August 23, 2024

CATHARSIS:

Nick Cave & the Bad Seeds: Wild God review – this masterpiece will make you fall back in love with life
(Alexis Petridis, 22 Aug 2024, The Guardian)

Joy feels like Wild God’s mood in miniature. The album’s songs don’t stint on darkness – pain, suffering and death all feature, including the passing of Cave’s former collaborator and partner Anita Lane – but suggest that life can still provide transcendent euphoria despite it all. The song about Lane is called O Wow O Wow (How Wonderful She Is): it’s gorgeously melodic, decorated with abstract smears of vocoder and a telephone recording of Lane giggling as she recalls their dissolute past, and deals in reverie rather than mourning. On Frogs, Cave walks home from church, pausing to look at a frog in the gutter: “leaping to God, amazed of love, amazed of pain, amazed to be back in the water again.” Even if it doesn’t get far, the song seems to suggest, that’s not the point: the point is to keep leaping.

The music follows suit. Cave has reconvened the Bad Seeds – who seemed a little surplus to requirements among Ghosteen’s beatless drifts and who didn’t appear at all on Carnage, an album credited to Cave and Ellis alone. Wild God deftly melds the meditative, flowing sound of its immediate predecessors with the band’s trademark muscularity (one of the enduring mysteries of Cave’s career is how a band that’s seen something like 23 different musicians pass through its ranks over the years, always sounds like the Bad Seeds regardless). The result is a set of songs that feel simultaneously airy and teeming, not least with a preponderance of glowing melodies. They frequently surge into vast, ecstatic exhalations – there’s a fantastic moment near the end of Song of the Lake, where Thomas Wydler’s drums, which have previously moved things along at a stately, measured pace, suddenly burst into a series of gleeful, clattering rolls. Or the mood flips completely: Conversion initially sounds haunted and stark, before exploding into life midway through in a mass of voices singing and chanting, Cave’s extemporised vocal sounding increasingly rapturous over the top.

The title track, meanwhile, is similarly joyful, although lyrically oblique. One way you could read it is as a sardonic self-portrait, rock’s former Prince of Darkness in his late 60s (“It was rape and pillage in the retirement village”), grappling with the dramatic shift in perception that Cave has undergone over the last decade as it builds to an explosive, cathartic climax, bolstered by choir and orchestra. Said climax seems to reaffirm his faith in the transformative power of music and communality: “If you’re feeling lonely and if you’re feeling blue, and if you just don’t know what to do,” he cries, “bring your spirit down!”

AUDIO INTERVIEW: Nick Cave wrestles with a ‘Wild God’: The rock icon on why true art is always a struggle, why his music has always been religious and why his new album required the full power of The Bad Seeds. (Ann Powers, 8/20/24, NPR)