Red Mosquito

"Jesus Alone"

fuck....thats amazing. Im just....

Thats art, right there.

I missed the tracklist reveal a few weeks ago, but here it is:


1. Jesus Alone
2. Rings of Saturn
3. Girl in Amber
4. Magneto
5. Anthrocene
6. I Need You
7. Distant Sky
8. Skeleton Tree

So the first lyric from the album is, "You fell from the sky, crashed landed in a field near the river Adur." Fuuuuuuuuuuuuuuck.

Pretty incredible stuff. Really looking forward to this album.

Im so psyched....this week we will have a new album and hopefully a torrent of the movie.

Jesus Alone is just mesmerizing.

Yeah, I don't know that its a song that I'll revisit often, but it really has something powerful about it.

Very much looking forward to the album.

ah we call upon the author to explain!

http://www.smh.com.au/entertainment/mov ... r9h5n.html

Nick Cave documentary One More Time with Feeling deals with family's grief over son Arthur

To lose a child is the very worst kind of bereavement. One More Time with Feeling, directed by Andrew Dominik, documents the making of Nick Cave's first album since his 15-year-old son Arthur fell to his death from a clifftop near the family home in July last year. Cave's response to grief, says Dominik, was to work: the artist's response to anything that happens in his life.

"Trauma is extremely damaging to the creative process," says Cave in one of many matter-of-fact but heart-rending interviews in the film, which had its world premiere at the Venice Film Festival on Monday. "I try to not allow myself to sink down, to keep looking forward, but sometimes I feel it like a physical depression."

Skeleton Tree releases on Friday. One More Time with Feeling began as an alternative kind of album promotion that would mean Cave didn't have to face the press or perform in public. "How are you going to do interviews around the record and not discuss that?" says Dominik. "There's no way. So this is his answer."

The album provides 35 minutes of music, he says; we hear the songs in succession and watch Warren Ellis and the rest of the Bad Seeds laying down tracks and working out accompaniments to Cave's mournful, opaque songs of grief. The rest of the film is raw talk – with Cave, with his wife Susie Bick and their surviving son Earl and with Ellis.


Personal devastation made public
Sadness shrouds new Nick Cave album
Dominik, whose film credits include Chopper, The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly, first met Cave 30 years ago. "I met him at the drug dealer's," he says with a slight smile. "And then we had a girlfriend in common." The song Deanna was written about her; Dominik says he was going out with her by the time the record came out. "Nick used to ring up to talk to her and I'd answer the phone and we got along well on the telephone. And then we just met over the years. He did the music for Jesse James. In the last 10 years or so we have become friends."

There was a time, he remembers, when he found Cave intimidating. As he tells the press conference in Venice, when he was growing up in Melbourne, he saw him as a cultural monument. "But he's a very open person and really warm. We get along. Nick is two things. He is like a god, a performing character called Nick Cave who is god-like, but he is also the scared little guy at the microphone, you know. And both sides of him are true. So if you are making a film about him, you are going to see both sides."

Nick Cave and Susie Bick at the inquest into their son's death.
Nick Cave and Susie Bick at the inquest into their son's death.
Dominik shot One More Time with Feeling in black-and-white and in 3D. "Black and white is very elegant. 3D is immersive. I thought it was interesting to combine those two things." He particularly liked the depth 3D gave to faces. "And the music is spatial, it's got a lot of sonic depth and sounds with space around them. I thought the music would go well with 3D – although, to be honest with you, we didn't think much. We just did it."

Both he and Cave were anxious to avoid voyeurism. "Because what the movie was dealing with, the big concern was that it would exploit the tragedy in some way, make the whole thing small or too pat," says Dominik. "Obviously the main thing is Arthur: how is the movie going to deal with Arthur? Where is the line between a legitimate portrait of someone going through something and when does it turn into grief porn?

"Nick is a private person; he's not an easy person. He's prickly; he can be difficult. We just made a deal that I would cut anything out of the movie he wasn't comfortable with and if I would do that, he'd let me shoot everything and answer any question I asked him and we would sort it out later."

There are also plenty of views of the crew at work, battling the temperamental 3D camera; some shots that failed are included. "Obviously nobody's feelings were in any way neat or resolved or something they could even feel half the time," says Dominik. "So it seemed the only way to behave with any integrity was to shoot everything."

He knew what he would not include, however. "I'm not going to include displays of emotion, which there were, just for the sake of it. Things are only there if they are offering some insight into the process of dealing with things." If anything, this reserve makes the grief they express more poignant. "I can turn it into a platitude – a pretty greeting-card platitude – that (Arthur) lives in my heart," says Cave at one point. "But he doesn't. He's in my heart, but he doesn't live at all."

Dominik and Cave both knew that he would have a bad reaction to seeing himself talk on screen, so the question became how to deal with that reaction. Dominik decided to show it to Cave and Bick together. "So she could talk him down if he was angry."

They had a mixed reaction, but the film emerged unscathed. "Susie didn't like anything with her and Nick didn't like anything with him, but they liked each other. And so what they did was show it to Warren and he basically decided the fate of the film. Fortunately Warren liked it all, so it just got left alone."

There are still bits Cave hates, he shrugs, including a shot at the end of the film of the cliff where Arthur died. "But when I heard he died, I imagined the cliff. I think it's natural to picture the place where something happened. But when you stand on the cliff, all you see is the sea and it's a beautiful image, like eternity. That was how it seemed. I really like that sequence. It looks really grim and yet it's strangely beautiful."

One More Time with Feeling is in cinemas on September 8.

This is out there. All the usual places, it appears.

Fuck. I got the new Bon Iver but not this one.

I cant wait.

Listening to Push The Sky Away for the first time.

Leatherhead wrote:Listening to Push The Sky Away for the first time.

That is a very very good album.

Leatherhead wrote:Listening to Push The Sky Away for the first time.

One of my favorites.

Jubilee Street owns.

I never really connected with that one beyond Jubilee Street. In general, I don't tend to be into his softer albums (with an exception or two). I'm hoping the emotional weight of Skeleton Tree will make up for what I imagine will be a pretty muted sound.

LoathedVermin72 wrote:I never really connected with that one beyond Jubilee Street. In general, I don't tend to be into his softer albums (with an exception or two). I'm hoping the emotional weight of Skeleton Tree will make up for what I imagine will be a pretty muted sound.

I listened to it this morning while doing some other things, so it was mostly background music, but "muted" is certainly a good way to describe it. I can't wait to sit down for a real, real listen.

LoathedVermin72 wrote:I never really connected with that one beyond Jubilee Street. In general, I don't tend to be into his softer albums (with an exception or two). I'm hoping the emotional weight of Skeleton Tree will make up for what I imagine will be a pretty muted sound.

I dont think Push The Sky Away is softer at all.

VinylGuy wrote:

LoathedVermin72 wrote:I never really connected with that one beyond Jubilee Street. In general, I don't tend to be into his softer albums (with an exception or two). I'm hoping the emotional weight of Skeleton Tree will make up for what I imagine will be a pretty muted sound.

I dont think Push The Sky Away is softer at all.

Yes and no, I'd say -- it's definitely not getting into a volume war with "Loverman" anytime soon, but it's also not "soft" in the way, say, "The Boatman's Call" and "No More Shall We Part" were soft, with their gothic piano ballads and romantic overtones that could have been downright saccharine in the hands of a different artist. I've tend to view "Push the Sky Away" as the more meditative side of what he was doing with Grinderman -- looser song structures, almost Van Morrison-like in their tendency to meander, but lacking the cathartic sense of abandon and most of the dirty humor (though not all of it) for which the side project seemed to be an avenue. The album really didn't work for me at first, but one morning I threw it on and everything about it just seemed to magically click. Now I think it's damn near the best thing he's done.