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Fresh Air from WHYY, April 28, 2008 - Love, violence, death and America have always been themes for Australian-born singer-composer Nick Cave - Murder Ballads and Abbatoir Blues are just two of his album titles - so he was perhaps a natural to ...
Thursday, January 3rd, 2008
Go to: http://www.nickcaveandthebadseeds.com and listen to the title track off Nick Cave & The Bad Seeds upcoming release, Dig, Lazarus, Dig!!!, out April 8th, 2008.
Produced by Nick Cave & The Bad Seeds and Nick Launay who worked with the band oh their last album Abattoir Blues/ Lyre Of ...
Wednesday, January 26th, 2005
40 Best Albums of ‘04
#1 - Nick Cave & The Bad Seeds
Abbatoir Blues / The Lyre of Orpheus
MOJO writers’ records(s) of the year celebrated by Sylvie Simmons
“THE WORK,” Cave told MOJO, “of a genius.” Though his tongue was presumably no too many miles from his cheek, he was spot on. This was his big one. A personal milestone in a more than quarter-century recording history. And the return of the Great Double Album- a long-lost creature last seen around the time Cave swapped Birthday Party for Bad Seeds 13 albums ago.
With CDs offering a berth for 70 minutes of music, it’s rare these days for an act to stick its neck out and offer a double- unless they’re out of their heads (OutKast), bent on commercial suicide (Wilco), incapable of editing themselves, or all of the above. But Cave decided he needed two discs for his sweeping 80-minute treatise on Love, Lust, History, Humanity, Myth, Apocalypse, Panties, God, Rock n’ Roll- the capital letter stuff that’s been his lifelong obsession- and he was right. A mating pair, spiritual and secular, squally and sweet. Dealing lightly with weighty themes, weightily with light ones.
With the help of the Bad Seeds (bar Blixa Bargeld), Birthday Party producer Nick Launay, a London gospel choir and a Paris studio, Cave dug first into rock’s blues-gospel roots then deeper, past Australia, right down into the Underworld in pursuit of the urrockstar of Greek myth, Orpheus, whose lyre-playing charmed the trees, rocks and even the dead. The result, among many excellent things, was a title track as picaresque and side-splitting as his greatest OTT narratives: O’Malley’s Bar from his Murder Ballads record or John Finn’s Wife from Henry’s Dream.
The focus and authority needed to pull off a work this audacious is something you get form the great artists, particularly as they age. Although three years off 50, Cave seemed somehow too boyish to join that canon, preferring the role of admirer and emulator- Leonard Cohen and Neil Young tributes; singing harmonies with Johnny Cash; writing songs for Marianne Faithfull.
But on Abbatoir Blues/The Lyre of Orpheus, Cave a Prospero on his own Stygian island, has been guaranteed a spot up there with the big boys.
Nick Cave says ...