Nick Cave & The Bad Seeds
- Ersteller TragicIdol
- Erstellt am
TheCount
Deaf Dealer
Ja, habe am Samstag die Zusatzvorstellung gesehen und war doch recht begeistert - abgesehen davon, dass es heiß und stickig war und der Schlagzeuger von den Einstürzenden Neubauten hinter mir saß und dumme Sprüche gekloppt hat, während sein Kumpel laut schnarchte... Aber zum Film: Fand ihn wirklich beeindruckend, sowohl visuell als auch erzählerisch. Und er hilft, das Album und die Texte besser einzuordnen, auch wenn die Umstände ja bekannt sind. An einer Stelle sagt Nick Cave in etwas, dass so ein Trauma eben keine Inspiration ist, sondern jegliche Kreativität zerstört. Die meiner Meinung nach teilweise recht einfachen Texte spiegeln das gut wider und sind in meinen Augen dennoch kraftvoller als so manche gewollt-intelektuellen Worthülsen, die er meiner Meinung nach auch ab und zu produziert. Genug geschwafelt, mag das Album und finde es in der Kombination mit dem Film grandios.
D
deleted_76
Guest
Sabbathstar
Till Deaf Do Us Part
Hier eine private Kritik von meiner Facebook 'Freundin' Sylvie Simmons:
"One More Time With Feeling" - well I finally saw it last night and I told you I'd let you know what I thought. So here are some of those thoughts.
The invisible things, the things that are lost, have so much mass.
Nick said this or something like it in one of his interviews (awkward interviews, on both sides) with an off-camera Australian man, maybe his filmmaker friend.
A loss as big as the one whose invisible story is at the core of the movie takes up so much space there's no room for anything else - imagination, creativity, even words. No, especially words. He talks about how words were maybe the most important things in his life, but now he fears them. He says that in some sense a writer or artist almost longs for a trauma or something of the magnitude will inspire something truly profound…..
There are a lot of elipses in the film. They all line up to make it more real, this attempt to articulate the unarticulable and film the invisible - this monumental absence. And that makes it all the more moving.
The dilemma is that you can't work but you have to work - you have to do something to take your mind off the unthinkable. It was fascinating watching him making music with friends and colleagues, smilining. I was thinking as I watched it about Jonny Cash,when he lost June Carter. I was at Cash's house six weeks after her death, breakfasting with him, taking out the garbage, ordinarly life stuff then in the afternoon sitting in the bedroom where he was recorded songs with a bunch of guys, old musician friends, and there was joking and camaraderie.Cash told me that he had to work - really had to, because it was the only way he could cope with such devastating loss.Ar the end of the day he would go back into his small room, the least ornately decorated the house, and a couple of times I heard the sound of stifled sobbing.
So Nick Cave is working. His wife is working. We see her too and their son. We hear their lost son on the closing credits, singing at the piano. We see a framed painting Arthur Cave did as a child of the cliff from which he fell. It's right that this should have been filmed in black and white, not just for starkness, and not for mourning, but for the dreamlike quality of scenes like these, the superstition that seems to be the companion of unexpected death. I know it well. No doubt some of you do too. Cave is too honest not to face it head on.
Maybe the strangest thing is that Nick let them into his home and into his life talk about this, being as private and guarded as he is. I've interviewed him three times in my life and the only two times in which he seemed the least bit open was when I interviewed him about Johnny Cash for the Unearthed book and later about Leonard Cohen for my Cohen biography. He said more about himself through someone else than he did directly. But in this movie he's talking, however inarticutaley - and he'll admit to being inarticulate - about himself, not about his child. Like he says, well-meaning people have told him that the boy lives in his heart, but no, the boy doesn't live at all, Nick says.
And so, this album, which the camera films being performed, is really music about silence. Most of the lyrics were ad-lib, words that came out as he jammed the songs with his close friend and bandmate Warren Ellis (whom it's hard to take your eyes off of). It's a beauty. It soars and sinks like the grey sea we get to see through the dead boy's bedroom window.
Nick says that a trauma like that changes a person. You look in the mirror the next day and it looks like you but everything beneath your skin is different. So a different Cave, then, but also the same, gentler somehow and a bit awkward in a way, dealing with this newness under the skin.
The album's mighty powerful and, with a few exceptions, so is the film, which is still pretty damn special. I'd like to watch it again, on my own sometime, or with a friend or two, because in a theatre jammed full of people, some crunching popcorn, some talking, that monochrome feeling of the vastness of absence gets a bit elusive.
"One More Time With Feeling" - well I finally saw it last night and I told you I'd let you know what I thought. So here are some of those thoughts.
The invisible things, the things that are lost, have so much mass.
Nick said this or something like it in one of his interviews (awkward interviews, on both sides) with an off-camera Australian man, maybe his filmmaker friend.
A loss as big as the one whose invisible story is at the core of the movie takes up so much space there's no room for anything else - imagination, creativity, even words. No, especially words. He talks about how words were maybe the most important things in his life, but now he fears them. He says that in some sense a writer or artist almost longs for a trauma or something of the magnitude will inspire something truly profound…..
There are a lot of elipses in the film. They all line up to make it more real, this attempt to articulate the unarticulable and film the invisible - this monumental absence. And that makes it all the more moving.
The dilemma is that you can't work but you have to work - you have to do something to take your mind off the unthinkable. It was fascinating watching him making music with friends and colleagues, smilining. I was thinking as I watched it about Jonny Cash,when he lost June Carter. I was at Cash's house six weeks after her death, breakfasting with him, taking out the garbage, ordinarly life stuff then in the afternoon sitting in the bedroom where he was recorded songs with a bunch of guys, old musician friends, and there was joking and camaraderie.Cash told me that he had to work - really had to, because it was the only way he could cope with such devastating loss.Ar the end of the day he would go back into his small room, the least ornately decorated the house, and a couple of times I heard the sound of stifled sobbing.
So Nick Cave is working. His wife is working. We see her too and their son. We hear their lost son on the closing credits, singing at the piano. We see a framed painting Arthur Cave did as a child of the cliff from which he fell. It's right that this should have been filmed in black and white, not just for starkness, and not for mourning, but for the dreamlike quality of scenes like these, the superstition that seems to be the companion of unexpected death. I know it well. No doubt some of you do too. Cave is too honest not to face it head on.
Maybe the strangest thing is that Nick let them into his home and into his life talk about this, being as private and guarded as he is. I've interviewed him three times in my life and the only two times in which he seemed the least bit open was when I interviewed him about Johnny Cash for the Unearthed book and later about Leonard Cohen for my Cohen biography. He said more about himself through someone else than he did directly. But in this movie he's talking, however inarticutaley - and he'll admit to being inarticulate - about himself, not about his child. Like he says, well-meaning people have told him that the boy lives in his heart, but no, the boy doesn't live at all, Nick says.
And so, this album, which the camera films being performed, is really music about silence. Most of the lyrics were ad-lib, words that came out as he jammed the songs with his close friend and bandmate Warren Ellis (whom it's hard to take your eyes off of). It's a beauty. It soars and sinks like the grey sea we get to see through the dead boy's bedroom window.
Nick says that a trauma like that changes a person. You look in the mirror the next day and it looks like you but everything beneath your skin is different. So a different Cave, then, but also the same, gentler somehow and a bit awkward in a way, dealing with this newness under the skin.
The album's mighty powerful and, with a few exceptions, so is the film, which is still pretty damn special. I'd like to watch it again, on my own sometime, or with a friend or two, because in a theatre jammed full of people, some crunching popcorn, some talking, that monochrome feeling of the vastness of absence gets a bit elusive.
Medardus
Till Deaf Do Us Part
So mal unter uns....
Bester Künstler, beste Art sich zu kleiden, auftreten und seine Kunst an sich sind einfach in sich so tief und so voller Schmerz, Leid, Liebe und mehr, das man es nicht glauben kann.
Höre mich gerade wieder mal durch seine Alben oder die Arbeiten von ihm, mit ihm und ja auch Skeleton Tree. Selten so betroffen gewesen und so sich gefreut, das man das hören kann und erleben darf.
Sorry, aber absolute Ausnahmekunst.Punkt.
Bester Künstler, beste Art sich zu kleiden, auftreten und seine Kunst an sich sind einfach in sich so tief und so voller Schmerz, Leid, Liebe und mehr, das man es nicht glauben kann.
Höre mich gerade wieder mal durch seine Alben oder die Arbeiten von ihm, mit ihm und ja auch Skeleton Tree. Selten so betroffen gewesen und so sich gefreut, das man das hören kann und erleben darf.
Sorry, aber absolute Ausnahmekunst.Punkt.
Tom Pariah
Till Deaf Do Us Part
Der Unruh? Will jetzt nicht päpstlicher sein als der Papst, Post-Punk, Anarchie blabla, aber ich finde dieses Betragen angesichts des Inhalts des Films und der Tatsache, dass er Cave kennt, über alle Maße respektlos.
Cypher
Till Deaf Do Us Part
Die Piano-Melodie macht mich völlig fertig. Die Schwere dieses Songs ist mit Worten eigentlich kaum zu beschreiben.
Noisenberg
Till Deaf Do Us Part
Album heute gekauft. Was ein Killer!
DreamingInRed
Till Deaf Do Us Part
Besser kann man Tod und Trauer musikalisch nicht untermalen. Und niemals fühlte man sich Nick Cave näher, als in den knapp 40 min.
The Nirvain
Till Deaf Do Us Part
Bei mir hat das Album mittlerweile auch ein paar Runden gedreht.
Von Nick Cave ist man Schwermut und Melancholie ja gewohnt, aber das ist nochmal eine ganz andere Hausnummer. Echt unglaublich niederdrückend. Da wird man wie von einem Sog nach unten gezogen, wo man dann erstmal in einem Loop aus Schwere und Trübsinn gefangen bleibt.
Und nichtsdestotrotz oder gerade deswegen ein grandioses Album! Ich finde dieser Minimalismus steht Cave echt gut, ebenso wie die zerbrechlichere, fragilere Art zu singen. So ganz durchgestiegen bin ich noch nicht, aber die Brillianz von einem Song wie "Girl In Amber" kann man ja kaum bestreiten.
Von Nick Cave ist man Schwermut und Melancholie ja gewohnt, aber das ist nochmal eine ganz andere Hausnummer. Echt unglaublich niederdrückend. Da wird man wie von einem Sog nach unten gezogen, wo man dann erstmal in einem Loop aus Schwere und Trübsinn gefangen bleibt.
Und nichtsdestotrotz oder gerade deswegen ein grandioses Album! Ich finde dieser Minimalismus steht Cave echt gut, ebenso wie die zerbrechlichere, fragilere Art zu singen. So ganz durchgestiegen bin ich noch nicht, aber die Brillianz von einem Song wie "Girl In Amber" kann man ja kaum bestreiten.
beschissen
Till Deaf Do Us Part
An Skeleton Tree traue ich mich noch nicht ran, das ist mir zu traurig, aber das Video hat mich wieder angefixt, also fülle ich meine Lücke nach Let Love In erst mal mit Push The Sky Away, das Album ist verdammt großartig und läuft jetzt folglich in Dauerrotation.
Und ausgerechnet das in seinem Mittelteil dann so stark an die einst von mir abgelehnten Poparrangements erinnernde Jubilee Street hat mich besonders verzaubert. Was für ein Lied.
Und ausgerechnet das in seinem Mittelteil dann so stark an die einst von mir abgelehnten Poparrangements erinnernde Jubilee Street hat mich besonders verzaubert. Was für ein Lied.
hunziobelix
Till Deaf Do Us Part
NICK CAVE ist einfach ein grossartiger Künstler.
Die neue Scheibe habe ich zwar schon,aber (Schande über mich) ich habe noch nicht reingehört.
"Babe,i'm on fire"
Die neue Scheibe habe ich zwar schon,aber (Schande über mich) ich habe noch nicht reingehört.
"Babe,i'm on fire"
Nebukadnezar
Deaf Dealer
Finde die neue bis auf Rings of Saturn bisher irgendwie nicht toll. Zu zerfahren irgendwie. Aber mal schauen, ich höre es sicher noch ein paar Mal durch und vllt zündet es ja noch.
WitheringHeights
Till Deaf Do Us Part
Bin mal gespannt ob's wieder so'n Run auf die Karten wird wie beim letzten Mal.
Und wie's diesmal preislich liegen wird. Und und und.
Und wie's diesmal preislich liegen wird. Und und und.
Fates Warning
Deaf Leppard
beschissen
Till Deaf Do Us Part
Hamburg oder Berlin. Oder und? Jetzt muss es endlich mal sein, Livepremiere für mich.
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