TRACK REVIEW: Nick Cave & The Bad Seeds - Waiting for You

TRACK REVIEW:

Nick Cave & The Bad Seeds

PHOTO CREDIT: Matthew Thorne

Waiting for You

9.8/10

The track, Waiting for You, is available via:

https://www.youtube.com/watch?v=GF43RrFmpb0

GENRE:

Ambient

The album, Ghosteen, is available via:

https://open.spotify.com/album/6UOvMBrdfOWGqSvtQohiso?si=IYG5R6MERsymFddhtMijLg

RELEASE DATE:

3rd October, 2019

LABELS:

Ghosteen Ltd./Bad Seed

PRODUCERS:

Nick Cave/Warren Ellis

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WHEN thinking about…

PHOTO CREDIT: Amelia Troubridge

Nick Cave & The Bad Seeds, there are several different things to cross off the list. The band have released a new album, Ghosteen, and it sort of came out of nowhere! In this review, I want to mention a few things. I will explore albums that are beautiful and uplifting in spite of darkness and personal loss; artists such as Cave who experience tragedy and remain inspiring, strong and creatively fascinating; Cave’s bond with his audience and how that has shifted through the years; the nature of album promotion and why Ghosteen should give other artists inspiration; a bit about the power of music to bond music and join strangers together – and how that manifests on social media. I will start by discussing Nick Cave & The Bad Seeds’ latest work. I will discuss its sense of surprise and how we were not expecting it later, but first I want to discuss something that many reviewers and fans have picked up on: how incredibly beautiful it is. There are various phases of the band’s career, and I think the last few albums have gravitated more towards more emotional, tender music – some of the earlier work has more strut and energy to it. That might seem like a natural evolution, but I think Cave has changed as a writer and is coming from a different perspective. I will come on to the death of his son, Arthur, and how that informed the sound of Skeleton Tree in 2016. Maybe that was a point where Cave had to dig into the soul and work from a darker space. Despite the hurt and loss, he has experienced in the past few years, Cave’s music with his band has been a source of help and solace for many people. Doubtless, Ghosteen is a gorgeous album that ponders subjects such as loss, but it is much broader than that. There are songs that have a spiritual nature and there are some that are deeply personal. Everyone will take something different away from the album but, as you will see from my review, there are certain songs that will hold greater weight.

PHOTO CREDIT: Muir Vidler

I do think there is a lot of anger percolating and pooping in music now. The onslaught of bad news and division has affected us all and we are all sort of in this mindset where it is hard to find light and happiness. Whilst there are few overtly positive albums and songs around this year, there are artists who are finding structure and hopefulness in black scenarios. Cave is someone who has a very productive and pragmatic approach to bleaker times and situations. His music does not shy away from the challenges and realities of loss and acceptance, but there is this overriding feeling of beauty, togetherness and future that you get ion spades. He embraces and absorbs everything but, when putting pen to paper, I get the feeling Cave wants the listener to feel like there is salvation and hope out there. It is hard to distil my words because, when one encounters an album like Ghosteen, you are sort of knocked backwards and struggle to take it all in. For sure, one needs a good long time to really grapple with the record – it is a double album – and ensure the songs resonate. Just listen to the instrumentation throughout Ghosteen; the power and emotion that comes from Nick Cave’s voice and you experience something truly spellbinding. In a way, Nick Cave is like Scott Walker at his genius best: someone who can say so much with his voice and produce these symphonic, sumptuous songs that instantly hit the heart. I have found that a lot of music this year has angled itself towards anger and outrage. That is fine, given the situation we are in with this country, yet I wonder whether, in order to be honest and raw, artists have forgotten to add a note of optimism – that we can see improvement is we pull together. Maybe that sounds naïve; it can be draining hearing so much anger and negativity. Nick Cave & The Bad Seeds’ latest album is a wonderful tonic that is sure to speak to so many people and give them strength and hope.

Cave’s son, Arthur, died in 2015 and it had a huge effect on his work and life. Skeleton Tree reflects on some of the anguish and desperation he went through. Songs like Fireflies put Cave’s voice firmly at the front. It is one of Ghosteen’s best tracks and, even though it seems quite haunting and hopeless, there is a sense of light. It is a wonderfully immersive and moving track – there are so many examples like that throughout the album. A few years has passed since Cave lost his son and, whilst it is not the reason why his music is more searching and tender (although it might play a role), I am amazed that he has found the strength to produce such coherent, stunning work. As I have been saying, we are living through a time where we do not know what is going to happen and the world around us is being reshaped and damaged. It is understandable that artists would respond with anger and a feeling that hope is being sucked away. Even when Cave is singing about humans being, essentially, fireflies pulsing in the darkness, one can take something humbling from that. Rather than feeling like we are floating hopelessly, and we are small in a chaotic world, I felt a sense of tranquillity; there is this aura of calm that soothes the spirits yet, inside that song, there are some very powerful images. All the songs on Ghosteen have so much going on. Even if the compositions seem quite bare and minimalist, they hold such impact and purpose. I am not sure how long it took to put the material together, but it seems like so much craft and thought went into it. I shall not quote other reviews; it is plain to see people adore the album and Nick Cave & The Bad Seeds have produced what is, perhaps, their finest work. That is a bold claim, I know. It is hard to deny the sheer wonderful and tingles one gets from listening to the material. It is an amazing work and I feel like the true effect of Ghosteen will be felt years down the line. Maybe it sets an impossibly high bar for the band when it comes to another album. They will not worry about that just yet. The fan reaction so far has been intense and overwhelmingly positive. Maybe there is something about the wider world and how artists are tackling a universal sense of uncertainty and fear. Rather than plunge us into complete darkness and wallow, Cave mixes loss and grief with some of the most passionate and personal performances to date. One comes away from Ghosteen and feels lifted and strengthened. Sure, the echoes of the songs remain and there is a lot of deep emotion to produce; the abiding feeling and takeaway is of enlightenment and personal nourishment – that is what I felt, anyway! I shall move on to another topic soon, but I was keen to talk about albums that appear quite oppressive or heavy-going on the surface yet have positivity and edifying quality. I know other artists have done similar things with their albums; none has come close to the resonance of Ghosteen.

PHOTO CREDIT: Anton Corbijn

It is worth moving on to another subject that sort of strays away from the material as such. Now, Nick Cave is hosting intimate talks with an audience and the Conversations with Nick Cave tour was hugely successful and applauded. From the more talk-based shows, Nick Cave is heading on the road and will play a lot of the new album for audiences. Now, we see this artist who clearly loves his audience and wants them to feel involved. As this article explains, things have not always been smooth and harmonious between Cave and the crowds:

“When the band arrived in England in 1980, they landed with a thud of disappointment. The world they read about in NME back home in Australia failed hopelessly to live up to their expectations and they found themselves at the centre of a musical scene they largely loathed (with the exception of allies such as The Fall and The Pop Group). Combined with the arrogance and fury of youth, this saw a level of contempt brew and manifest from Cave and co. towards their new audience. At a 1982 performance, a growingly restless crowd broke out into fights amongst themselves as the band waited to go on. As a flustered promoter rushed backstage to inform them of the escalating tension, Cave replied: "Good. I hope the pigs kill one another."

By this stage people were actively attending shows to cause trouble and they would often get back what they gave. One performance was interrupted by a fan that got on stage to urinate on bass player Tracy Pew whilst he was playing, only for Pew to hammer his bass into the head of the offending pisser and send a stream of blood oozing down his face. Punches and kicks were often exchanged between band and audience and one fan called Bingo - who had taken offence to comments Cave made in the press about English audiences being stupid sheep - decided to make it his mission to torment the band. This came to a head one evening when Bingo decided he would breathe fire at the band whilst they were performing, bringing with him his own bottle of meths and spewing a DIY fireball in an attempt to engulf the band. Such maniacal behaviour led the band to hire Bingo as their minder - as someone ready to pounce on stage and brandish a metal pipe at any audience members crossing the line as he once had.

By 1983 in one of Cave’s last major interviews before The Birthday Party broke up he told NME: "I don't know of another group who are playing music that is attempting in some way to be innovative that draws a more moronic audience than The Birthday Party. There's always ten rows of the most cretinous sector of the community".

The live shows now are a changed affair and, when circling back to his recent conversational tour, I want to bring in a review from back in January; where we get an insight into the questions asked/answered and how, even though Cave is a lot closer and harmonious in terms of audience interaction, there is still a bit of the old flame inside him:

“Our interactions fall into three categories. First, when he quips back: many are gently teased by Cave tonight. In these moments he’s “as funny as a circus” (that’s my dad, who I took, not Nick). “Maybe you don’t need to clap after I answer each question?” Cave suggests. “I start to analyse the volume of each clap and, well … ”

The second is when he latches on to a topic and answers with depth and honesty. It’s like a late-night D&M with a mate – only the mate is Nick Cave and we’re yarning with the lights up amid a cast of thousands. “We’ll all live two lives,” he says in response to a comment about David Bowie’s final years – when he was facing mortality and reaching out to connect with fans. “In his first life, he did what many of us do and put himself forward as an individual … then later he looked for something communal and collective. It’s what happens to us all … I think we’re united by suffering.”

The “great thrill” of the creative process, meanwhile, is when something “starts to emerge from meaninglessness even when you don’t see it at first. To be a creative person requires most of all, faith. Faith the moment will come. And when it does you can see it vibrating in front of your face”.

The third category of interaction is tidbits about his music and collaborators. “It’s really about loss, the Bad Seeds,” he says. “It’s hard for people to look at them and not see the absences, now, of some towering figures.” He names some who’ve died and some who left the band: Blixa Bargeld, Conway Savage, Barry Adamson and Kid Congo. He talks about Brett Whiteley, Shane MacGowan, Tony Cohen”.

Let us move on and address another subject because, as I am sure, I need to cover the music itself. There is a remarkable aspect of Ghosteen that has made its arrival and brilliance all the more defined and extraordinary.

PHOTO CREDIT: Muir Vidler

Whereas so many albums are flogged to death ahead of time and you get Instagram posts galore, that was not the case here. Nick Cave is not the sort of artist who puts endless teasers out but, apart from a few little bits here and there, there was not a lot of build. The announcement was made a few weeks back and, as the article explores, there was plenty of intrigue and enigma:

“Cave told a fan that Ghosteen is a double album. “The songs on the first album are the children,” he wrote. “The songs on the second album are their parents.” Cave also said, “Ghosteen is a migrating spirit.” Find the tracklist and cover art below. The band’s last album of new material was 2016’s Skeleton Tree”.

I love the fact Cave sort of made the announcement after a fan asked a question regarding future material. I wonder what would have happened if that question had not been asked. The album would have come out, of course, but I am interested how the announcement would have been made. In these days of oversaturation and long-winded campaigns, I love it when an artist sort of gives us a tiny bit of warning before an album comes. Unfortunately, as a lot of smaller artists rely on teasers and need to build momentum, I wonder if a lot of the bigger acts need to do that. After all, they have acclaim and a huge fanbase and I think there is something wonderful regarding surprise releases and not making too much of a fuss. I know Nick Cave & The Bad Seeds have not approached their previous albums in quite the same way. That said, the way they announced Ghosteen was perfect. Rather than get spoon-fed songs and fragments, there was this completeness when Ghosteen arrived on YouTube on Thursday night. The physical product is not released until 8th November, but you can pre-order a copy now.

I will get to the review in a second, but I think Nick Cave’s recent talks and Ghosteen have helped bring together on social media. I have been checking the solo media feed and mentions of Nick Cave, and it is clear he is having a huge effect on people. Not only were some fascinating and big themes addressed and discussed on his tour; people also got to see a different side to Nick Cave. Away from the noise and the usual roar of a gig, here was a man letting people in and providing this intimate affair – even if a few questions did cause annoyance; Cave keeping his audience in check when required. I have seen so many responses online where people have been in his presence and, after hearing him talk, have found fresh impetus and guidance. It is rare one gets that from an artist; so many new connections have come off the back of Cave’s conversations. Whilst there has been some great interaction and shared experiences online after the tour, I am already seeing people bonding over Ghosteen. Not only are people expressing how the album makes them feel; they are posting comments and saying how the music is true to them – fans saying how the music is familiar and they can identify with Cave. Many have experienced loss and tragedy; the music throughout Ghosteen is going to resonate with those who need belief and direction. I know every artist can unite people and strike up conversation, but there is something almost unheard of when it comes to Nick Cave. I associate modern music with digital distraction, endless promotion and a sense of the familiar. In some ways, Cave is stripping away all the layers and baubles of modern life. The music, as I said, goes deep and there was not this months-long promotional onslaught for Ghosteen. Instead, this incredible album has bene released and people are connecting because they feel like Cave’s songs are about them; that they are moved hugely by what he and the band are saying. That is an amazingly special and unexpected gift in these times.

PHOTO CREDIT: Muir Vidler

Whereas one might have expected something quite soothing or ethereal to open the song, Waiting for You, instead, there is a clatter and rumble of percussion that has definite rumble and intent. There is an industrial sound to the drums; a sound that seems familiar but, with Nick Cave, you know the song is not going to be a Dance tune or something similar. Instead, it is a brilliantly atmospheric moment that opens a truly gorgeous song. The piano comes in and replaces the percussion. It is slow and meditative; it has a grace and elegance but, alongside that, there is a sadness that is accompanied by hovering, elevated electronics. Before Cave sings a word, you get this picture of an abandoned scene or night-time drive. Our hero talks of the cool evening breeze and the heroine’s hair being caught and blown. Driving along, they park up by the beach. Cave’s projection is measured and slow; it allows the words to breathe and unfold as one hears every emotion and ounce of his soul going into the song. It seems that some things are better now said and it is best to remain in silence. Whether Cave is referring to a romantic moment where they are capturing the beauty of the surrounding or whether we are experiencing a tense encounter, I am not sure. One cannot help but fall for the sheer wonder of Cave’s delivery and the passion that he puts into the song. The woman’s body is an anchor that never asked to be free; she is in the business of making the hero happy. There are a number of possibilities one can extract from that but, for me, there is a slight hesitancy to this love. One could rush to visions concerning women of the night, but I think Cave’s tryst is purer, yet there is a slight fracture or pause. It makes for arresting listen as the chorus allows the song’s title to be stretched and unfolded so powerfully. Cave’s voice never seems too heavy or mordant. Instead, he is quivering with emotion and desire.

PHOTO CREDIT: Anton Corbijn

It makes for one of his most beautiful and moving moments ever. Strings echo and shiver as Cave talks about “a Jesus freak” and a priest running through the chapel. I do wonder whether Cave meant his words to be taken literally or whether there is this sense of metaphor and imagery that symbolises a sense of turmoil and change. It is fascinating unpacking the words and trying to decipher where Cave’s mind is. This heroine’s soul is an anchor and it seems like it is keeping Cave safe and warm. It never asked to be free and, as he sings those words, I wonder whether that is a regret for both. One can interpret that sentiment and feel like Cave is reliant on the heroine and she is being tied down. I think the lyrics are referring to two sweethearts who are, maybe, in different spaces or are divided at the moment. The chorus has a real sense of desire, which makes me think the two are not together. It seems a little bit of faith can go a long way and, my mixes religious imagery and language together with vocals that are exquisitely tender and heartfelt, you cannot help but be affected by Cave’s plight. I had to come back to the song a few times and just play the song without thinking. I just let its power move me and inspire imagery. It is one of the finest tracks I have heard from Nick Cave & The Bad Seeds, and Waiting for You ranks alongside the most beautiful songs of 2019. If Skeleton Tree seems to carry a heavy heart, I do think songs such as Waiting for You have a degree of hope and feeling of betterment; like things will turn and we can recover. I would encourage people to listen to the entirety of Ghosteen, but Waiting for You really stood out for me.

PHOTO CREDIT: Jesse Frohman

I have already provided a link to Nick Cave’s tour dates and he will be taking the band on the road. In fact, at the moment, it seems like the Conversations with Nick Cave juggernaut goes to the U.S. and will be back in Europe very soon. Now that there is a new album out, there is going to be demand for Nick Cave and the Bad Seeds to hit the road – whether there are plans to do that between other Nick Cave dates or wait until, next year, I am not too sure. A lot of legends seem calm down and restrict their workload as the years go by. Nick Cave, by contrast, seems to grow more ambitious and wondrous with the passing of time. The albums keep on getting better and better; Cave is endlessly fascinating and engrossing. We will need some time to compute Ghosteen and let all the songs unfurl and do their work. So far, I have heard most of the album and I am going to spend the weekend going back in and listening. I know Ghosteen will be considered one of the defining albums of this year. As this decade comes to an end, maybe Ghosteen will make it into the top-ten albums of the 2010s. I will let people make up their own minds about Ghosteen, but it is clear the album is very special indeed. I shall round things off in a bit. I wonder what is coming in the next year or so for Nick Cave & The Bad Seeds. There is already speculation regarding who might headline Glastonbury in 2020 – it is the fiftieth anniversary and some big names are already rumoured. Whether Taylor Swift, Paul McCartney or Fleetwood Mac will headline – or all three perhaps; they are the favourites right now -, I am not sure. It is clear Nick Cave and the Bad Seeds need to be added to the conversation as I feel they could deliver a truly memorable Glastonbury headline set. That is all speculation and a way off. In the next few months, there will be more Conversations with Nick Cave and it will be interesting to see what questions arise in regards Ghosteen and its inspiration. Cave does not give too many media interviews, so these dates are a rare opportunity to learn more from one of the greatest songwriters in the world. I shall end the review here and urge people to stream Ghosteen. Make sure you grab a copy when it comes out in November. When it comes to this treasure of an album, one discovers…