Album Reviews

It’s another great selection of songs from Nick Cave & The Bad Seeds. You get a new Nick Cave & The Bad Seeds album and you know what yer paying your money for. It does what it says on the tin. Until you open the tin.

This is more of what we have come to get used to since 'Push The Sky Away'. It’s dark and moody and full of latent suppressed energy with, very emotional and raw feelings for all to hear. Nick Cave singing lyrics" nothing really matters' or 'I need you", it hurts to listen to him singing these words.

These songs were inspired or indeed, affected by the tragic death of Nick Cave’s son during the making of the album. The intersity is energy sapping for the listener, what it must have been like making the album after such tragic events is just mind numbing.

The album does not come with the lyrics included, which makes listening to the songs even better as they take you on one of Mr. Cave’s journeys, and you never know where that’s going to go. The album is definitely a grower, especially if you liked the direction the band was going in with 'Push The Sky Away' and the 'Live from KCRW' album that came out a while after. Skeleton Key, and the Bad Seeds in particular, might seem more subtle, but don’t be fooled by that.

The vocals on the album are not as harsh or hard as we might have had from Nick Cave in the past. Now that he is passed his 20,000 days on earth it seems like he doesn’t need to be as in your face as he sometimes can be (Grinderman?). He instead relies on drawing you in by making you want to listen to what he is saying or singing. And he isn’t always singing. Sometimes it’s more of a semi musical narration. Love songs including references to vomiting in the sink are always going to be a source of intrigue for me.

'Jesus Alone', the opening track of the album is of a similar sound as 'Jubilee Street' from 'Push The Sky Away'. After the first few times of listening this is probably the best track of the album so far. And a good indication of what to expect from the rest of the songs. 'Girl in Amber' is Nick Cave in his best pleading yet threatening tones, with suitable backing vocals.

Another favourite track was the almost spoken word 'Magneto' whichreminds me of Johnny Cash singing "I shot a man in Reno, just to see him die". In Magneto Mr. Cave tells us: "Oh, the urge to kill somebody was basically overwhelming, I had such hard blues down there in the supermarket queues".

Track 5 is Nick Cave looking for the Anthrocene. I had no idea what this was and the nearest thing I could find was Anthropocene, (a proposed epoch that begins when human activities started to have a significant global impact on Earth's geology and ecosystems). It might be a bad spelling or it might be something else completely. Either makes sense and another excellent tune.

On the song 'I Need You', we return again to the earlier themes "When you're feeling like a lover....n,othing really matters anymore I saw you standing there in the supermarket".... 

"On Distant Sky"  Nick is joined by classically trained Danish soprano Else Torp. Not someone I am familiar with. If asked I would describe this as a duet but I would still feel I might be wrong. The Bad Seeds make it sound like church music which when done right is a beautiful noise. It’s done right here.

Is Nick Cave turning into a Palace Brothers Will Oldham? Skeleton Key lyrics at times reminds me of 'You Will Miss Me When I Burn' from the Bonnie Man himself. You won’t be rocking out or singing along to Skeleton Key, but I will no doubt return to its songs time and time again and then my appreciation of the record will increase each time I do.

To get under the skin of this album it helps to watch the film, 'One More Time with Feeling" as a companion piece.




The prodigious Mr Bonamassa releases his latest live offering as a CD/DVD set following his 2015 "Three Kings" tour of the States, in which he pays tribute to bluesmen Albert King, B.B King and Freddie King. The tour culminated at LA’s Greek Theater, and the 22 track double CD/DVD/Blu-ray is a masterclass of modern bluesmanship.

Tellingly, the DVD kicks off with a mini feature of an actual local TV news feature about the young Bonamassa, where we learn that he “feels comfortable" with a guitar in his hand, and that he started playing at the age of 5 and was playing in nightclubs at the age of 9. Just think about that for a moment....he was playing in front of an audience before he had reached double figures age.

As for the show itself, as usual, he is with his regular backing band of Anton Fig on drums, Michael Rhodes on Bass and Reese Wynans on Keys, but is also joined by a 3 piece brass section and 3 piece female backing singers including the wonderful Mahalia Barnes.

The Boss suit and the shades are in place, and the playing is sublime. This is a 2 hour set in which, at least to this reviewers ear, there’s not a note out of place, by any of the band on show. The playing is also faithful to the originals, and Bonamassa’s discipline is to his credit. His trademark solos are blistering and one can almost take them for granted, for example on Lonesome Whistle Blues or I’ll Play The Blues For You, but the crowd show their appreciation in stunning surround sound if you are watching the DVD.

Born Under A Bad Sign, and BB Kings’ The Thrill Is Gone, close the set and also serve as a poignant moment as King passed away a couple of months before the tour and Bonamassa has gone on to say how much he regretted him not being alive to see the spectacle.

The second disc of the DVD is reserved for special features, including videos, behind the scenes features, picture galleries and most interestingly a fabulous interview with Bonamassa’s parents. Based in Utica, NY, we learn that Mr Bonamassa Sr is also a guitar player, although he admits Jo “walked right by him at the age of 6” and they realised he had an amazing talent.

This is another wonderful addition to Bonamassa’s live releases, and what clearly comes over is this is a real event that the band are enjoying as much as the audience. What a thrill it must have been to be there, but thankfully the DVD is a document for those of us who weren’t.



A big widescreen psych sound is what 'Compulsion Songs' by the Lucid Dream is when it lands on your turntable. Psych driven but, other influences soak into the framework of the songs over the 44 minutes of this, the band’s third album.

The band themselves hail from Carlisle, where vistas of raw Cumbrian countryside surround the city so it's no wonder, The Lucid Dream have come up with such vast musical landscapes themselves.

‘Bad Texan’ with all its raw psych majesty opens the album, followed by a spacey ‘Stormy Waters’. The album itself was recorded at Whitewood Studios, in Liverpool, with Rob Whiteley, and the album was produced alongside longtime collaborator Ross Halden (Ghost Town Studios, Leeds). The more you listen to the record, you find yourself lost in the musical territory of everyone from 13th Floor Elevators to Spiritualized.

Third song, 'I’m a Star in my own right’ carries a reggae and 2-tone vibe encompassed in a psych bubble. 'The Emptiest Place' (which would fit in a Tarantino soundtrack) and '21st Century' are two short/sharp psych mindbenders which, back in the sixties may have been chart singles. 

This fine record rounds out with two epic tracks ‘Nadir’ and ‘Epitaph’. The former Floydish and the latter in the land of Wooden Shijps and Moon Duo.

If you are interested in the future of British psych, then check out Compulsion Songs which is released on 23rd September via Holy Are You Recordings



Tour Dates

Thursday 22nd September: London The Lexington
Saturday 24th September: Liverpool International Festival Of Psychedelia
Friday 30th September: Cardiff The Moon Club
Saturday 1st October: Manchester Night and Day
Friday 28th October: Newcastle The Cluny 2
Saturday 29th October: Nottingham The Lofthouse
Saturday 12th November: Hebden Bridge Trades Club


August Wells is a project headed by New York-based Dubliner Ken Griffin (formerly of Rollerskate Skinny, who came with none other than John Peel's seal of approval) and American pianist John Rauchenberger (who comes from a classical and jazz background). 'Madness Is The Mercy' is their second album.
Ken Griffin has a very distinctive voice and has been compared to heavy-weights from Scott Walker to John Grant and Nick Cave. My own initial thoughts were of fellow Irishman Neil Hannon, or the singer from the Crash Test Dummies. 
In a recent Hot Press interview Ken Griffin explained that August Wells can play live as a two-piece, but also as an eight-piece band. It is always commendable when songs stand up in a stripped down setting. At the same time I can well imagine the eight-piece set up suiting these works. Instrumentation is the standout element on this album for me. We hear violins, flutes, brass and backing vocals, all employed very effectively to embellish the already tuneful compositions. The sound is pretty and the vibe mellow, sometimes reminiscent of musicals, other times of 70s-style easy-listening. One imagines Griffin to be a Van-fan.

Life observations are the main subject matter. Griffin often ponders on time; the luxury or the lack of it. A universal topic that many listeners will be able to relate to: “Here in the wild under blue skies time doesn't try to pass me by” conjures up a peaceful image. I also like: “There's nothing like the dying light of a wasted day”.
At the same time the album contains some unusual lyrics: “I don't mind waking up on the kitchen floor. Men like me we kinda think that's what a kitchen floor is for”; “Just put a recipe for good soup on my gravestone”; “I saw a wealthy woman squeezing avocados, she treats other people like rumours from the shadows”.  There is no denying that Griffin is an original songwriter, but I find such lyrics harsh on the ear. Repeated listening managed to make me stomach lines such as “The snot has caked against my pants” (Arthur Lee), but alas the same did not work for me with August Wells.
Griffin has a habit of drawing out syllables and does so on virtually every track: “Stay-ee-ay out of that nigh-ee-igh-ee-ight”, “Here in the wi-ee-ild under blue sky-ee-ies...” Thankfully the varied and often quite lush instrumentation as well as the cheerful melodies go quite some way to make amends for this.
'Come On In And Out Of That Night' is the standout track. 'Katie Call Home' (lovely flute) and 'Bread And Water' (very nice piano intro) appealed as well. If forced to describe this album in one word I would choose, interesting.

Ed Harcourt doesn't do concept albums, but this feels as close as we might ever get to one.

With opening track a piano-laced 'Intro' taking us into latest single 'The World is On Fire' Harcourt establishes the theme this album is built around, a stark statement of how badly we are treating the place we inhabit. But Ed cleverly draws parallels between the behaviour of the human race and his own flawed persona: 'I'm a beast of a man....' and the slightly more humorously self-deprecating lyric 'I'm an occupational hazard'.

This album was long in gestation. Harcourt has had a lengthy collaboration with Flood but it was definitely worth waiting for. Flood's excellent production resulting in a wonderful darkness that is always a feature of Harcourt's lyrics and on this record gives an earthy feel to the songs.

A large number of stand out tracks: 'The World Is On Fire' with pulsating echoey drums and exquisite female harmonies, 'Loup Garou' quickly becomes an ear-worm!! Title track 'Furnaces' takes us back 'into the abyss'.

'Dionysus' is classic Harcourt piano but with addition of threatening drums and keys. For Ed devotees the songs don't reach the heights of 'Heart Of Darkness' but there's plenty here to get the pulse racing.

Respite is found in the hand-clapping 'There is A Light Below' which leads to a couple of latter gems 'The Last Of Your Kind' and mesmerising album closer 'Antartica Ghetto'

Harcourt's previous six albums have tended to fall in to the 'critically acclaimed' category without getting the mainstream attention his artistry deserves. This album could just be the one that earns him greater public acclaim.

For Ed himself it feels like it's life-affirming; possibly career-defining too?