I love Nick Cave. No, I mean it. I love Nick Cave. That should be abundantly clear to anyone who knows me by now, the amount that I go on about the baritone beast of Bad Seeds fame. Some of his songs are the most special songs in the world to me. In my teenage years, I’d spend hours curled up on my box-room bed blasting The Boatman’s Call, lamenting with the Goth God that people just, truly, Ain’t No Good. I love his writing – see The Sickbag Song, in which his words weave webs of sheer narrative bliss. I love his ambitious collaborations, such as that of fellow Australian crooner Kyle Minogue Where The Wild Roses Grow, with its John Everett Millais music video aesthetic and strange synergy between the two most unique of talents. I think I love most of all his personality, or rather what I gather from it from his appearances in interviews and films like the 2007 epic western The Assassination of Jesse James by the Coward Robert Ford and, of course, Oscar-robbed oligarch of animated excellence Shrek 2. Let’s excuse his recent comments in regards to a certain (rightly) shunned Smiths vocalist, and chalk it down to Cave’s age, just this once please. Because Cave oozes a distinct humility that is especially likeable due to the sheer amount of his creative successes. I have to admit, if that were me, I would be absolutely lauding my talent over everybody. No way I would be hiding my light under bushel. That light would be shining like a lighthouse, baby. So that’s why it is particularly disappointing for me to have to impart some honesty in regards to Mr Cave here, when I tell you that his recent February release, Carnage in collaboration with Warren Ellis, let me down somewhat. I did like it. But I didn’t love it, and I so wanted to. While I don’t deny the genius and usual comedic flair that Cave injects into all of his projects that this one is no exception to, I do question whether this is really just an album of Ghosteen rejects. Most of all, I question what direction is best next for Nick Cave.
Now, don’t get me wrong. I definitely still doted on this record. His mesmerising quality has not been totally lost, worry not. Some tracks did remind me of the theatrical twists and turns of 2008’s Dig, Lazarus, Dig!!!, which I liked greatly. White Elephant for me was, definitely, the standout track from the record. Firstly, for it’s lyrics –“I am a Botticelli Venus with a penis riding an enormous scalloped fan” isn’t really the sort of lyric that you forget in any hurry. The threat of “shooting me in the f*ckin’ face if [I] come around here” is quite the deterrent from Cave and his Elephant-tear ammo-filled gun, let me tell you. Secondly, in terms of its technical composition, which is where Ellis’ collaboration choice truly shines – he’s a jack of all trades. He is a master of all instruments, and many wind instruments that I’m not actually sure of are at play in this record. It’s very typically Grinderman, which from Ellis, we can of course expect. But most strikingly his skills sparkle when you consider how many of the tracks sound akin to film scores, with the use of strings. Ellis is known for his scores to Mustang and War Machine. With softer songs like Lavender Fields and the achingly beautiful Albuquerque, which made me want to wail for all of the things that I haven’t yet shed tears over, the piano and strings truly evoke the tragic ending of a black-and-white film that I’ve just made up in my head during the 3:57 minutes I was lucky to be listening to it. Carnage is chaotic, but gorgeously so. It’s surreal. It’s senseless. It’s…like everything Cave does. Special, like I mentioned earlier. Cave feels like your closest friend in the world when you listen to him sing. Not many artists can do that, really. Not many artists are anywhere near in the same league as Nick Cave, really.
But this does not mean that it remains completely unscathed by criticism. Despite there only being eight tracks present on the EP, some certainly felt a bit…rushed. Hand of God, supposedly the lead from the record, is probably my least favourite of it. I found it a bit dreary, and in truth, almost as though Cave was parodying himself. It was far too familiar to so much of his previous back catalogue. It also lacked originality in some senses in that it all seemed very Eno-esque. I was reminded even of some of Eno’s ambient works as I listened to this record, the reflective tracks heavy in piano and less reliant on vocals driving the songs forward. It just didn’t really have that spark that Ghosteen certainly possessed.
I just worry really, that as the years go on, all Cave seems to offer us is content – and perhaps an oversaturation of it at that. Cave consistently churns out record after record. On the one hand, this is testament to his incredible creativity that he seemingly struggles to rein in at times. It seems to burst from the very seams of his brains and shoot right out of every one of his senses. On the other hand, the argument of quality over content could certainly be applied here, as a few of his records I have listened to have felt like excuses to ram records out rather than to actually carefully craft meaningful music. Across his work with The Bad Seeds, The Birthday Party, his solo stuff and his soundtracks, Cave has released 30+ records. More than half, particularly in more recent years, have been a bit ‘meh’. It pains me to say it, as I idolise the man, but I can’t help but wish that he would perhaps go in a different direction with his next work. It’s all well and good collaborating for a fresh sound, but that can’t be achieved when it’s being done with somebody you have worked with for literal years – a former bandmate like Ellis. I want Cave to flex his creative prowess and think a bit more out of the box. He is the best when he is at his most random. If you hear of a collaboration or project that Cave is planning and think, hmm, that’ll be a bit weird, won’t it? then you can guarantee that that will be his next magnum opus.
So. In short? The record was chaotic. It meant a lot, while all at once not really meaning anything. It was a mish-mash of ideas and genres, some of which paid off, whilst others needed a bit more close careful attention and preening to. Here’s hoping that Cave’s next album gives us something a little bit different. Maybe a musical makeover is required for our favourite Aussie. Regardless, Cave still remains one of my favourite humans, and the undeniable King of Black Suit Jackets. I just wish he’d do another Kylie collab. Can’t Get Red Right Hand Out Of My Head, anyone?
Listen to Nick Cave & Warren Ellis’ new album, Carnage, below. Let us know your thoughts in the comments!