Nick Cave & the Bad Seeds - Dig, Lazarus, Dig!!!

The latest issue of Skyscraper has hit the stands. Here are three of my reviews from the previous issue, starting with my favorite album of the year.

NICK CAVE & THE BAD SEEDS
Dig, Lazarus, Dig!!! (CD) – Anti

The old-timey preacher may have warned that our arms are too short to box with God, but damned if Nick Cave ain’t gonna give it a shot anyway. “We call upon the author to explain,” he insists six songs into the emphatically titled Dig, Lazarus, Dig!!!, Cave’s latest electric assembly with the Seeds. What follows is a rattling good album from the now 51-year-old Cave and his increasingly hoary disciples. In Cave’s topsy-turvy world, Lazarus, freshly raised from the dead, proves rather ungrateful, when confronted with the pace of “the dog-eat-dog world” and set offs for the left coast only to discover it equally inhospitable. From there, the threads are hard to follow, but who cares: Cave calls and we follow. Along the way, we encounter a cavalcade of sweaty meat lockers, receptive vulvae, hand guns, angels, and hotel beds. Against the crunch of guitars and The Seeds “Ooo-Ooo” background vocals, “Albert Goes West” follows three more men on their respective quests across America, and none of them seem to find what they’re looking for either. The song ends, however, with the narrator exclaiming, “I like it here!!!,” extolling the virtues of staying put. It’s a gentle reminder that wherever you go, there you are. And those pleasures you’re looking for may already be in your lap. Elsewhere, when Cave finds his bliss, it’s settled right beside him, too – and often in mundane places. The gorgeous “Jesus of the Moon” takes place within a hotel room. And “Moonlight” and “Midnight Man” place the onus on time to proffer pleasure, not place (nor religion, as the explosive “We Call upon the Author” declaims). Apropos of Cave’s disposition, beauty's often swirling within a cacophony. Tripping piano and snarling guitar propel Cave through “Lie Down Here (& Be My Girl)” with the Seeds cooing and chorusing along with him. “Night of the Lotus Eaters” proceeds at a gentler pace, but not without an industrial clatter. So, too, the spookily beautiful “Moonland” creeps along, itchily, and “Hold on to Yourself” materializes within the subtle, circadic swirl of Warren Ellis’s looping strings. By the time we get to the album closer, “More News from Nowhere,” —and note that the place now is explicitly “nowhere”— Caves practically ambles through eight minutes of dense lyrics. Still, we’re in no hurry for him to leave. – Robert Stribley

nickcaveandthebadseeds.com

This review was originally published in Skyscraper Magazine, Issue 29 (Winter 2009)

Nick Cave & Warren Ellis - The Assassination of Jesse James by the Coward Robert Ford

NICK CAVE & WARREN ELLIS
The Assassination of Jesse James by the Coward Robert Ford (CD) – EMI 

For the Assassination of Jesse James by the Coward Robert Ford, Nick Cave and Bad Seed violinist Warren Ellis have collaborated to create a reserved, but deeply beautiful soundtrack. The first thing soundtracks usually prove guilty of is bombast, but there’s none of that to be had here. Instead, Assassination opens with "Rather Lovely Thing," offering tender fiddle against piano, not much else, and conjuring the melancholy beauty you’d expect upon seeing Cave or Ellis’s name attached to anything. “Last Ride to KC” follows later with deep cello sawing gently against a constant buzz of violin. Simple piano and violin provide most of the instrumentation on other standout tracks like “Moving On” and “Song for Jesse,” too. So, what are we to make of the fact that two Aussies forged the soundtrack for a movie about such an iconic American figure? Well, Cave is no stranger to the genre, having penned his own outback Western, The Proposition. He and Ellis produced the soundtrack for that film, too. Next up? Cave and Ellis are working on a soundtrack for the film adaptation of Cormac McCarthy’s The Road. It’s hard to imagine two men better suited for the job. – Robert Stribley

nickcaveandthebadseeds.com

This review was originally published in Skyscraper Magazine, Issue 28 (Summer 2008)

Grinderman

GRINDERMAN
Grinderman (CD) – Anti

As Nick Cave nears 50, he engages his new band Grinderman to bequeath us with some of his most bracing and profane work yet. Cave grouses, growls and grumbles his way through this lacerating little effort. About what? Well, ostensibly women, but you’ll eventually conclude it’s the velocity of life he has a beef with. Throughout, on tracks like the fuzzy "Electric Alice," the grinding "Depth Charge Ethel," and the bluesy "Go Tell the Women," the fairer sex dominates the proceedings, and a visceral sexuality seeps into everything from the light-hearted buzz of "Honey Bee (Let’s Fly to Mars)" to the more acidic, but comical "No Pussy Blues." Cave isn’t really berating women; he’s mocking himself, his own predilections, archly tracking his own mid-life crises. Compare Grinderman’s cover with its content: Is it a coincidence that the grinder monkey on the cover appears to be cowering, its tiny fists protecting its genitals? The tongue-in-cheek emasculation on "No Pussy Blues" epitomizes the theme here, as Cave complains about the contortions he engages in to secure some booty – even petting his lover’s "revolting little Chihuahua" – all to no avail. "My face is finished, my body’s gone," he laments. Life is flitting by and any desired words of wisdom can be reduced to the mantra repeated on the disk’s opening track: "Get It On." - Robert Stribley

www.grinderman.com

This review was originally published in Skyscraper Magazine, Issue 25 (Summer 2007)