GHOSTEEN: Predictions and speculations on the upcoming Nick Cave and the Bad Seeds album

After Nick Cave revealed on his interactive site, ‘Red Hand Files’ that a new album is set to drop it is difficult not to speculate on the artistic direction that the band has taken. Although he has been transparent that new material was in the works, very little is known about it, and the release comes with little warning. What we do know is that the record will be called ‘Ghosteen’. It is a double album with at least a rough concept. As he described it, “Part 1 comprises of eight songs, Part 2 consists of two long songs, linked by a spoken word piece. The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit.” Cave also shared the cover of the album, which is pictured. 

What clues do we have then as for what to expect from Ghosteen? It makes sense to turn first to the Bad Seeds previous album, the 2016 release, ’Skeleton Tree’. In Skeleton Tree there is a poetic stream of consciousness style that Cave seems to have perfected which is particularly apparent on the first 5 tracks. The lyrics to those songs might as well have tumbled out of nowhere, but they are never without direction, purpose and emotion. This shift perhaps began 3 years earlier though, on the album ‘Push The Sky Away’ and is most apparent on the songs ‘Waters Edge’ and the b-side ‘Lightning Bolts’. It is a style that has much in common with Patti Smith, who Cave has mentioned favorably multiple times in recent years. Another influence could have come from his dedicated interest in the unflinching and visual style of poet Fredrick Seidel. Perhaps though, Cave may have simply developed more of a free form approach that mirrors the playing of collaborator Warren Ellis. Ellis is more of a jammer than any Bad Seed in history, and as his closest collaborator, it makes sense that he would be influential. Either way it is effective and we are likely to hear an even more lyrically abstract Nick Cave on ‘Ghosteen’. As Cave’s wife, model and designer Susie Cave puts it, these are his “fever songs”.

As far as the cover goes, It seems to depict an overtly tacky version of religious paradise. Coming from Cave though, one could be forgiven for internally constructing a much more Boschian version of this scene. Perhaps by offering a visual cliche, cracks in the paradise are implied. That said, the cover is still beautiful without being ironic. Hidden in this overcrowded and naive version of heaven, there something subtley sincere and special.   

The album title itself, ‘Ghosteen’ (or ghost teen), is almost certainly a reference to his son Arthur, who died tragically in 2015. I hope that Cave feels satisfied with the album as a tribute to his son, an act of healing for himself and his family, and that for the rest of us it serves as a reminder of how purposeful and important art can be in our lives when we need it most. When Cave states, “Ghosteen is a migrating spirit”, he likely means that Arthur is present in all of the songs on the ‘children’ side (or both sides). Just by calling it the ‘children’ side though implies plurality and suggests that it is not just about Arthur. It may start with his own experience but broaden into concepts of childhood and innocence that exist universaly. 

As far as The Bad Seeds releasing a concept album of sorts it is not something I would have guessed at or hoped for. I am not the biggest fan of concept albums and really enjoy that Bad Seed songs are typically free standing structures. To put it bluntly I really hope that all of the songs don’t mush together too much. The structure of this double album seems interesting though and it is entirely possible that one side will be a somewhat traditional set of songs while the other will be way off in outer space. Concepts aside the approach could be quite exciting. The long form songs on the parent record may require more effort from the listener and in turn have a lot to offer if we are able to set aside our collectively shortening attention spans. For me I can’t help but wonder how these long form songs will be incorporated into the live setting. In recent years the band has been really honing their live show into a refined state and these longer, possibly stranger songs could be difficult to include. They could also help to evolve the live show and act as a positive disruption. One live outcome of course could be playing the album from start to finish in order. The Bad Seeds have so far resisted playing albums from beginning to end in the live setting and I am glad for it. I enjoy the unexpected and ever-changing quality of a live show and find it disappointing if it does not exceed the record in some ways even it falls short in others. To be married to the song order chosen on the record can be a bit diminishing to the very nature of a live show. However, there is always an exception and if Ghosteen is released as more of a singular musical piece, there may be some significance to playing the songs in order.

Finally a major contributing factor lies on the input of whatever the current lineup of Bad Seeds may be. For instance it is not out to the question that touring guitarist George Vjestica may have played guitar on the new record which could send it into very different territory than the last 2 albums. Since Mick Harvey left the band in 2009 they have recorded largely without a guitar player and the result has defined this later era of the Bad Seeds sound. Still, my perception of the Bad Seeds is that of a large cast of musicians with a diverse skillset. In principle I would rather scour Soundcloud for some unknown bedroom musician creating loops and tinkering with a Microkorg than see it become the central element in band of capable players like The Bad Seeds. The thing is though, the results have been too good to complain about. One small complaint I did have with Skeleton Tree was how low the volume was on bass and drums in the mix. In a lot of ways it was as much Warren Ellis’ record as it was Nick Cave’s and he came through brilliantly. It is just a little disappointing to see the rest of the band fade so far into the background and I hope to see them get a little more shine on Ghosteen. 

At this point it should be mentioned that one of the things that makes the Bad Seeds such a great band is their tendency to land outside of your expectations and produce something that takes time to become acquainted to. I love being caught off guard by Nick Cave and the Bad Seeds and hope it happens yet again with this album. I am only indulging this largely pointless exercise because any time a new Bad Seeds album is announced it is big news to me. I can’t think of another band that has survived for so long without faltering or becoming formulaic. While I reserve the right to be critical of this or any band, book or piece of art, I am really just so excited to hear Ghosteen. I hope that it is a forward moving and multifaceted release and can't wait to listen on repeat!

Artist Interview: Mick Harvey

When I first heard the song "Red Right Hand" 20 years ago I was 15 years old living in Missoula, Montana. It was a gateway into the music of Nick Cave and The Bad Seeds and eventually The Birthday Party, Crime and the City Solution, PJ Harvey, Rowland S. Howard, Anita Lane, and the solo work of Mick Harvey. To this day I am fascinated by this vast network of artists and more often than not, Mick Harvey's involvement is the common thread. His presence is a far reaching and underlying current that among other things serves as an important documentation of a music scene or movement. When listening to Harvey's solo records, there is a dimensional quality that seems to suggest a physical environment. This can be traced to his collaborative work as well, providing other musicians with a productive atmosphere in which to interact and thrive. Combined with Nick Cave's intensity and narrative style of songwriting, this sense of place was instrumental in the telling of a complete story. On the albums of Rowland S. Howard in which Mick Harvey was involved, we are given the most intimate existing recordings and clear portrait of Howard as a solo artist. The same could be said for his collaboration with Anita Lane which yielded some of the only existing flashes of this talented songwriter. Harvey's style of creating gives evidence of a musician who has an instinct for moving in a forward direction and elevating whatever project he is working on without over-handling it. Since leaving The Bad Seeds in 2009, Harvey has released two solo albums, recorded and toured with Einsturzende Neubautens' Alexander Hacke for their project, "The Ministry of Wolves", and collaborated extensively with PJ Harvey on her albums Let England Shake, and The Hope Six Demolition Project. A massive thank you to Mr. Harvey for agreeing to this interview and for offering some insight into his process.

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Some of your past collaborations are with people who seem to possess a sort of unhinged wild creativity but perhaps not the ability to fully realize it. How do you help channel this in a constructive way?

I just work on their ideas with them. All such creativity, or most of it, finds its course eventually. I suppose on some level I have helped realize a lot of creative work which may otherwise not have seen the light of day but it’s hard to work out which or how they would have been without me. It’s also possible I have straightened out some more eccentric presentations in the past but I would hope not. I like to allow the extremities to flourish and perhaps certain people choose to work with me because they know this will be the case.

There is a perception that you were a grounding force in The Birthday Party and Bad Seeds. Did this give you a stronger sense of your role in the bands? Did it ever impede upon your own creativity?

My role in both bands grew quite unexpectedly. At first I was just playing guitar in The Birthday Party and writing the occasional piece of music. As time went by and we wanted more artistic control over the production of our recordings I had a stronger role to play as it seems I have a reasonably good ear. Then I gradually took over management responsibilities and in the end was writing much of the music for Nick’s lyrics. None of these things were in any master plan of mine - they just happened over the course of the years. Once the Bad Seeds began I suppose I just fell into similar roles with the
production and management but less so with writing the music. Nick seemed to want to guide the direction the music was taking after The Birthday Party and that was fine with me. All those new responsibilities had come to me by default. I’m quite happy to just be involved in playing and arranging the music.

When working with Rowland S. Howard or Blixa Bargeld, people might understandably assume that the more experimental parts of a song were their contribution. Was this usually the case? Are there musically unconventional elements that people would be surprised to know that you are responsible for?

Of course. In fact, even when people find out who is playing which guitar part in The Birthday Party they are surprised. I mean, there are usually 2 guitars on most songs up to and including Junkyard. Sometimes I’m playing some other instrument and after Junkyard I moved to the drums but I have the feeling people listen to old Birthday Party albums and assume Rowland is playing all the guitar parts, which is not the case. As for general unconventional elements……you’d have to point them out to me one by one and have me identify them. I suspect these are also the product of collaboration in most instances.

Anita Lane had a unique voice in the scene and her solo albums are fantastic but she is still largely unknown. From an outside perspective her artistic trajectory could be compared with that of Nico's solo work and involvement with the Velvet Underground. Do you think that those
albums will ever generate a greater swell of interest?

It would be nice if her work had more recognition but she is her own worst enemy in that regard as she has absolutely no interest in promoting her work or having any public profile. Sadly, this affects the level of awareness around an artist and their work. I’m still hopeful of reissuing ‘Sex O’Clock’ and perhaps such a reissue would generate new interest and awareness. It can always happen.

Is the reception of an audience a consideration when you are working on a song or is it counterproductive to think about it?

It rarely comes into my thinking or that of people I am working with as far as I am aware. There are occasions where it might cross one’s mind but I suspect that would be more disturbing than informative. To be honest I have no idea what people like about my music and never really have so I can keep on creating in a state of blissful ignorance. I know what I like about it so I just follow that.

When working with another artist, do you find it important to have your style or influence identifiable in the result of the collaboration?

It’s almost always there - it’s hard to stop it getting in there. I’m not a slick professional session musician.

What effect did having an audience present for the creation of PJ Harvey's latest album have? Was there ever a sense that you were performing during the recording process?

I think it made us focus more on what we were doing. And, yes, sometimes there was an awareness the audience was there which made the whole situation have some connection with a performance.

What are some of the typical things that you have to overcome in order to complete a song? Is it different each time or do you always encounter similar obstacles?

Mostly one hopes the music just falls together in a natural way and has that immediacy that makes music so beautiful and intangible. This actually happens quite a lot in my world. Sometimes one struggles to make a song what it should be - in those cases it can be any of hundreds of things which create the problem. Oftentimes it’s worth the struggle, sometimes not.

Your solo albums are fantastic. Is there a greater sense of freedom when you are working on a solo project?

No, I feel much the same as on any project except I’m only answerable to myself which can be challenging.

On "One Mans Treasure" your cover of "Mother of Earth" following "Bethelridge" is very moving and effective as a sequence. Does a lot of thought go into how the songs on an album relate to each other? Is the track order important?

Absolutely. Much time is spent on sequencing an album. These days much of that work is lost as people make their own playlists or just have a few individual songs. I still put a lot of work into it and continue to assume people will listen to the album I have put together even if it’s not on vinyl.

Do you have routines that you go through to stay practiced up on your instruments or is it ingrained at this point?

I agree with Ginger Baker on this point. I never practice, I just play. However, when one is playing a lot one’s playing gets better and one continues to learn, always, about everything.


Do you enjoy challenging yourself with difficult things to play? Does repetitive practice or playing the same song ever get tedious?

I only challenge myself with difficult things to play if I need to play them. I don’t consider music a sporting event. Repetitive practice and playing the same songs over and over can become tedious, or perhaps tedious is too harsh a word. If I like the song in the first place it’s probably more a case of becoming less interesting over time.

Are there any songs that you could listen to or play every day and never get sick of?

La Bamba.

It is sometimes said about musicians that they do it because they don't have any choice. Do you believe this? Could you have chosen a different path?

It’s probably true of some musicians but to put it another way it may be more a case of them being unemployable in any other field. I feel I could have done many different things. In fact I have always asserted I ended up in music by accident and maybe whatever I ended up specializing in would have been by accident. I may yet move on to making films. That possibility is certainly in my head again - more than it has been since the 80s.

UNDERRATED NICK CAVE SONGS

These songs are pretty well known to Nick Cave fans, so calling them underrated is not entirely accurate. They are in no particular order and are not comprehensive by any means. For some reason I have included songs from Grinderman but not the Birthday Party. I dont know why.....maybe that is a different list. Enjoy, and please feel free to post your own picks.


DARKER WITH THE DAY

The picture painted here is a vast kaleidoscope view of the world. It is the story of an observer who's mind is jumping from one subject to the next and the result is that the listener is taken in multiple directions as well. It is sort of a fragile song that seems in danger of sinking from the ambitious but fragmented lyrics. Instead it somehow floats along and works perfectly.


SUGAR SUGAR SUGAR

While "The Mercy Seat" was a clear highlight of the Tender Prey album, another standout is the menacing "Sugar, Sugar, Sugar". Cave's vocals are guttural and malicious while Blixa Bargeld's guitar borders on discordant and threatens to derail the whole affair. Instead it just adds to the tightly wound mood and horror movie suspense as the music chugs along with foreboding intensity.

WHAT I KNOW (Grinderman)

Part of the purpose of Grinderman was that they were louder and messier than Bad Seeds of recent years. However, the quieter songs are some of the best moments of the band. "What I Know" has a bare bones repetitive quality that reminds me a little of a Suicide song like "Che". The lyrics are some of Cave's most candid since the The Boatman's call and it is perhaps the first glimpse of what the next Bad Seeds album (Push The Sky Away) would sound like.

JOHN FINNS WIFE

Another of Caves most interesting narratives...... John Finns Wife is dramatic and engrossing. Apparently, the Henry's Dream album was sort of poisoned for the band by a bad experience with a producer. However, the quality of the songs and dynamics of the band remain in tact and come across very well.

'TIL THE END OF THE WORLD

By offering only part of the story in this fragmented narrative, it ignites the imagination and leaves huge gaps for interpretation and possibility. A strange and eerily beautiful song originally included in the Wim Wenders film of the same name (which offers no further clues to the mysterious lyrics).  

MAN IN THE MOON (Grinderman)

A break from traditional song structure with little lyrical repetition. At barely over 2 minutes, this one passes by pretty quickly. It could have been expanded upon, but part of the effectiveness is that it is pared down to its essential elements. Gets better with each listen.

KNOCKIN' ON JOE

The Firstborn is Dead is often considered to be the Bad Seeds "Blues" album......sometimes to the point of criticism. While there is an obvious reference to Blues music in both style and subject matter, the album maintains a strong identity of its own. This is the Bad Seeds record that I most enjoy listening to from start to finish. It is easy to become immersed in the world portrayed in Knockin' on Joe. It slinks along at varied tempos and is completely engrossing.

LIGHTING BOLTS

While Warren Ellis' looping plays a strong role on the recent album, Push the Sky Away, it is never more apparent than the addictive droning clatter of the B-side, Lightning Bolts.  Caves spoken Lyrics are symbolic and imaginative, referencing subject matters that range from mythology to parenting. The closing line "We are mostly lost" gives a sense of being marooned in modern society. This is an unusual offering for the Bad Seeds and hopefully a hint at their future direction.

WEST COUNTRY GIRL

Supposedly about PJ harvey, West Country Girl is carried by a thumping heartbeat bass and minimal drums while the guitar and violin sail around in unison. Perhaps the most rhythmic offering on the Boatman's Call album, and also the shortest. While it is a well known track, there are at least three others on the album that are usually mentioned first. Lyrically, it is a descriptive and visual love song that is both human and otherworldly.

NEW MORNING

There is something about the lyrics on The Tender Prey's closing track that are universal and timeless, but the delivery is almost sarcastic and dismissive. It is a bit of a misfit on the album and among Nick Caves work as a whole. At first it seems to be at odds with itself even, but in time it starts to make sense. Revisit this song with the lyrics on hand because they are incredible. I hope that The Bad Seeds tour New Morning again at some point, it would be interesting to hear it re-envisioned with the bands current sound.

O'MALLY'S BAR

In the course of 14 and a half minutes we pay witness to a small town killing spree that could be easily turned into a full length movie. Often this song is mentioned for its dark humor and high body count, but it is perhaps overlooked in being one of Cave's most complex character studies and complete narratives. While there is humor at work here, the protagonist's sense of justification and egotistic self reflection is somehow believable and scary. Because of the structure, subject matter and long run time O'Mally's Bar may not be a song that you listen to on a daily basis, but it is still one of Cave's best.