Agree with you completely here, every time Nick started a sentence I got well angsty at the thought of where it might go. Having said that though, there were some really funny scenes, lots of laughs to be had amidst the gloom (which sounds odd to say).
Yeah, for sure. There were a couple of moments when he started talking about something missing and it turned out to be him talking about a song, but for that split second I just got a wave of anxiety. I find it such an incredible thing how he was even able to approach it through film; definitely a couple of moments where you could really see him working hard to keep it together (especially in the taxi, he looked furious at one point).
But yeah, loved the comments from Warren and him about his hair and his son taking the photographs, really wonderful moments. Loved his phrase about using happiness as revenge as well.
Really really good before the film, but we both came out utterly shell shocked; don’t think either of us was expecting to be that emotionally effected by it. Made for a somewhat awkward goodbye. She’s still chatting to me today though so can’t have damaged my chances too much (fingers crossed)
Still digesting the film, has drawn me into a thoughtful and existential mood. Lots of big ideas about life and art and trauma, as expected, but it’s quite different actually seeing someone going through it for two hours.
Could watch master musicians tinkering in the studio forever, so that was great. Quite a few laughs and warmth to the relationships between Cave and others which stopped the whole thing becoming overbearing.
It was powerful the way it skirted around talking about Arthur for a while and then gradually drew closer to the traumatic event through showing Nick and Susie’s interactions. And then, yeah, the end bit hit hard.
Listened to the album once this morning, incredible experience focusing on the music without the visuals. Lots of the first half feels like an extension of the spoken word stuff in the film, just with the backdrop of beautiful piano and Warren Ellis murking and mooding all over. And the last three songs as mentioned are brilliant. Looking forward to getting familiar with it, the lyrics in particular.
The bit with Susie and that painting, fucking hell, devastating. Not had time to fully comprehend the album, there was definitely some that I thought weren’t great lyrically.
All but one song from the album is performed in it. I’d probs hold off on listening to it until after for maximum impact - the flow of the album kind of dictates/works with the flow of the film.
Away from the film the album’s still giving me shivers but it’s not so overbearingly bleak, the songs stand up really well on their own. There’s quite a lot of hope and love between the sadness. Early favourite is Magneto but every track is pretty enthralling.
Ok, just listened in full. It’s hard listen and the emotion, rawness and sketchy nature of its performance comes through. His voice is by no means in top form here. Last two tracks are outstanding, mind.
It did get me thinking though, I mainly just listen to Tender Prey, The Good Son, Let Love In, Abbatoir Blues/Lyre and Push The Sky Away; which of his albums am I missing out on big time? I can’t stand Henry’s Dream and sort of like Murder Ballads.
Kind of an outlier sound-wise, but Boatman’s Call is straight up brilliant. If you enjoy his more recent stuff, Dig! Lazarus Dig! is pretty great. I’d also try No More Shall We Part. I reckon it’s a good kinda mid-point between the early/late stuff.
Tour announced with the Bad Seeds in Australia/NZ starting in January. Wasn’t sure whether they’d tour this album, hopefully a UK tour will follow shortly afterwards.