Artist: Nick Cave
Genre(s):
Rock: Pop-Rock
Metal
Discography:
Abattoir Blues and Lyre Of Orpheus (CD 2)
Year: 2004
Tracks: 8
No More Shall We Part
Year: 2001
Tracks: 12
The Secret Life Of The Love Song
Year: 1999
Tracks: 2
Murder Ballads
Year: 1996
Tracks: 10
Unknown and Unreleased
Year: 1994
Tracks: 6
I Had A Dream Joe
Year: 1992
Tracks: 4
Henry's Dream
Year: 1992
Tracks: 9
The Good Son
Year: 1990
Tracks: 9
Tender Prey
Year: 1988
Tracks: 11
Your Funeral My Trial
Year: 1986
Tracks: 9
Kicking Against The Pricks
Year: 1986
Tracks: 14
The First Born Is Dead
Year: 1985
Tracks: 9
From Her To Eternity
Year: 1984
Tracks: 10
After goth pioneers the Birthday Party called it quits in 1983, singer/songwriter Nick Cave assembled the Bad Seeds, a post-punk supergroup featuring sometime Birthday Party guitarist Mick Harvey on drums, ex-Magazine bassist Barry Adamson, and Einstürzende Neubauten guitarist Blixa Bargeld. With the Bad Seeds, Cave continued to explore his obsessions with religion, dying, dear, America, and violence with a outlandish, sometimes self-consciously eclecticist hybrid of vapours, gospel, rock 'n' roll, and arty post-punk, although in a more subdued fashion than his work with the Birthday Party. Cave besides allowed his literary aspirations to come to the forefront; the lyrics ar story prose, heavy on literary allusions and myth-making, and take some divine guidance from Leonard Cohen. Cave's gloomful lyrics, dark musical arrangements, and deep baritone horn voice recall the albums of Scott Walker, world Health Organization likewise obsessed over death and honey with a terrorisation passion. However, Cave brings a brawny amount of post-punk experimentalism to Walker's epic dark pop.
Spelunk released his commencement album with the Bad Seeds, From Her to Eternity, in 1984, which contained a noteworthy cover of Elvis Presley's "In the Ghetto," foreshadowing much of Cave's style and topic topic on the followup The Firstborn Is Dead. Kicking Against the Pricks, an all-covers record album, bust the dance orchestra in England with the aid of "The Singer," which rack up number one on the U.K. independent charts. The record album too reinforced Cave's reputation as an original interpreter and a vocal styler of note.
Following 1986's Your Funeral...My Trial, Cave took a two-year foramen from recording, partially to appear in Wim Wenders' 1987 photographic film Wings of Desire, and then returned with Fond Prey, which featured Cramps guitar player Kid Congo Powers and Cave's strongest vocal performance up to that point. Cave's productivity picked up vastly over the next two years subsequently he kicked a heroin habit. He had deuce books (1988's King Ink, a assemblage of lyrics, plays, and prose, and 1989's And the Ass Saw the Angel, a novel) promulgated; appeared in the 1989 Australian photographic film Ghosts...of the Civil Dead as a captive; recorded a soundtrack to the plastic film with Harvey and Bargeld; and released 1990's The Good Son, his most relaxed, quiet album. Cave received his ascribable as one of the ahead figures in alternative rock when he was invited to perform on the 1994 edition of the Lollapalooza turn to raise his Let Love In record album. Early in 1996, he released Remove Ballads, a assemblage of songs about murder. Mangle Ballads became Cave's most commercially successful album to date, and, with typical contrariness, he followed it with the introverted and personal The Boatman's Call in early 1997. A spoken word release, Privy Life of the Love Song, followed in 1999. Two years later, a rejuvenated Cave teamed up with the Bad Seeds once again for the piano-laden No More Shall We Part. Nocturama was released in 2003, and the double-album Abbatoir Blues/The Lyre of Orpheus followed by the end of 2004.
