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Nick Cave is a musician who simply never rests.
Since the release of ‘Ghosteen’, the previous Bad Seeds album from 2019, he has (deep breath) released a collaborative album with bandmate Warren Ellis named ‘Carnage’, released 2 live albums, published 2 children’s books, published a book of interviews with journalist Sean O’Hagan, released 4 soundtrack albums with Warren for various films such as Back to Black and Blonde, released a spoken word project called Seven Psalms, starred in a documentary film titled This Much I Know to Be True, and continues to answer countless questions submitted by fans on his Red Hand Files website. It sounds like a lot, and it really is. And who really knows what else he might have up his sleeve? To top it all off, he’s releasing the 18th Bad Seeds record, Wild God.
After a trilogy of albums that came in the more ambient and avant-garde style of Push the Sky Away, Skeleton Tree, and Ghosteen, Wild God is a record that breaks free of the shackles of overshadowing doom and ascends into the fresh, open air like a glorious dove. Sure, there are still moments of grief and loss woven deep in the fabrics of the 10 tracks, but instrumentally it is one of their most upbeat and euphoric sounding efforts to date; almost as if Nick has found comfort and joy in the prospect of death and suffering. It’s a record that, as Cave has said, “throws its arms around the listener,” in that it feels less like a musical effort and more like an experience in general. It’s truly hard to describe, and that’s what makes the record that bit more phenomenal.
It begins with Song of the Lake, which launches you headfirst into an ethereal setting created by strings, piano, and choir vocals, and straight away you get a sense of what’s to come sound-wise. It’s quite reminiscent of something from past albums in instrumentation, yet relative to current-day Bad Seeds albums with its lyricism – the chorus of “‘Cause all the king’s horses and all the king’s men / Couldn’t put us back together again” is a perfect example of the Nick Cave poetic flow that we all know and love. The style of the album reminds me of Blackstar-era David Bowie, especially on Frogs, one of the album’s singles. Frankly, everything about this track is astounding. From the rainfall-like melody of the bells’ descending melody to the captivating vocal harmonies, to the preaching wails that Nick bellow down the mic and into your ears, it’s truly got it all. I think I’ve played it about 15 times since I gave it a first listen, and you likely will too!
But, in typical Nick Cave fashion, it can’t be ethereal and joyful all of the time – take Final Rescue Attempt for example, as it feels very much like a Depeche Mode track what with its moody synth-laden instrumentation and dark necessities that drone around the mix like roaming bumblebees. Or Cinnamon Horses, which incorporates elegant harps over a gentle, yet eerie, string ensemble. Both songs sound like they would’ve fit right in with past releases like Ghosteen or even the Warren Ellis collaboration album Carnage. And even though the track Joy might sound positive on the outside looking in, one look at the opening lyric and you would stand corrected (“I woke up this morning with the blues all around my head / I felt like someone in my family was dead.”)
And it would be impossible for me to write a review of the album without mentioning O Wow O Wow (How Beautiful She Is) in it. The beautifully heartbreaking track is dedicated to the memory of Anita Lane, a former member of the Bad Seeds and a past lover of Nick, who passed away in April 2021 aged just 61. It starts with a rhythmic beat made out of mouthed noises/effects, which makes for a very indie-centric sound in its innovation and experimentation. It’s a very moving song, one that will keep you in a trance, until your brain computes the last lyric of “How wonderful she was” instead of “is.” Then, as you realise the change and stop dead in your tracks, a voicemail message from Lane herself (recorded in 2019) hauntingly plays out. The message ends with Anita saying “We tried to write a contract of love, but we only got as far as doing the border. There was never any words in it, which I thought said more than anything else” and, honestly, it’s hard not to tear up when you hear this. O Wow O Wow is easily the best, and yet also the hardest to listen to, song on the whole record.
As the final track, As the Waters Cover the Sea, rings out into the void, vanishing into empty noise, the listener is left wanting to experience it all over again. Anyone who’s ever been to a Nick Cave show will tell you that it’s almost like a spiritual gathering; a show that feels as if you are the lamb and he is the shepherd. He’s got everyone in attendance in the palm of his hand, refusing to let go of the grip. And after listening to this album, that kind of ideation becomes more and more apparent. It’s simply a biblical experience – one that truly ascends you and makes you feel uplifted throughout its incredibly immaculate sounds, yet also makes you feel hypnotised by Nick’s low and hauntingly beautiful vocal register. It’s captivating. It’s breathtaking. And it’s all the proof anyone needs to believe that the Bad Seeds are one of the best bands to do it in today’s musical landscape.
Wild God is available 30th August, more information HERE
Review – Joe Richardson
Black and white photo: credit Megan Cullen
Colour photo: credit Ian Allen
