Nick Cave

[Indy]

Otkud to? Kukalo se ovde i ranije, svako malo neko izvestava kako ga Cave nije pitao sta sledece da snimi.Nego, zasto se ti uopste javljas ovde? Koliko se secam, vec si rekao svoj sud™ o Push the Sky Away, jel' ga ponavljas za slucaj da je neko zaboravio i slucajno se zajebao da uziva u tom albumu?"Ne volem nista ovaj gulash, al moram da pljunem u njega, greota da drugi jedu". Otprilike to.

[Weenie Pooh]

Pa nisam shvatio da je tema isključivo novi album? Mogućnost da će Cave opet da svrati u Srbiju (jel' to potvrđeno?) je meni vrlo zanimljiva i pored najblaže rečeno zaboravljivog™ Push the Sky Away.

[Indy]

To (o albumu) je samo tvoje misljenje, nemoj ga iznova i iznova predstavljati kao kakav utvrdjeni fakat. OK, ne svidja ti se, stavise, i gore od toga... Ja ti sigurno necu promeniti misljenje.

[Аврам Гојић]

Pa nisam shvatio da je tema isključivo novi album? Mogućnost da će Cave opet da svrati u Srbiju (jel' to potvrđeno?) je meni vrlo zanimljiva i pored najblaže rečeno zaboravljivog™ Push the Sky Away.

14. jul, Novi Sad, Tvrdjava, potvrdjenopojedinacne karte za Exit su 2.990 dinarajbt stvarno cete da se svadjate oko rok albuma? sa jedne strane me nervirate, a sa druge strane mi je super sto imate entuzijazma za takve stvari i nije vas zivot pretvorio u dosadnjakovice.

[Indy]

Ne, ja se ipak osecam glupo sto sam reagovao, naravno da WP ima pravo da napise sta god hoce (bez da mu ja solim pamet).(Postoje za to reagovanje razlozi, ali nemaju veze sa forumom).

[Malkmus]

Dve skorašnje set liste (dve reči, za mene) u spojleru.

Primavera Sound 2013We No Who U R Jubilee Street From Her to Eternity Red Right Hand The Weeping Song Jack the Ripper Tupelo We Real Cool The Mercy Seat Stagger Lee Push the Sky Away...i sa regularnog koncerta.San Diego, CA, apr 16We No Who U RJubilee Street Wide Lovely Eyes Higgs Boson Blues From Her to Eternity Red Right Hand Stranger than KindnessDeanna Jack the Ripper Your Funeral... My Trial People Ain't No Good Love Letter Into My Arms The Weeping Song The Mercy Seat Stagger Lee\Encore:Papa Won't Leave You, HenryTupelo Push the Sky Away

[John Coltrane]

U Areni je objasnio, sa Grinderman sam ushlagiran zaspao na nekom vip stage (istrosio se na Disciplini i sa Portishead ) pa se probudiio sa Glogovcem na shanku :), tako da za ovo trece ne znam ni da li bih ishao (da ne kvarim utisak)

[Indy]

I've got a foetus on a leashI've got a fetish on the loose

[Sludge Factory]

A day in the life of Nick Cave20,000 Days on Earth, a documentary about the singer by the artists Iain Forsyth and Jane Pollard, creates a fictionalised 24 hours in his life in which he watches Scarface with his 12-year-old sons and drives Ray Winstone along Brighton seafrontAlexis PetridisThe Guardian, Thursday 27 June 2013 19.00 BSTI am sitting in a small estate car, which is tailing a black 1980s Jaguar XJ, in which Nick Cave is pretending to chauffeur Ray Winstone along Brighton seafront, eavesdropping on their conversation via a listening device. They are supposed to be discussing the transformative possibilities offered a rock star as opposed to those offered an actor – Cave has previously expressed the opinion that, unlike an actor, a rock star can never truly remove the mask they have created for themselves, even when offstage – but the conversation seems to have gone slightly off-piste. It has shifted from Cave's early career in Melbourne ("You never wrote a song on the beach? But you're an Australian!" splutters an incredulous Winstone, not perhaps entirely au fait with the oeuvre of the Birthday Party, which was famously light on carefree paeans to the sunkissed sands and bikini-clad lovelies of St Kilda) and has now settled on the unlikely subject of fish and chips. Like so many things, Cave attests, they are of a superior quality in his homeland to those in Britain: "The fish and chips over here are fucking terrible," he complains. This suggestion appears to sting Winstone's sense of national pride. "If the fish and chips are so fuckin' good in Australia," he snaps, "why don't you fuckin' move back there?"Eavesdropping on Cave and Winstone arguing about fish and chips while pretending to drive from Brighton to Rottingdean feels a deeply odd way to spend a wet Wednesday afternoon, but then an atmosphere of strangeness seems to have attached itself to 20,000 Days on Earth, artists Iain Forsyth and Jane Pollard's feature documentary about Cave. For one thing, it has thus far been shot in secrecy. It was already long underway when Cave released his 15th album with the Bad Seeds, Push the Sky Away. The pair, who first worked with Cave on the video for his 2008 single Dig! Lazarus Dig!, began shooting at the singer's invitation during the writing sessions for the album. "They filmed everything," he says. "They had a camera set up in my office when I'm just writing the first lines of things, picking out the first melodies on the piano. That's kind of why I let this go in the first place because you just don't have cameras on bands doing the actual thing. In the past, I've let cameras into the studio, but we've basically already finished the record. So you get shots of people sitting around in the control booth, listening to music."Nevertheless, Cave made no mention of the film in the interviews he gave to promote its release earlier this year. "I think one of the reasons why we didn't talk to anybody about this is because we didn't know exactly what it was going to be before we started making it," says Pollard, sheltering from the rain in a Winnebago parked by Brighton marina. "We had an ambition, and we said to Nick: 'Just trust us.' And it's only now through actually beginning to shoot it and see what's happening that I think he's beginning to see what we meant. Every time we show him rushes, it's like: 'Good, I get it now, all right, that makes sense.'"It seems surprising that Cave agreed to a documentary at all. It's de rigueur for journalists who meet him to note what a charming and funny interviewee he is, largely because there was a significant proportion of his career when he was anything but. Nevertheless, there's no mistaking that he's also a guarded interviewee, keen to protect his privacy, weary of having the details of his past raked over and fond of telling journalists to "Google it" rather than retell old stories. What made him think a documentary was a good idea? There's a very long pause. "I don't really know if it is a good idea," he says. "I'm extremely reluctant to be filmed. But I trusted Iain and Jane enough to give them complete access to the studio and they've just expanded the idea into a feature-length, cinematic-style documentary. The thing is, they presented something that wasn't just telling the Nick Cave story we do or do not know. It's their idea. I'm just sort of being blindly told what to do."20,000 Days on Earth certainly takes an unconventional approach. "The thing that seems so kind of prevalent in contemporary music docs is that they're all about getting behind something, revealing something, taking away the mask, taking away the myth," says Forsyth. "The important thing for us was not breaking the mythology," which fits with the duo's work as visual artists: they have in the past restaged both David Bowie's final performance as Ziggy Stardust and the Cramps' 1978 gig at Napa Mental Institute, and made two films about the emotional potency of mixtapes. 20,000 Days on Earth was influenced, they say, by One Plus One – in which Jean-Luc Godard intercut film of the Rolling Stones recording Sympathy for the Devil with staged footage involving black power militants and an actor purporting to be the personification of democracy – and The Song Remains the Same, the oft-derided Led Zeppelin movie featuring lengthy fantasy sequences in which the band members rode to the rescue of fair maidens and climbed mountains on quests for self-enlightenment. "A kind of odd failure of a film," laughs Pollard. "But its strangeness is brilliant, its ambition is just glorious. There's a kind of drive, or at least a push, to just create a new language for how you might consider rock music, or the rock star. I mean," she adds quickly, "it's not going to be Nick on a white horse with, you know, a sword. Although he'd love that."Inspired by an unused line in Cave's songwriting notebook, in which the singer had worked out that he was precisely 20,000 days old when work on Push the Sky Away commenced, the film tells the story of a fictionalised day in his life, filled with scenes devised by Forsyth and Pollard "as kind of constructed real situations in which Nick can improvise, we don't script at all": writing in his office, having lunch with his main songwriting collaborator Warren Ellis, and visiting the Nick Cave Archive, which exists – alongside those of Barry Humphries and Dame Nelly Melba – at the Melbourne Arts Centre, but was shipped to Brighton for filming. "There's some incredible photographs, a series of slides of a Birthday Party gig in Germany where a guy jumped onstage and actually pissed on the bass player Tracey Pew," says Forsyth. "And Tracey Pew punched him offstage. Nick talks it through, almost like a football commentary." Driving between his various destinations, Cave explains: "The car becomes this place of imaginings, I guess, where the thoughts I'm having materialise in the forms of people that have played some part in my story." Hence Ray Winstone, who starred in The Proposition, for which Cave wrote the screenplay: another passenger turns out to be his one-time duet partner Kylie Minogue.For all the talk of artifice, the film seems remarkably intimate. The rushes I see contain a scene of Cave eating toast in front of the television with his 12-year-old sons Arthur and Earl, the cosy domesticity only slightly undercut by the fact they're watching the bloodsoaked closing scenes of Scarface: "Say hello to my leedle friend," they chorus together. Another scene features Cave visiting a psychoanalyst: not, he swiftly points out, a regular occurrence in his everyday life. "The interview went on for two days," says Pollard. "We thought it might take a day for him to settle in. How wrong we were. Within minutes, it was completely guard down, doors open." Cave describes the experience, a little surprisingly, as "a pleasure": "You know, I haven't done much of that sort of thing, but he was a very clever guy. I have absolutely no idea what they got. I mean, I have a vague recollection of what I said, but what it looked like, I don't know. There's certain things within this film that I have no idea how they're going to go. But you've got to take risks. I mean, there's so many documentaries out there about people working in the arts that you just kind of sleep through. You know, what I don't want is a documentary that gives …" His voice trails off. "You know, I want the whole thing to be imaginative and interesting and … I don't know. Fuck, I don't know what my hopes are, to be perfectly honest."I really like the idea behind the documentary, even though some of the scenes are kind of terrifying. There's a lovely balance between what's set up and what's ad-libbed. Scenarios are set up and then allowed to run in a free, unrehearsed way. There's something about the way they go about things, you don't really notice the cameras." Plus, he adds, "they make you look good. Which is really the main thing, right?" And he heads back to the Jaguar to prepare for driving Kylie Minogue from Brighton to Shoreham.

[vladavsnarod]

super je ova verzija, samo publika kvari ugodjaj i glupe zastavehttp://www.youtube.com/watch?v=DjIezh3oemk

[laki strajk]

Kompletan nastup Glasto 2013http://www.bbc.co.uk/events/ej58q9/acts/ar6wrz

[ivy]

"20,000 DAYS ON EARTH" na Sandensuhttp://www.rogerebert.com/festivals-and-awards/sundance-report-20000-days-on-earth

[Indy]

[Indy]

[Indy]

Nick Cave’s 30 Greatest Songs

 

30 Nick Cave & The Bad Seeds

NATURE BOY

From the Bad Seeds album, Abattoir Blues/The Lyre Of Orpheus (September 2004)

Cave’s only song thus far to reference “wisteria”. This song about love found at a flower show was given polished, poppy backing from the Bad Seeds, somehow reminiscent of Cockney Rebel’s “Make Me Smile (Come Up And See Me)”.

Robert Forster, The Go-Betweens: I like this song because it plays against type. There is some “ordinary slaughter” and “routine atrocity” in the first verse, but this is only to set up an ideal of beauty, which Nature Boy spies in the female form on his wanderings through a flower show in the following verse. Maybe because the melody suggested ‘pop song’, there is a lightness to the lyric, and some very funny and well written self-mockery in the portrait the singer makes of himself in relationship to his loved one. Some people have Nick Cave and The Bad Seeds as black; with murder, Victorian drama, and the Bible at the front. ‘Nature Boy’ is another in a run of songs that go back through the band’s catalogue – including ‘Breathless’, ‘Lime Tree Arbour’, ‘The Ship Song’ and ‘Sad Waters’ – that show the band and its chief songwriter are also at their best when making music with a softer touch.”

 

Read more at http://www.uncut.co.uk/node/16783#lLs1w4Gxpgc9jwQJ.99

 

 

29 The Birthday Party

 

http://youtu.be/T8xc0cknAj4

JENNIFER’S VEIL

From the Birthday Party EP, “Mutiny!” (November 1983)

Mysterious gothic narrative concerning a woman “who drew the curtains on her face/Ever since they came and burnt the old place down…”

Bobby Gillespie, Primal Scream: “I have good memories of listening to this in my girlfriend’s bedroom back in Scotland, maybe just before the Mary Chain. She had all the Birthday Party records. We used to listen to ‘The Bad Seed’ and ‘Mutiny!’ EPs a lot. ‘Jennifer’s Veil’ is a strange, beautiful song, quite dark and mysterious. And also it’s unlike anything else The Birthday Party did. A lot of their songs had stuttering rhythms and this had a quite gentle, almost psychedelic feel to it. It’s a weird little song. The lyrics are quite abstract, they don’t really tell the whole story of what’s happening. There’s just little fractured images and you have to use your imagination to make up the rest.”

 

Read more at http://www.uncut.co.uk/node/16783#lLs1w4Gxpgc9jwQJ.99

 

28 Grinderman

 

HEATHEN CHILD

From Grinderman 2 (September 2010). Released as a single: August 2010.

The new Grinderman single, and an example of Cave’s quest to break from narrative songwriting into something more impressionistic. The scene: a bath, wherein a young woman is confronted by her unconscious urges.

Nick Cave: “I love this song, and I’m really pleased with the lyric. It was taken away and worked on quite a lot after the fact. But the essence of that song is kind of a riffing and an ad lib on the idea of a girl in a bath – being kind of raped by the monsters of her subconscious. She’s the innocent trembling on adult-hood – that was the theme. And I’m really pleased about where that went because it’s obscure, magical and non-narrative enough to keep you interested. You don’t have to sit there and follow the narrative. It becomes part of the song itself. I feel I’m getting to some simpler, truer place with a song like that.”

 

Read more at http://www.uncut.co.uk/node/16783#lLs1w4Gxpgc9jwQJ.99

 

27 Nick Cave & The Bad Seeds

 

SAINT HUCK

From the Bad Seeds album, From Her To Eternity (June 1984)

The first song the Bad Seeds recorded. A cautionary tale imagining Mark Twain’s Huckleberry Finn trading “the Mighty ol’ man River for the Dirty ol’ Man Latrine.” Needless to say, it doesn’t end well for poor old Huck…

Hugo Race, ex-Bad Seeds: “Nick has a lot of presence. And a great sense of humour. People don’t tend to see that, but it’s there. He can tell a joke, but he’s more about picking up on a conversation and steering it somewhere else, which often reveals something about the people who are talking. The first time I played with Nick was learning the songs from the ‘Mutiny!’ EP when we were touring Australia.

“The Bad Seeds’ brief was to come up with a new take on everything; Nick was really looking for originality and authenticity. With ‘Saint Huck’, the bass work was already there when I joined the band, then we added things. The lyrics were rewritten a lot, too. That process of elimination was key to the way we worked. For Nick, From Her To Eternity was an important record. He had to make a break with the past, as well as do something that didn’t reflect The Birthday Party but had the same energy.”

 

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26 Nick Cave & The Bad Seeds

 

HENRY LEE

From the Bad Seeds album, Murder Ballads (February 1996). Released as a single: February 1996.

Based on a trad folk song about a woman who kills her man for failing to love her. Recorded here as a duet with then-partner PJ Harvey.

Alison Mosshart, The Kills/Dead Weather: “It’s a beautiful story, and I love the way Nick sang it with PJ Harvey. The storytelling is very visual – when he rejects her, she stabs him with a penknife and throws him down a well. It’s a pretty normal story. It’s about love that goes really wrong. And love that was always meant to go wrong, I guess. His lyrics are amazing, I don’t know if anyone else could sing them. He never sounds fake. I’ve admired Nick for years. But when I did finally get to meet him, it was pretty weird. I went over at a party and he was screaming over my shoulder, as I was trying to shake his hand. I was heartbroken, and for two years I thought Nick Cave was a horrible person.

“Then the next time, the Bad Seeds were playing the same venue as us and we went to see them play, and afterwards I talked to Nick all night, about a million and one things. He swore he didn’t believe me about our first meeting, he probably thought I was delusional. But I got him to recreate it, and took a photo of it, with him screaming in my face and getting ready to punch me…”

 

Read more at http://www.uncut.co.uk/node/16783#lLs1w4Gxpgc9jwQJ.99