Solid finish to a great album. Cave and Ellis are a musical pairing for the ages.

[kreng]

i'm about halfway through but holy shit

[LetMeSleep]

Wow.

[digster]

i'm about halfway through but holy shit

Yeah, holy shit indeed. Where the fuck did this come from?