Favorite Albums of 2016

2016 has been a strange year. A seemingly disproportionate number of musicians and actors have shuffled off this plane of existence. Sure, every year, people are born and people die. But to lose so many musical icons in the span of 365 days? It is hard to imagine though we've lived it, starting with the loss of David Bowie just two days after his 69th birthday in January.

In spite of all those tragedies, 2016 has at least given us several musical gifts to get us through the tough times. Below are my favorite albums of the year, though not necessarily in any sort of order of favoritism.

David Bowie - Blackstar

The genius of this album was apparent to me even when the lead, self-titled single had been the only thing released in late 2015. Embodying the spirit of Bowie in terms of unabashedly reinventing the rock icon, Blackstar was less about rock and roll and more about experimentation, a touch of jazz, many nods to the past, and a farewell that no one could have predicted (I felt he was saying goodbye by the end of the album, but more that this would be the last album and that he'd spend time with family and relax...not that he'd return to the stars so soon). Bowie is one of the few, maybe even the only one, who could turn their death into art. To this day, fans are still finding hidden Easter eggs in the Blackstar vinyl packaging with suggestions that there are many others that people have yet to uncover. It's painful to think this is the end, but I can't think of a more beautiful and touching parting gift from a truly unique artist to his fans. "There's a Starman waiting in the sky..."

Savages - Adore Life

I cannot sing the praises of Savages enough. Dubbed a post punk revival band, I scorn the label for it brings up images of bands like The Bravery, Franz Ferdinand, and Modest Mouse, which may have some musical nods back to the dark 80s genre, but are more influenced by it than anything else. Savages, on the other hand, dish out an English post punk formula that would have fit in perfectly alongside the likes of Joy Division, Siouxsie and the Banshees, and Bauhaus had they been making music in the early 80s as their predecessors were. Savages, to me, are the all-female version of Bauhaus - Jehnny Beth with the same sort of stage presence and theatrics as Peter Murphy, Ayse Hassan carrying the songs with a strong, gorgeous bass guitar turned deep lead, Fay Milton pushing each song along on the rhythm seat, and Gemma Thompson ripping out the same textural art guitar flourishes that Daniel Ash was so known for. Their second album, Adore Life, builds on the successes of their 2013 debut album while adding in a little more experimentation and, in places, slower and more reflective numbers, such as the album's title track. For the complete experience, be sure to catch these bad asses live - an incredible performance from start to finish full of so much raw energy it's unbelievable. It'll be a treat watching what they do next.

Peter Murphy - Wild Birds Live Tour

I've said it before and I'll say it again - it somehow isn't a year if I can't write something about Peter Murphy! In this case, Cleopatra finally gave life to an old House of Blues performance from the ($10 he's shuddering as I write this next bit) Godfather of Goth that took place in April 2000. While official video of that show has circulated YouTube for some time, and numerous bootlegs of the audio have circulated for even longer, Cleopatra finally decided now was the time to give it both a CD and double LP official release. Complete with Peter's interrupted "Indigo Eyes" (where his hand cramps up and he goes "I'm so gothic I'm dead!"), it's about time this show saw the light of day. Now if we could just get a live DVD of the video they took, we'd be golden...

Gary Numan - Here In The Black

It's been a very busy year for synth pioneer (arguably) Gary Numan. Numan has been crowd funding a new album via Pledge Music that brings fans along for the ride from the very beginning, something that is rarely done on Pledge Music (most bands run short campaigns to sell albums that are already finished...here, Numan is starting at the very beginning of writing and recording a new album, offering anecdotes from the studio and sharing rough demos periodically). The new year also brought his live show from the Hollywood Forever Cemetery during the Splinter tour to life. Released as a gorgeous set of picture disc records with an accompanying CD/DVD combo, you get a look at some of the recording of Splinter and most (but not all) of the performance from the Hollywood Forever. Despite some delays, the final product was gorgeous and masterfully done. Now to wait for that new album!

Iggy Pop - Post Pop Depression

The last few Iggy Pop albums have been lackluster at best, feeling like poor attempts to rekindle either the successes of the Stooges or of his early albums. Post Pop Depression, thought to be Pop's final album, is the strong note the proto-punk pioneer needed to go out on. Solid from start to finish, it's an album that doesn't try to hide the fact that Pop has gotten older. It embraces the change and evolution, drawing in enough from the past to pay its respects without trying to imitate or match it. The pairing with Queens of the Stone Age/Eagles of Death Metal member Josh Homme works perfectly, as each compliments the other and their two styles meld nicely. I hope this isn't the end of the music from Iggy Pop, but if it is, this was a damn fine album to go out on.

Nick Cave And The Bad Seeds - Skeleton Tree

How do you deal with grief, sorrow, and despair? Everyone handles these slightly differently and Nick Cave sought to explore those feelings and resolutions through the latest Bad Seeds album, Skeleton Tree. The album's theme, however, hit very close to home and very suddenly when Cave's young son died tragically. While most of the album was already completed prior to the accident, Cave went back and re-wrote portions to incorporate what he and his family were going through in the face of that loss. While it's hard to say how much of any one song relates to the incident, it's easy to feel the despair and heavy chested sorrow through the music. Taking a page from Leonard Cohen's book and crooning and speaking more than singing, this is an album that must be digested over time for its meaning to really hit home. Nick Cave and the Bad Seeds head out on tour early next year to support the album.

Leonard Cohen - You Want it Darker

Leonard Cohen has gone a long way from his hit classic "Hallelujah". Where his songs tended to be somewhat upbeat, You Want it Darker held true to its title, presenting darker themes, both lyrically and musically. Either from age and loss of his singing voice or to drive home the title's point even more, Cohen drops the singing in favor of somber spoken word, adding to the morose musical landscape. Deeply troubled by the passing of a long time friend, Marianne Ihlen, as well as numerous health issues within the last few years, Cohen wrote this album as a farewell of sorts, focusing on themes of death, religion, and the occasional bit of humor. Following interviews where Cohen claimed to be ready to die (then taking back what he said days later), 2016 passed cruel irony over Cohen with the 82 year old icon passing three weeks after his final album was released. We wanted it darker, and we definitely got it.

Mark Gemini Thwaite - Volumes

Though this gem probably won't be found on any major year end "best of" lists (though it should), former Mission/Peter Murphy/Gary Numan/Tricky/etc. guitarist Mark Gemini Thwaite ventured into a relatively unknown territory - a solo album. Not traditionally a singer, Thwaite opted to collaborate with several friends (and vocalists) to stitch together a debut album that highlights the diversity of Thwaite's playing abilities and musical interests. Though the numerous lead voices throughout the album may take some listeners a little more time to get used to, the album is solid in its music composition and vocal pairings. From the modern and brilliant ABBA cover of "Knowing Me, Knowing You" (featuring HIM's Ville Valo) to the infectious number "The Reaping" (with Ashton Nyte), Thwaite's solo album is catchy and makes a solid argument for why musicians should branch out into these kinds of projects more often. Currently touring with Ricky Warwick and the Fighting Hearts, we'll have to see what all MGT has in store for us in 2017.

Black Sugar Transmission - In The City's Arms

Speaking of other Peter Murphy guitarists, 2016 brought a glorious gift from Andee Blacksugar - a brand new double album. Pairing a bit of pop aesthetic to brilliant rock guitar solos, Black Sugar Transmission albums have always been a delightful mixing of experimentation with flair. In The City's Arms is a bit more experimental than his previous material, bringing in more industrial vibes ("Machinegun Sun"), heavier rock ("Puzzle"), and even a ballad here and there ("In The City's Arms"). A champion of self-produced music, Blacksugar proves you don't need a label or huge fancy recording studio to churn out quality music. You can pick up this work of art and his prior albums through his Bandcamp page.

Preoccupations - Preoccupations

When I first saw someone talk about Preoccupations earlier this year, they described it as a melding of Bauhaus and Joy Division. Obviously I had to check it out. Formerly known as Viet Cong, the electronic noise rock outfit's second album is solid. Though I'd say the sound is less a melding of Joy Division and Bauhaus and more of a melding between And One and Joy Division. To each their own, right? Regardless, Preoccupations along with the likes of Savages give hope for the future of dark art rock.


What albums did I miss? What are your favorites from this year? Let us know in the comments!

Favorite Albums of 2015

As 2015 comes to its close and we look ahead to 2016, it's time to do the cliched task of recollecting the albums released in 2015 that we enjoyed. These are not presented in any particular order, but these were some of my favorites. What were some of your favorite albums!?

Duran Duran - Paper Gods

Duran Duran - Paper Gods album cover

Duran Duran returned this year with Paper Gods, an album that proves they still have "it." The album is a rich combination of what Duran Duran was most known for in the new wave/new romantic period of the 80s mixed with a refreshing flourish of pop bravado common to today. Like many 80s bands, Duran Duran still falls victim to the trend of trying to rediscover themselves, failing on the first couple attempts, but then reclaiming that flame with the newest album. For Duran Duran, Paper Gods is the reclaiming album they and fans alike have been looking for. We'll have to see what comes next for the group, but hopefully this is just the beginning of a strong upward trend.

Chelsea Wolfe - Abyss

Chelsea Wolfe - Abyss album cover

We reviewed Chelsea Wolfe's newest album a while back and it has only continued to grow on our ears. Easily her heaviest album yet, Abyss is a concept album of sorts that revolves around the phenomenon of sleep paralysis. Dark, brooding, moody music set to guiding vocals characterizes much of the album. Not only is it the heaviest album by Wolfe to date, but it may well be the most solid. Given how great this album is and previous effort Pain is Beauty, the only place for Wolfe to go is up, regardless of whether the music continues to get heavier or is reigned back. Added bonus - the live show is really strong and Wolfe is such a delightful performer. You're missing out if you've yet to see her on the live stage.

She Past Away - Narin Yalnizlik

She Past Away - Narin Yalnizlik album cover

She Past Away returns with their second album, Narin Yalnizlik. The Turkish darkwave group (yes, Turkish, and darkwave, and lyrics in Turkish!) makes a strong showing on this album, experimenting more with sounds and textures than they did on their debut album. While on the whole I prefer the debut album, this one is not an album to snub your nose at. She Past Away keeps a firm hold on their 80s darkwave roots (similar in ways to Xymox/Clan Of Xymox), meshing broken Turkish lyrics to a lush musical backdrop. The group finally reaches the US for a couple quick stops in California early 2016, but this is hopefully just the beginning of the group's foray into the US.

Killing Joke - Pylon

Killing Joke - Pylon album cover

Another album reviewed earlier this year here, Killing Joke returned full force with Pylon. Easily their strongest album in years, Pylon meshes the post punk aesthetic Killing Joke helped pioneer in the late 70s/early 80s with heavy distortion and an industrial feel characteristic of the group's more recent efforts. Almost their highest charting album ever, Pylon may well be the best album of 2015, for me at least. The group tours the US in 2016, hitting Texas towards the end of January.

Peter Murphy - Remixes From Lion

Peter Murphy - Remixes From Lion album cover

It wouldn't be a year it I couldn't write something about Peter Murphy, now would it? The Godfather of Goth (I can see his eye twitching at me saying this, but I didn't pick the title!) released a follow-up album of unused material from the Lion sessions. Most of the remixes offer an interesting reinterpretation of tracks from the main album. Better yet, the album includes the previously vinyl-only track "Gabriel" in all its multi-layered glory and a very solid series of newly released "The Sound of Water" and the Youth remix of "Loctaine," the one remix I think I may actually like more than the original (though the original take of "Loctaine" is also very strong and a favorite of mine). 2015 was a strong year for Murphy, even if quiet, in a sense. In addition to the Remixes album, two live albums were also released (the full audio from the Mr. Moonlight Tour as one and finally an official recording of the House of Blues show from April 2000 via Cleopatra). However, Murphy only played a handful of dates in June in California. By all accounts, 2016 may be a very loud year for Murphy, starting with a major role in the upcoming psychological thriller BlackGloveKiller.

Music Review: Peter Murphy - Lion

Today's Music Review will be of Peter Murphy's tenth album (ninth studio), 2014's Lion.

Cover art for Lion

If there is one thing to expect about the "Godfather of Goth," it is to expect the unexpected. Over more recent years, Peter Murphy's career has gone places few would expect - starting perhaps with a turn of the century reinvention that spurred 2002's unique masterpiece, Dust, followed by 2004's return to pop rock form that Murphy had previously built his career on, Unshattered, and ending most recently with 2011's rock triumph full of attitude and energy, Ninth.

Lion, produced by Youth (Killing Joke), is everything you would expect from Murphy at this point and still so much more than you could have guessed. With most of the tracks originally written and recorded on the spot in the studio and in the span of only a handful of days, the album flourishes with an immediacy that makes Ninth feel tame in comparison. Richly sprinkled along the slew of single-worthy anthemic songs are compassionate, emotional ballads that still show off Murphy's rich vocal prowess and beautiful lyrics.

The album opens with the first single, "Hang Up," a synth-heavy song laced with screaming vocals that have been atypical of Murphy's career so far. Afterwards, the album winds into the electro-dance song "I Am My Own Name," which may be Murphy's response to much of the criticism he received in 2013 for endeavoring to do a full Bauhaus tour around the world without the other three original members of the band.

Amid the instantly dance-able songs come slower, passionate pieces that are a bit more reminiscent of Murphy's earlier works, including "Compression," "The Rose," and the soaring "Loctaine." Perhaps a nod back to Murphy's roots in the 80s music scene, songs like "Holy Clown" and "Low Tar Stars" carry the feeling of an 80s new wave song created for the dispossessed (the latter in particular sounding like the dark version of Michael Sembello's 1983 hit song "Maniac").

Lion rounds out with other notable songs "I'm On Your Side" and "The Ghost of Shokan Lake." "Eliza" is a slight change of pace for Murphy, not focusing so much on forms of love, introspection, and religious ideologies, but instead on the idea of leaving self-blame behind, being yourself, and celebrating life.

Murphy's tenth album ends with the title track "Lion," which has a lofty, atmospheric background music to fill in around Murphy's lush, deep vocals, creating a song that alludes to some of the many qualities of an actual lion - powerful, majestic, and encompassing. While not a fast, hard hitting song to round out the album in a fashion of how it started, "Lion" leaves the listener with a feeling of completing a musical journey guided by Murphy through introspection, religion, history, and even a glimpse into the future.

Lion is the rock-dominated album many would expect of him following Ninth. Given his desire on the previous album to prove a point of existence and importance, Ninth was in some regards the album Bauhaus never made, serving to assert Murphy's place as a solo musician and a rock star. Lion is the vastly more experimental follow-up to Ninth now that the audience and self-imposed (to some extent, at least) expectations of the former Bauhaus-frontman are squashed. What comes next only Murphy knows, but Lion may well be one of the best works he has done to date, combining much of what he was originally loved for during the Bauhaus years, the complex lyric writing that has persisted throughout his solo career, and an ingenious musical progression that is neither forced nor completely alien to long time fans. This album will certainly be on repeat for a long time to come.

Peter Murphy will be joined by current band members Emilio "Zef Noise" China (bass guitar, violin), Andee Blacksugar (guitar), and Nick Lucero (drums) for a tour of North America to support Lion that begins June 9, 2014 in New York. Peter Murphy visits Austin at The Belmont on July 29th with local favorites My Jerusalem providing opening support once again (they opened for him on last year's Mr. Moonlight Tour).

Music Review: Peter Murphy - "I Am My Own Name"

It's been ages folks, but we're back with more music and show reviews for your reading pleasure. A little late to the bandwagon, surely, but as a welcome back to everyone, today's Music Review will be on Peter Murphy's second single off of Lion, "I Am My Own Name."

Peter Murphy, 2014.

Murphy approaches Lion from an interesting standpoint - it will be his tenth album (ninth studio), the follow-up to his successful rock monster Ninth (his prior work has categorically fit under pop rock where Ninth became his first solo album to firmly grasp the rock field and take it by force), and an album born mostly during a time where the singer revisited the vast catalog of his original band, British post-punk act Bauhaus.

"I Am My Own Name" is a healthy dose of everything you expected given the above (a very gutsy, complicated mesh of emotion and freedom), and yet Murphy surprises the listener by throwing in something utterly new and foreign - synthesizers in a Numan meets Reznor-esque produced dance track for the dispossessed.

The song opens with moody electric violin work from current bass guitarist and violinist, Emilio "Zef Noise" China. In a style that classically eludes to the Middle East (which Murphy, who has called Turkey home for the last roughly 20 years, has done on nearly every album, both subtly and dramatically), this soft introduction begs the question of "What is he doing? What does Murphy got up his sleeve?"

The vocals then kick in, smooth at first, but then with an edge, a harsh scream as Murphy declares that he is "[his] own name." The song then gains in tempo, guitars and drums starting as Murphy tells his story of who he is and is not, merely to say that he is his own name, for what that may or may not mean.

"I Am My Own Name" lyrically appears to focus on some of the recent naysayers who have criticized Muphy both professionally and personally. Some such lyrics include at the beginning "No thin Pixie/white and drawn/no shaded shadow...no jaded shock star..." (Apologies for any errors in the lyrics as they've not been published and this is a best guess) The first part about not being a pixie could be a reference back to the Bauhaus song "Crowds" which has the line "A slim Pixie, thin and forlorn," suggesting that he may not be so innocent and gullible, in a sense, as he was when younger and also not depressed as many have been led to think (also in line with the upbeat tone of the music). "No shaded shadow" to perhaps mean he is no longer going to "hide in the shadows" and not do certain things because it is frowned upon, and not a jaded shock star as there is more value in his work than just going for the easy shock that many stars today try for.

Whether these interpretations hold any merit is, of course, unclear. However, Murphy takes us down an interesting journey with this song, proving once more that he can do something incredibly different, yet still make it his own without alienating the listener. One thing is for certain with this song - if it is performed live and no one is moved by it, either physically or emotionally, nothing will move them.


Lion, produced by Killing Joke's Youth, roars to life June 3rd. Murphy kicks off his North American tour to support Lion June 9th in New York and will visit Austin July 29th at The Belmont (regular and VIP tickets on sale now). Finally, Murphy is in the middle of a Pledge Music campaign to fund the release of a live DVD from the Mr. Moonlight Tour. Check it out here and support today!

Music Review: Nine Inch Nails - Hesitation Marks

Today's Music Review is of the newest offering from industrial rock outfit Nine Inch Nails, 2013's Hesitation Marks.

Album cover for Hesitation Marks

Nine Inch Nails originally formed in 1988 in Cleveland, Ohio, by frontman and only consistent member of the outfit Trent Reznor. Since the group's conception, Reznor has maintained sole responsibility for the band's direction, writing the majority of the music and lyrics, playing most instruments for recordings, and being a main producer of each album itself. The first album, 1989's Pretty Hate Machine, did not fair too well on record charts but in time became one of the first independently released albums to achieve platinum certification (meaning over 1,000,000 copies have been sold of the album since its release). In 1990, Nine Inch Nails began touring and opening for acts like The Jesus and Mary Chain and Peter Murphy (who would go on to become good friends with Reznor and collaborate with him on covers of both Bauhaus and Nine Inch Nails material).

Trent Reznor (left) and Peter Murphy (right), probably around 2006 when Bauhaus was opening for Nine Inch Nails. Photo from Last.fm

Following touring to support the debut album, pressure mounted on Reznor to produce a follow-up album. However, Reznor was having a hard time coming to terms with the label Nine Inch Nails was on at the time, wanting the band's contract to be terminated. Ultimately, Nine Inch Nails was allowed to switch to a different label, but all new material Reznor had been working on had to be recorded under various pseudonyms to avoid the original label from confiscating the material. In the end, the material recorded in this shaky period was released as 1992's EP, Broken.

Broken, despite being only an EP with six songs, was a major success for the group. The album charted in the top 10 and won the group two Grammy awards (one for a live performance of "Happiness in Slavery" from Woodstock 1994 and the second for the album's second single, "Wish"). Despite the successes of Broken and some reworked material on the follow-up EP (released later in 1992, Fixed), Reznor did not take Nine Inch Nails on tour for this material. Instead, he holed up and began writing new material for the next full length album.

1994 saw the release of what many regard as the best Nine Inch Nails album, The Downward Spiral. The album debuted at number 2 on the charts and remains the highest selling album of the band's tenure, having sold more than five million copies worldwide since its release. Despite the album's overwhelming success, none of its singles fared well, with "Closer" being the highest ranking at a rather mediocre 41 on Billboard's Hot 100 chart (the video is below, but be warned, even the director's cut version can be offensive to some people). The album does include the more introspective and, comparably to the rest of the album, mellow "Hurt" which has gone on to be covered by a slew of musicians, including Johnny Cash and Peter Murphy.

It would be five years until the next Nine Inch Nails release, 1999's double album The Fragile. The album garnered much media attention in the year leading up to its release and debuted at number one on the charts. Despite the high debut and media frenzy leading up to its release, the album received mixed reviews and fell out of the charts over the next week, at the time setting a record for dropping from number one to nothing the fastest (a record that has since been broken). Subsequent touring to support the album was funded purely by Reznor. Various remixes of songs from the album would be released over the next year, mostly to poor reviews.

2005 saw the release of the next big album for Nine Inch Nails, With Teeth. The album also debuted at number one on Billboard's charts. Most reviews were positive for the album, praising it as a return to the original Nine Inch Nails sound. Some reviews knocked it, feeling Reznor had run out of ideas and was repeating what he had done before in an effort to just make some money. All three singles from the album ("The Hand That Feeds," Only," and "Every Day is Exactly the Same") would top Billboard's Alternative Songs chart. To wrap up touring for the album, Nine Inch Nails performed at several festivals and amphitheaters in 2006, notably with one of Reznor's major influencing bands, Bauhaus, as openers (and as a fun factoid, this stint of touring would be the last for Bauhaus before their final split).

2007 saw the release of Year Zero, an album that marked a change in the slow release schedule of the prior albums and one that was a concept album aiming to criticize the United States government and policies in place at the time and what their effect would be in the next fifteen years. Overall, the album received largely positive reviews and would spurn a remixed version of the album. The remixed album would fulfill the contractual obligations of the band to Interscope Records, a contract that would not be renewed.

In 2008, messages on Reznor's website appeared and simply stated "2 weeks." There was some speculation of a new album, but the thought of a new album seemed equally silly as Year Zero had just been released. In March 2008, however, two weeks after the message appeared, Ghosts I-IV was released, a 36 track instrumental saga that could be downloaded for free (in part) or purchased on various media formats. The album is licensed under Creative Commons Attribution Non-Commercial Share Alike (basically, people can freely share this album as long as they don't look to make profit from it). A similar "2 weeks!" message appeared on Reznor's website in April, and true to form, two weeks later in May 2008, the double album The Slip was made available as a free download (under the same Creative Commons license as Ghosts I-IV) and later released as a limited edition CD of 250,000 copies.

2009 marked the Wave Goodbye Tour, which was promoted as the farewell tour for the band. The group performed several of their hits from the previous albums and only played minimally off the more recent albums. Following what seemed to be the end of Nine Inch Nails, Reznor went on to form the band How to Destroy Angels with newly married wife Mariqueen Maandig and longtime collaborator Atticus Ross. The group has since released one EP and one full length album. Reznor and Ross would also go on to produce soundtracks to a few movies, notably "The Social Network" and "The Girl With the Dragon Tattoo."

February 2013 marked the official return of Nine Inch Nails with the revealing of a new album to be released later in the year and confirmed touring to support the new album. Throughout the summer of 2013, three singles from the upcoming album were released with the first single, "Came Back Haunted," given a music video directed by the infamous David Lynch (see my review of the first single here: Click Here!)

September 3, 2013, marks the release of the first new Nine Inch nails album in roughly five years - Hesitation Marks. The album title, referring darkly to the first cuts one makes in attempting suicide, sets the tone for what may be one of Reznor's strongest albums yet, combining the musical exploration and textures prevalent on The Fragile with a dash of experimental ambiance found on The Ghosts I-IV with much of the anger and emotion coming through in parts of Pretty Hate Machine and The Downward Spiral. Lost on this album is much of the commercial feel recent albums like With Teeth and Year Zero contained (and especially loses the overproduction feel that both Year Zero and The Slip often had), instead opting for a more exposed look and feel that may even hint at some of Reznor's past personal problems with alcohol abuse.

The album evokes feelings of losing oneself and feeling like you have reached the lowest point without any means of escaping it (as felt in "Find My Way," an emotional slower tune), and feelings of trying to move on but being incapable of doing so (such as in "Came Back Haunted" which may refer to Reznor's attempt to leave Nine Inch Nails behind to work on other things, but inevitably being haunted by a desire to work more in this vein and continue on). Half way through the album is the catchy tune "Everything" which serves as a transformative moment on the album (with the first half focusing on the darkness and feelings of loss and hopelessness and the second half focusing more on finding a way out of that darkness and surviving). The album closes on the dark, brooding instrumental piece "Black Noise," which may suggest that no matter how you try to escape your troubles, they will always be looming around the corner, waiting. There is no escape, only survival.

Some notable tracks to listen to include "Copy of A" (which features a rather unexpected contribution with Fleetwood Mac vocalist Lindsey Buckingham), the first single "Came Back Haunted" which proves to be chilling in its own right, the transformation rock hit "Everything," the edgy and pressing "Running," the brooding and expressive "I Would for You," and of course the final note of the album in its dark glory, "Black Noise."

Compared to the rest of the Nine Inch Nails catalog, Hesitation Marks may not be as good as Pretty Hate Machine or The Downward Spiral. The album however is perhaps one of the best Reznor has made since The Fragile, combining glimpses of Reznor's personal struggles, his methodical composing, enough experimentation to be unique yet not alienating, and enough of an emotional experience to hold up with the best albums from Nine Inch Nails. It is an album that has evolved greatly from the early Nine Inch Nails albums, but I think after a few listens, if you open your mind to the music and understand how a musician can evolve over almost twenty-five years, you start to see where this album is still the same edgy Nine Inch Nails they were back in the early 90s and how they have also become a more calculating and at times introspective brooding entity that slowly washes over you. If you're a long time Nine Inch Nails fan, this album is sure to please. And if you're new to the band, this is one great album to get you started on their full body of work. Be sure to catch Nine Inch Nails on their upcoming Tension 2013 tour (I know I will when they play San Antonio in November).


Rating: 5 out of 5

More Information: Official Site of Nine Inch Nails Official Site for How to Destroy Angels

Music Review: Dalis Car - The Waking Hour and InGladAloneness

Today's Music Review will cheat a tiny bit and be of not one, but two, offerings from the short-lived collaboration of Peter Murphy and Mick Karn - Dalis Car.

Dalis Car in 1984 - Peter Murphy (vocals) on the left and Mick Karn (bass guitar, saxophone, synth, flute) on the right

1982 was a tumultuous year for both members of Dalis Car. For Peter Murphy, it was the sign of the end of Bauhaus coming. October saw the release of The Sky's Gone Out, a decidedly dark offering from the British rockers that was met with mixed reviews leaning more to the negative side of the scale than positive. Among the four members, there was growing tension about the direction in which to take the band. As tensions mounted, the group toured in early 1983 before settling down to record their fourth studio album. It was during this time that Peter Murphy fell ill with pneumonia, spending time in the hospital and unable to record. The remaining members of Bauhaus decided to go forward without Murphy, writing and recording most of the album before he was well enough to come to the recording sessions. This, combined with unease over Murphy being given more of a spotlight by the press (with a semi solo appearance in the opening scenes of The Hunger and appearances in a string of Maxell ads not helping matters any) resulted in the band disbanding shortly after recording for Burning From the Inside had been finished.

Bauhaus in 1982 before the group split. Left to right - Peter Murphy (vocals), David J (bass guitar), Daniel Ash (guitar, saxophone), Kevin Haskins (drums). Image from Ondarock's website

Similarly, Japan's rise to fame was also becoming characterized by immense personality clashes among the members of the group and eventually deep personal clashes (notably between Mick Karn and David Sylvian). 1982 marked the release of Tin Drum which would be the final Japan album. The album resulted in one of the group's most popular songs, "Ghosts," which reached number 5 on the UK pop charts. The group went on a farewell tour following Tin Drum's release. Most of the members of Japan went on to other projects and solo careers of their own.

Japan. Right to left - Mick Karn (bass guitar), Steve Jansen (drums), David Sylvian (guitar, vocals), Rob Dean (guitar), and Richard Barbieri (keyboards). Image from Japan's Last.fm artist page.

How Peter Murphy and Mick Karn met is a bit of a legend and depends on whose story you wish to follow. Musically, Japan and Bauhaus are not very similar (yes, both rose from the ashes of the punk movement, but Japan was more in the New Wave/New Romantic vein while Bauhaus remained more in the post-punk and media-dubbed "Goth Rock" arena). Per Karn's version, his agent had heard of Bauhaus splitting and saw Peter Murphy as the yang to Karn's yin. Where Karn was not known for being a lyricist and vocalist, Murphy was not know as a musician in the purest sense. His agent suggested the two work together, Karn agreed they try it out, and the two parties came in contact. Per Murphy's version, he was conducting a post-Bauhaus interview and was asked who he'd collaborate with if he could work with anyone. Not thinking anything of it, he said Karn's name as he was drawn to Karn's musical genius. Days later, Murphy came home to a message on his answering machine - from Karn himself proposing they start a new project together!

Perhaps even more mythical is how the duo came to call the new project 'Dalis Car'. One prevailing theory that has been denied by Murphy and Karn attributes the name to a Captain Beefheart song (the song being titled "Dali's Car" from his 1969 album Trout Mask Replica). Another theory centers around an art exhibit in the late 1930s that featured a piece by surrealist painter Salvador Dali (dubbed 'Dali's car'). The final prevailing theory revolves around a dream Murphy had one night of being offered to buy a car from Salvador Dali that would grant a "mystical" experience. Regardless of the true series of events, Karn and Murphy agreed to begin a new project in 1984 and opted to name it Dalis Car.

Things were difficult for the two from the get go. Both preferred to work alone on the songs, sending tapes back and forth through the mail as opposed to working together in the studio. This eventually resulted in their first release, 1984's The Waking Hour (with "The Judgement is the Mirror" released as the only single from the album) before the two split to each embark on their own solo careers. Part of what prompted the split stemmed from the difficult writing conditions and how each wanted to dominate the project (since both had seen success in their respective pre-Dalis Car endeavors). Additionally, reviews of the debut album were far from flattering, pointing out that the album was a literal mashup of the duo's strengths with nothing additional from outside the box. While Dalis Car was not nearly as popular and successful as one would think, it did result in something rather positive for Peter Murphy.

Most of the music and lyrics of Bauhaus were not written by Peter Murphy at all. It wasn't until The Sky's Gone Out that Peter Murphy wrote and composed a few songs on his own (particularly "All We Ever Wanted Was Everything" where he wrote the music surrounding some of the first guitar chords he learned to play while Daniel Ash supplemented the lyrics and "The Three Shadows, Pt. II" where Murphy composed all the music). Post-Bauhaus, there was some doubt as to whether Murphy could pull off a solo career. Did he have the experience? Did he have the musicality? Many skeptics thought not. With Dalis Car, Murphy had more free range in writing the music and the lyrics, proving that he could do this on his own. With Dalis Car dissolved in 1985, Peter Murphy went on to start his solo career, releasing his first album in 1986 (Should the World Fail to Fall Apart). His writing style would initially require a muse through which to convey his thoughts and turn them into actual notes, but the unique method would pay off handsomely with a very loyal fan base and near mainstream success with his third album, Deep.

Still going strong, Peter Murphy. From the May 7, 2013 show on the Mr. Moonlight Tour at Webster Hall in New York City. Photo from The Bowery Presents website.

Over the years since Dalis Car first met, Peter Murphy went on to release eight studio albums and even tried to reunite Bauhaus twice, first in 1998 on the Resurrection Tour (which was to hopefully result in a new studio album, but those plans were cut short as the group quickly disbanded again after the tour) and again in 2005/2006 to tour mostly as openers for Nine Inch Nails (2008 did see the fifth and final Bauhaus album, Go Away White, released, but no touring would take place to support the album as the album itself was barely finished due to more struggles among the members of the group). Mick Karn, on the other hand, went on to release numerous solo albums, collaborated with several musicians, and write a book about his life up to 2006, intending to write another book about his life in time.

By this point, Dalis Car was as dead as Bela Lugosi. No one had really given the short-lived project any thought. 2010 came rolling around, 26 years after Dalis Car had formed and disbanded. In June, Mick Karn announced on his website that he had been diagnosed with terminal cancer (the type was never revealed). His family was struggling financially with the medical costs and they sought help from his fans. Many helped and several tribute concerts were staged to help raise money for the ailing Karn. For fans, this was the worst news they could ever receive. Mick Karn, talented musician, integral part of Japan, master of his own solo work, was dying at the young age of 51.

A more recent picture of Mick Karn. Photo from thegoldenyear.wordpress.com

Unexpectedly, in August of that same year, Peter Murphy posted a video to his Facebook account (which was quickly removed/hidden) where he disclosed to fans that he was teaming up with Karn again to revive Dalis Car one more time and that the two would begin working as early as September. It was the first time the two would see each other since 1985 (link).

While the two planned to record a full length album, Karn's health fell dramatically and quickly. Karn lost his battle to cancer on January 4, 2011, at the age of 52. Only five tracks were finished, released in April 2012 as the EP InGladAloneness. The original Japanese release included a book with photos taken by Steve Jansen (Japan's drummer and who remained friends and collaborators with Karn over the years) and comments from artists who had worked with Karn on his legacy and life. On July 24, 2013, what would have been Mick Karn's 55th birthday, InGladAloneness was made available for purchase again with 100 copies signed specially by Peter Murphy with all proceeds going to the Mick Karn Appeal Charity to help his family.

Cover to 1984's The Waking Hour

The Waking Hour is incredibly characteristic of both Murphy and Karn. The bass licks Karn recorded are unmistakable signatures of his style. Vocally, Murphy sounds much as he did while in Bauhaus, complete with beautiful, cryptic lyrics. Different for Murphy, however, is the style of the music, featuring a slew of other instruments aside from the drums and bass guitar that were heavy players in Bauhaus's music with guitars used mainly to add texture to songs. Also lacking on the album were the screams and shouts Murphy tended to cast in later Bauhaus recordings. On a certain level, Dalis Car was what one might expect - a sum of its parts.

The second track, "His Box," features a Middle East-influenced synth part that makes this track stand out. A gorgeous track, Murphy does wonders in creating the harmonies on vocals. The bass guitar is characteristic of Karn, yet inviting. Flutes and guitars add rich flourishes to this song. Personally, I think this one would have made a fine single as well had the album been viewed a bit more favorably and if Karn and Murphy would have continued further on this project.

"The Judgement is the Mirror" is the only single from the album, characterized with dominating synth and bass guitar to Murphy's smooth vocals. Drums don't feature very prominently on this track. This one serves as a beautiful ending to the album. The music video features both Karn and Murphy dressed in full suits passing off a laserdisc in a manner that nods back to them being the yin to the other's yang.

Other stand out tracks include the synth dominated "Cornwall Stone," the self-titled "Dalis Car," and absolutely stunning musical "Artemis" (which receives a "face lift" on InGladAloneness with some updated instrumentation and lyrics). In all, there honestly isn't a bad track on this album and while it may have elements highly characteristic of both musicians, I don't see why that should be considered a bad thing.

Cover to 2012's InGladAloneness EP

InGladAloneness can be described very succinctly - it is chilling. On the one hand, it amazes me how nothing seems to have changed in the 26 years between this EP and The Waking Hour. Playing the two back to back, you cannot tell that kind of time elapsed. Murphy is vocally spot on and Karn's style is just as glorious as ever, perhaps made slightly better with the passing of time. The composition of each song is true to form with The Waking Hour and the lyrics just as beautiful. The EP brings in a bit more Middle East influence, particularly with the track "Subhanallah" (which, oddly enough, is not a Dalis Car track originally).

There is something absolutely divine to this EP. It feels as if Karn knew this would be his last work. There is so much soul and emotion with every song. "Subhanallah" (translating to "God is Great" from Arabic) is a bit haunting to me. It is a dua (invocation/supplication that is part of Islamic prayer where a Muslim aims to connect with God and ask for forgiveness and favors) that is written in Turkish. While this song was not done originally by Dalis Car (Murphy recorded this somewhere around the turn of the century as it was included on the small issue of VHS tapes of The Grid), it may have been included as a parting prayer of sorts from Murphy to Karn.

The EP ends with "If You Go Away," a peaceful and soft song marked with a backing orchestra arrangement and acoustic guitar to Peter Murphy's soothing vocals. The track is a cover of the popular Jacques Brel song "Ne me quitte pas", which is said to have been one of Karn's absolute favorite songs. The song is a powerful closer to the EP in its softness, presenting a rather emotional end that stands in contrast to the other four tracks on the EP. It is a touching and emotional farewell.

Overall, I hold that this is easily the most underrated and underappreciated of all the post-Bauhaus projects. It holds a surreal uniqueness that is still true to form for both Karn and Murphy. Even more astonishing is how the two could pick up where they left things 26 years later and record a last effort on Karn's part that is beautiful, chilling, and lasting. My only qualm with this project is that there simply isn't more. Rest in peace, Mick.


More Information: Official Site of Mick Karn Official Site of Peter Murphy

Concert Review: The Damned 5/30/13

On May 30th, I had the delight of finally seeing The Damned perform in Austin as part of the Chaos in Tejas punk festival at 11E5. Let me just say, it was well worth the wait!

The Damned! The Damned! Photo credit to Brooklyn Vegan.

Back in 2011, The Damned were set to play Fun Fun Fun Fest. It was going to be my first time going to Fun Fun Fun Fest and I was super excited. I'd finally get to see The Damned! There were several other bands I was excited to see, but The Damned! They basically only play festivals these days and even then they're a bit choose-y about which festivals to play. THE DAMNED!!!

So, I had my three day passes for a long time and was excited. Then, about a month or so before Fun Fun Fun Fest, guess who else decides they want to play a show in Austin? And who decided to put that same show the same night as The Damned!? That's right - Peter Murphy. Okay, I guess he technically didn't have a say in the matter, but point being, I could either see The Damned for the first time or Peter Murphy for the fourth time. I wavered back and forth for a day before conceding that my ass needed to see Peter Murphy yet again. This is a decision I do not regret and would have made a million times over again (this is another story for another time, but the show came right after I lost a family member to cancer and I ended up crying during a couple of the songs...and Peter Murphy...with bronchitis, no less...was ever delightful and kind the entire night, sounding great even with the terrible illness...much respect).

I know, I know, this review is about The Damned. But, this is a photo of Peter Murphy at the very concert I just talked about, so deal with it. Such a therapeutic night and one that won't be forgot anytime soon. Photo credit to Rebecca Chulew.

But, I thought I had blown perhaps my one and only chance to ever see The Damned. So, you can imagine my absolute delight when I started seeing the band announcements for this year's Chaos in Tejas festival and The Damned made that list. THE DAMNED!!!

The Damned formed in London in 1976 when punk rock was in full swing and post-punk wouldn't be realized for another couple years. The band's formation is rather magical, in a sense. The Damned were started by Rat Scabies and Brian James (both having been in other punk rock acts which later spurned other bands such as Generation X and The Clash). Together they invited Dave Vanian and Sid Vicious to audition for vocals. As the story would have it, only Dave Vanian showed up, becoming singer for The Damned.

The Damned were met with early success, opening for acts like the Sex Pistols. Their first single "New Rose" was often viewed positively despite the somewhat gloomy lyrics. The Damned went into territories not explored yet by British punk bands, such as being the first to release a single, then to be the first to release an album, and even being the first to tour the US. It was their first tour in the US that is often cited as being the inspiration to the emergence of hardcore music as The Damned favored faster tempos than most of their contemporary punk bands did.

Tragically for The Damned, their sophomore album was a flop. It is thought the flop was generally due to a lack of interest from the producer of the album (Pink Floyd's Nick mason) and the subsequent quitting from the band of Rat Scabies. Following a tour to support 1977's Music for Pleasure, the band broke up.

Captain Sensible! You just have to love the guy. I think the camera viewpoint on this shot was right above my head, haha. Photo credit to the Austin Chronicle.

After a brief stint exploring other interests, The Damned would reform again (though not with the original lineup) in 1979 and begin working under the name of The Damned (they had technically reconvened in 1978, but used a different name to avoid possible trademark issues with the original name). The reformation of the group also saw a shift in Vanian's vocals to more of a crooning style and the music oscillate between fast tempos, as they were previously, and now slower tunes with dominating keyboards. 1979 also saw the release of the third album from The Damned, Machine Gun Etiquette, which is perhaps one of the most favorite albums for fans.

By 1985, the band had undergone major changes once more. Captain Sensible, who had been with the band essentially from the beginning, had left temporarily. Dave Vanian began dressing more formally and adopting a persona reminiscent of a vampire. The Damned had also signed to a major record label, MCA, to release their album Phantasmagoria, perhaps heralded as the most gothic album the group had produced, and cementing The Damned as a staple of the goth music diet (whether they liked it or not).

1988 saw the return of Captain Sensible, but only in time for the band to call it quits again. A handful of singles were released by the band over the years, but the band did not officially come back together (with yet another major lineup change, Vanian and Scabies being the only returning members) in 1993. However, it was around this time that two important covers of songs from The Damned were recorded and released - Guns N' Roses cover of "New Rose" and The Offspring's cover of "Smash It Up." Both covers were highly praised and well distributed, bringing new audiences to The Damned and leading to a new interest in the band.

1995 saw another album released which led to the temporary dissolution of the band once more (Vanian and Sensible felt Scabies had released 1995's Not of This Earth without proper authorization, resulting in a legal battle). By the next year, Sensible teamed up with Vanian on yet another rendition of The Damned, now bringing Patricia Morrison (you know, former bassist and backing vocalist of the Sisters of Mercy) into the lineup.

Dave Vanian!!! And sporting a Vincent Price look. Very nice, good sir! Photo credit, obviously, to AP.

In 2000, the lineup had gone on to include Monty Oxy Moron on keyboards and Pinch on drums. Patricia Morrison eventually retired from performing, married Dave Vanian, and became the band's manager. Stu West would take over on bass. The band have continued to release new albums and singles since, mixing in the occasional touring and keeping to a consistent lineup.

Now that we're all caught up on some of the major events in the band's history, time for the concert review itself!

Before The Damned took the stage, everyone was crowding in as close as they could. Fans were yelling out "Love Song!" hoping that it would be played. The Damned take the stage and burst into "Love Song," setting the crowd on fire immediately. The band were in good spirits (I was standing in front of Captain Sensible and he would often smile and make faces at us). All of us in the audience were simply going crazy. And this was just a preview of what was to come.

The set included many other great favorites such as my personal favorite "I Just Can't be Happy Today," "New Rose," "Neat Neat Neat," and "Eloise." The band sounded wonderful and carried a strong energy throughout the entire set. Captain Sensible carried out most of the stage antics by making faces at people and sticking his tongue out at others. A few technical issues with Monty Oxy Moron's keyboards led to some banter among the band where (if I remember correctly) Dave Vanian suggested they play a song that didn't need Monty Oxy Moron (everyone laughed and waited patiently for the issues to be resolved). The one thing that struck me as a little odd was that for being the one consistent member over the years and frontman, Dave Vanian didn't actually say much to the crowd. Most of the talking was done by Captain Sensible.

Dave Vanian and Captain Sensible. I'd post my photos, but they did not come out well at all. Photo credit to the Austin Chronicle

The group returned for their first encore and performed several more great songs. At one point, we were given a choice between one song and "Smash It Up." Those of us in the front were crying for them to play both (yes, we're greedy). They ended up playing the other song, which was great, but left us a little sad because, well...who doesn't love "Smash It Up?" And in a great flourish of trickery, The Damned immediately launched into "Smash It Up" anyways after that other song. The crowd went absolutely crazy, screaming at the top of our lungs. It was beautiful.

A final encore wrapped up the night. The band were very thankful for all of us coming and said things like "You know, we aren't the Sex Pistols. True punk began with The Ramones! And we're better than all of them." They were all really great and as they departed the stage for the final time, Captain Sensible threw his hat to the crowd.

I was not lucky enough to get a setlist (which I really wanted), but  this person was kind enough to let me snap a photo of the complete setlist that she got.

All in all, this show was great. I personally am not built for punk shows anymore (there's something to be said about being surrounded by sweaty, smelly bodies...not really my preference). But, it was a grand experience. After all these years, The Damned still sound marvelous and can still put on a great show. While I forfeited my chance to see them a couple years ago (and as I said, I'd still make that same decision every time), I am so glad to have finally seen them. If you haven't seen The Damned, you are missing out.


Rating: 5 out of 5 (the crowd was a bit rough for my taste, but The Damned were just amazing, plain and simple)

More Information: Official Site of The Damned

Music Review: Nick Cave and the Bad Seeds - Push the Sky Away

For today's Music Review, we look at the newest work from Nick Cave and the Bad Seeds - Push the Sky Away.

Album cover to Push the Sky Away, coincidentally from Wikipedia. The cover features Nick Cave on the left opening a shutter to reveal his nude wife, Susie Bick. The photo was apparently taken in their bedroom, too.

I'm a fan of everything Nick Cave does. The Birthday Party. Ginderman. Nick Cave and the Bad Seeds. It's all really great stuff, and all very different from each other. I will admit, in true fashion, that I have not listened to all his work and of the stuff I have listened to, I have not listened to it nearly enough. So, this review will be limited in scope in that I don't feel I can accurately compare this newest album to the previous fourteen (yes, fourteen!).

Nick Cave had been involved with music from a very young age, originally participating in church choir in the small town he was born in (Warracknabeal, Victoria, Australia). From a young age, Cave also often found himself in trouble. This resulted in his being sent to boarding school at Melbourne's Caulfield Grammar School. Here, too, he became involved in the choir. Tragedy struck the young Cave when he was aged 19. His mother was bailing him out of jail for burglary and had the difficulty of telling the young Cave that his father had been killed in a car accident as well. This culmination of events led to Cave starting to express his thoughts and feelings through music.

While at the Caulfield Grammar School, Cave had become friends with Mick Harvey, Phill Calvert, John Cochivera, Brett Purcell, and Chris Coyne. Together, the six would form the first major band Cave was in, The Birthday Party. The group initially played proto-punk covers of songs by musicians like Lou Reed and David Bowie. By 1977, The Birthday Party had become very integral in Australia's post-punk scene. Some changes to the lineup brought in Rowland Howard who became a major player in the writing of the music and lyrics for the band. In 1980, the group relocated to London then West Berlin. Cave became known for his provocative stage antics. His lyrics often concerned topics like sin, curses, and damnation, often revolving around horror stories. As such, Cave was often labeled as a goth (which he, like so many of his contemporaries, absolutely hated). The song "Release the Bats" was supposed to poke fun at the goth scene that The Birthday Party had been so regularly attributed to, but instead provided yet another anthem for the scene. However, by 1984, The Birthday Party had disbanded due to differences between Cave and Howard.

Nick Cave when he was in The Birthday Party. This appears to be a press promo photo, but I'm unsure who took it.

In 1983, Cave and Harvey teamed up with Blixa Bargeld to form Nick Cave and the Bad Seeds. Where The Birthday Party tended to have noise rock roots, Nick Cave and the Bad Seeds became known for being highly experimental, ranging from punk rock, to goth rock, to no wave, and even incorporating blues elements. The first few albums carried a more traditional post-punk sound before evolving into different experimental permutations.

Nick Cave and the Bad Seeds have recorded and released fifteen albums over the years. The majority have been met with critical acclaim even as the group's style has steadily changed over time. Members came and went with Cave remaining the only constant member of the group. The mid-90s found Cave marrying current wife, Susie Bick (who, as a fun factoid, was the model featured on The Damned's cover art for Phantasmagoria and is also the woman on the album cover of Push the Sky Away). 2006 saw Cave and members of The Bad Seeds forming a new side project, Grinderman, which showcased Cave on guitar in addition to his usual role as vocalist.

In 2007, Cave was inducted into the ARIA Hall of Fame for his work over the years (at the same time, he essentially inducted The Birthday Party and The Bad Seeds during his acceptance speech as he felt none of this would have been possible without everyone else). 2008 saw the release of the fourteenth studio album, Dig, Lazarus, Dig!!! and was followed in early 2009 with the departure of Mick Harvey, who had worked with Cave for the last 36 years.

Nick Cave and the Bad Seeds, 2013. Not sure who took this photo, but I found it while perusing Brooklyn Vegan's site

Nick Cave and the Bad Seeds became inactive once again as Grinderman resurfaced to produce a second album in 2011. The group would disband by the end of 2011 with no current plans to reconvene again in the future for a third album. 2013's Push the Sky Away marks the first Nick Cave and the Bad Seeds album since their 2008 release.

Additionally, Nick Cave, being a jack-of-all-trades kind of person, has also written original film scores for a number of movies, wrote music to a handful of theatre productions, written a few novels, acted in a few movies, and wrote the script for a couple films.

Push the Sky Away could be summed up as the complete anti-thesis of everything The Birthday Party was. This album is very quiet, gloomy, and thoughtful. A review from NME calls this album a "majestic and desolate masterpiece" and dub Nick Cave "the grand lord of gothic lushness" (http://www.nme.com/reviews/nick-cave-and-the-bad-seeds/14083#6mWxcBmKK4eyCeDd.99). (Careful Peter Murphy, you may have a contest with Nick Cave for being the "Godfather of Goth," a title neither of you care for or really want, but will get regardless, haha)

As Nick Cave puts it, he and the band entered the studio with "unformed and pupal" ideas for the songs and the band "[transformed] them into things of wonder" (http://thequietus.com/articles/10819-nick-cave-the-bad-seeds-new-album). Cave has also mentioned how random perusals on Google and Wikipedia figured largely into the lyrical content, suggesting in general how the Internet has played a role in shaping what we as a society view as important and detailing certain events, fads, rumors, etc.

Push the Sky Away opens with "We No Who U R," which is coincidentally the first single from the album. The song opens with a soft drum beat, some bass guitar, and what sounds like a keyboard. Lyrically, I'm not sure what this song gets at. But the lyrics and music mesh in a delicate harmony, purposely complementing each other (i.e. the music is soft and mellow while the lyrics mention things like harmony of nature: "We go down with the dew in the morning light/The tree don't know what the little bird brings/We go down with the dew in the morning/And we breathe, it in/There is no need to forgive"). This song is great for setting the overall tone and mood for the rest of the album.

The second track is "Wide Lovely Eyes" which opens with a faster paced guitar strumming and some ambient background sounds. The lyrics of this song could suggest meeting someone special and sharing good times and memories with them, but that a time comes in which the two must say goodbye. Additionally, the time together the two spent will be regarded as make believe ("All among the myths and legends we create/And all the laughing stories we tell our friends"). The song also contains references to mermaids (which is the title of a song found later on the album), which could have been something Cave spent time researching for fun and learning more about.

Next is "Water's Edge" which is one of my favorite off the album. The song starts with a dark, pressing bass part before Nick Cave's brooding vocals start in, accompanied by moody string arrangements. I don't really know what the lyrics are about. On the surface, it's easy to read the lyrics as some statement of prostitution, but the lyrics at the end speak more to the coming of love ("It's the will of love/It's the thrill of love/Ah, but the chill of love is coming on"). Additionally, there is mention often of a "speech" that the boys and girls are reaching for. What exactly is this speech Cave writes about? Cave has been known to write about biblical things in the past, so is this a nod towards finding a certain speech in the Bible? Regardless, I much enjoy the darker nature this song carries.

The sixth track is another favorite of mine, "We Real Cool." It, similar to "Water's Edge" begins with a pressing bass part and intermittent dark string arrangements. The song, to me, seems to be a statement against things like Wikipedia being so prevalent. The argument here is similar to a specific argument from Peter Murphy on the goth subculture. There is a quote floating around the Internet (but I can't find the interview it is from, so it may very well be fake) in which Murphy talks about being able to at least identify with the goths that were the early fans of Bauhaus (though, remember, Murphy is not goth, nor was Bauhaus, and it's just all the media gone wild...which is true, actually). But, Murphy has a hard time identifying with what is often called "goth" today for what he sees are youth following something blindly, without thought or knowledge. They find something dark and call it goth without understanding that well before the media began dubbing bands like Bauhaus and Siouxsie and the Banshees as goth, there was a well-defined meaning for what goth was. Goth was an architectural style, a particular art form, a certain piece of renaissance, a form of literature (and it is perhaps the horror and brooding mood of the music that somewhat resembles the dreary gothic romance writing that led to these bands receiving their unwanted classification). But, point being (and yes, I am getting to a point...eventually) is that the goth of today is mostly a cheap imitation of what it once was. It's not to say none of today's younger goth members have it right (I'd like to think I'm a bit more in tune with what goth originally was, though I'm sure there's plenty of things I flummox repeatedly...maybe I should strive to dissociate from the title entirely and simply be myself, whatever that may be), but there's a certain blindness involved nowadays. So, getting back to this song, I feel lyrically Cave is trying to say something similar, but on a larger scale. You wear clothes, but you don't know who designed them or who made them. You have a book that someone wrote, but you've never read it. Who measured the distance between the planets? Wikipedia is so great because it has all these answers and you don't have to remember them. But as a result, it's so easy to simply follow when someone says something is real cool, but not know why or what it is. Even the title adds to the tone, "we real cool." As if to say, "Yeah, we real cool! Look at us, we so cool, we listen to Nick Cave and the Bad Seeds!" "Yeah, but who are Nick Cave and the Bad Seeds?" "Uhh..." A long point to make, but this song, to me anyways, is absolutely beautiful, musically, and lyrically carries a strong message that I identify with.

The last song I want to talk about is the final song on the album and the album's namesake, "Push the Sky Away." The song opens with very moody, ambient sounds, with light accenting bass and drum beats. I don't know what the lyrics are getting at, exactly. On the one hand, they suggest that a person should continue to be themselves and push to discover new things about their world and themselves. Just keep on pushing the sky away. Even if you think you have everything you ever wanted, there's still more out there for you, just keep pushing the sky away and find it. I just absolutely love this one, musically and lyrically.

On the whole, Push the Sky Away is a moody, often dark, yet thoughtful album. As I said earlier, I haven't actually listened too much to the rest of the catalog from Nick Cave and the Bad Seeds, so I'm not entirely sure how this album stacks against the previous fourteen. Most reviews I glanced through find this to be a much slower piece than the prior albums, more contemplative, and more moody. Even if it is vastly different from the previous albums, this one has inspired me to really sit down and start listening to more from Nick Cave and the Bad Seeds, something I've been intending for years but just hadn't gotten around to. Fantastic work to everyone involved on this one!

Sound Off! What is your favorite track from this album? How does this album stack up to the previous fourteen from The Bad Seeds? What do you think of Cave's approach to writing the lyrics for this album?


Rating: 5 out of 5 (I don't know how this stacks to other Bad Seeds albums, but as a standalone album, this is just amazing stuff)

More Information: Official Site of Nick Cave