Across the globe in countless mythologies, the “wild god” concept occupies a unique niche, embodying the capricious spirit of untamed nature. Unlike their urbane counterparts, these deities, with their feral hearts, preside over the primordial chaos of forests, rivers, and beasts, eschewing the trappings of civilization. From the frolicsome Pan of Greek lore to the antlered Cernunnos of Celtic tradition, these figures serve as conduits to the wild, their narratives steeped in themes of transformation and the perennial dance of life and death. They underscore a profound truth: humanity’s dominion over nature is an illusion, and respect for its indomitable will is paramount.

Now, Nick Cave adds to the pantheon with his glorious new single Wild God, the titular song from his upcoming album with The Bad Seeds – and it is a hymn of profound spirituality. Keep your Kleenex handy, this song is incredibly moving. Cave’s voice is as commanding as ever as he unfurls this complex, uplifting tune – part Americana, part European folk, part gospel, and brimming with euphoria.

…But never lose sight of what the wild god stands for.

With Wild God, it’s clear The Bad Seeds have been revitalized. Their sound, while sometimes briefly recalling their storied legacy, mainly pushes the group into new areas, enhancing their unyielding forward momentum. Wild God shows a band unwilling to dwell on past achievements and propelled by innovation and exploration.

“I hope the album has the effect on listeners that it’s had on me,” says Cave. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” He adds, “Wild God… there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

Be a wild god and give this a spin:

Nick Cave and the Bad Seeds are set to release Wild God on August 30th via Bad Seed/Play It Again Sam. The band—Cave, Ellis, Thomas Wydler, Martyn Casey, Jim Sclavunos, and George Vjestica—wrote and recorded Wild God at Miraval Studios in the French City of Provence and at Soundtree Studios in London.

Wild God marks Cave’s 18th collaboration with the Bad Seeds and follows the critically acclaimed Ghosteen from 2019. In addition,  Cave also worked on Carnage with Warren Ellis of the Bad Seeds in 2021. Wild God is a collaborative production effort between Nick Cave and Warren Ellis, with David Fridmann handling the mixing. The album features contributions from Radiohead’s Colin Greenwood on bass, with whom Cave toured last year, and Luis Almau on nylon string and acoustic guitar.

Pre-order ‘Wild God’ here.

NICK CAVE & THE BAD SEEDS – WILD GOD TRACKLIST
1. Song of the Lake
2. Wild God
3. Frogs
4. Joy
5. Final Rescue Attempt
6. Conversion
7. Cinnamon Horses
8. Long Dark Night
9. O Wow O Wow (How Wonderful She Is)
10. As the Waters Cover the Sea

Follow Nick Cave:

• Instagram
• YouTube
• Facebook

The post Nick Cave & The Bad Seeds Announce Uplifting New Album “Wild God” appeared first on Post-Punk.com.

Set to make a splash in North American cinemas this autumn, “Mutiny in Heaven,” wryly helmed by Ian White and produced by Mick Harvey and Wim Wenders, unravels six years of poetic chaos. In the documentary, we are treated to a decadent dissection of a band’s mind, wherein Nick Cave and his youthful comrades shocked polite society to its very core. Their theatrics, those guttural shrieks, a macabre dance of gothic horrors, and an utterly unruly way of life, make one wonder – was it art, madness, or an explosive cocktail of both?

From their earnest beginnings as The Boys Next Door in far-flung Melbourne, to their notorious escapades in London’s underbelly, culminating, predictably, in disbandment, this documentary does a splendid job at bottling both the fleeting moment and the now-matured musings of the band. The film generously bestows upon us clandestine footage, whimsical flights of animation, and concert snippets that are thoroughly gasp-worthy.

Expect candid tête-a-têtes with Cave and the gang, though Howard, regrettably lost to us since 2009, speaks only in memories. Sprinkle in a handful of rare spectacles, snapshots, and voilà — an unforgettable affair of celluloid infamy.

Here’s the official synopsis for the Documentary:

Narrated exclusively by the original band members, Mutiny in Heaven delves deep into a band’s psyche, chronicling how Nick Cave and his school friends startled audiences with their confrontational performances, primal screams, outlaw gothic horror, and anarchic lifestyle. Featuring never-before-seen personal footage from band members, dynamic animation sequences, and jaw-dropping concert clips, the film provides a sweaty, electrifying front-row seat to one of the most legendary live acts. It’s destined to be an instant documentary classic. The film is the first fully authorized telling of The Birthday Party.

Watch the trailer and a clip from Mutiny In Heaven:

As fortune—or perhaps crafty planning—would have it, the documentary traipses around the US just as Nick flits about on his solo and book tour. The film’s itinerary in North American cinemas kicks off in the charming climes of Gainesville, FL. Screenings will continue throughout  October, with the film descending upon Los Angeles just in time for Halloween. Release the bats!

Screening dates:

• 9/1-9/10: Gainesville, FL
• 9/10: Asheville NC
• 9/15-9/21: Durham NC
• 9/14 & 9/18: Winston Salem, NC
• 9/16-9/17: Cary NC
• 9/15-9/23: Vancouver, Canada
• 9/21 & 9/25: Silver Springs, MD
• 9/22-9/24: Pittsburgh, PA
• 9/22-9/28: New Orleans, LA
• 9/22: Cleveland, OH
• 9/22: Kansas City
• 9/23-9/24: Portland, OR
• 9/24: Chicago IL
• 9/27: Jacksonville, FL
• 9/28: Minneapolis, MN
• 9/29: Chicago, IL
• 9/29-10/1: Vancouver, WA
• 9/29-10/1: Columbus, OH
• 10/1:  DCTV Firehouse
• 10/3  Boston, MA The Brattle Theatre,
• 10/4: Nitehawk Williamsburg
• 10/6:Alamo Drafthouse Brooklyn
• 10/7-10/8: Alamo Drafthouse Downtown NYC
• 10/9: Washington, D.C.
• 10/9: Dallas, TX
• 10/9: Fairfax, VA
• 10/9: La Mesa, CA
• 10/11: Philadelphia, PA
• 10/12: Detroit, MI
• 10/13: Portland, ME
• 10/13: Atlanta GA
• 10/16: Maitland, FL
• 10/18: Dallas, TX
• 10/18: Milwaukee, WI
• 10/18: San Francisco, CA
• 10/19 & 10/26: Rochester, MN
• 10/20: Larkspur (Bay Area), CA
• 10/20: Los Angeles, CA
• 10/20: Santa Ana, CA
• 10/23: Austin, TX
• 10/27-10/29: Los Angeles (Alamo Theater)

Date TBD: Seattle, WA

The post Watch the Trailer for The Birthday Party Documentary “Mutiny In Heaven” — Film to Screen in North American Cinemas This Autumn appeared first on Post-Punk.com.

Ghosteen, which made Post-Punk.com’s Best of 2019 list, was named after a “migrating spirit” and described by Cave to a fan as a double concept album: the first album as “the children;” the second album as “their parents.”

With Carnage, Cave draws upon Biblical themes with gravitas in a 40-minute melding of Cave’s poetic songwriting and Ellis’s formidable library of musical influence. The two perform an exquisite dance between Earth and Air, with Cave grounding Ellis’s ethereal synths, freeform jazz elements, baselines reminiscent of Suicide, and emotional strings.

Watch the clip below, where Cave offers some meaningful insights about his process and his soul.

Nick Cave and Warren Ellis’ long-awaited tour happens soon: Americans, catch them in a city near you.

Nick Cave and Warren Ellis tour dates

March 1: Asheville, NC – Thomas Wolfe Auditorium
March 4: Dallas, TX – Majestic Theatre
March 5: Austin, TX – ACL Live at Moody Theater
March 6: Austin, TX – ACL Live at Moody Theater
March 9: Los Angeles, CA – Shrine Auditorium
March 10: Los Angeles, CA – Orpheum Theatre
March 13: Oakland, CA – Oakland Paramount Theatre of the Arts
March 14: Oakland, CA – Oakland Paramount Theatre of the Arts
March 16: Vancouver, BC – Queen Elizabeth Theatre
March 17: Seattle, WA – Paramount Theatre
March 20: Chicago, IL – Auditorium Theatre
March 22: Boston, MA – Boch Center – Wang Theatre
March 24: Brooklyn, NY – Kings Theatre
March 25: Brooklyn, NY – Kings Theatre
March 27: New York, NY – Beacon Theatre
March 28: New York, NY – Beacon Theatre
March 29: Washington, D.C. – Lincoln Theatre
March 31: Toronto, ON – Massey Hall
April 2: Montreal, QC – Salle Wilfrid-Pelletier
April 3: Montreal, QC – Salle Wilfrid-Pelletier

The post Nick Cave Shares “Lavender Fields” Clip From “This Much I Know To Be True” Ahead of Tour with Warren Ellis appeared first on Post-Punk.com.

Born in Melbourne, Australia in 1959, Lane began singing and writing songs at the tender age of 16. She was a classmate of Rowland S. Howard at the Prahran College of Advanced Education; their association eventually lead her into the Melbourne post-punk scene in the early 80s, where she would morph into a creative juggernaut and key figure. The group relocated to West Berlin in August 1982.

Lane co-wrote “A Dead Song,” “Dead Joe“ and “Kiss Me Black” with her then-partner Nick Cave. When The Birthday Party called it quits in the early 1980s, she continued their collaboration, co-writing Bad Seeds songs “From Her To Eternity” and “Stranger Than Kindness.”

Lane’s career was distinguished and long, collaborating with Einstürzende Neubaten, Kid Congo Powers, and Gudrun Gut. A steadfast presence among the Mute/Some Bizarre artists circle, you can hear her wry contribution to Soft Cell’s “L’Esqualita”: “we could go out for dinner but we’re always on drugs.”

Anita “Dirty” Lane also had a “sporadic solo career,” releasing a debut solo EP, Dirty Sings, through Mute in 1988. Lane’s explosive songwriting focused on the spirituality of romantic relationships, finding the truest self through karmic ties. She unapologetically explored the fragility and strength of the feminine human experience to its fullest potential – in a time when women were expected to downplay their sexuality, or deny it outright. This candor caused immense artistic struggle for Lane throughout her career. On the recording of Dirty Sings, she spoke candidly about these trials:

“I did tell someone once about why I made that record, but they were shocked and didn’t print it. It was to do with being really desperately unhappy and wanting to die. I knew I had something. I told Daniel Miller, I’ve got this life and I don’t know what to do with it, I almost don’t even want it, but I’m really talented, so use me. I didn’t want to be on a pedestal on the record. I wanted to talk to other girls. I kind of wanted to glorify insecurity rather than being confident and successful. I wanted some kind of equality between the emotions that are raised up for people to look at, to show other emotions that are equally as valid as confidence and control. I felt that I was going to die and I wanted to leave something behind, as a suicide note I guess.”

She would cover Sister Sledge’s “Lost in Music” (featuring Cave on piano), “Sexual Healing” by Marvin Gaye, and Gil Scott-Heron’s “Home Is Where the Hatred Is.” She went on to release Dirty Pearl in 1993. One of the B-sides from the The World’s a Girl single was a cover of Serge Gainsbourg and Jane Birkin’s sexy duet, “Je T’aime … Moi Non Plus,” with Nick Cave. Her second solo album, Sex O’Clock, followed in 2001.

Lane also collaborated with members of the Bad Seeds on their side projects. She collaborated with Barry Adamson on 1989’s Moss Side Story and his soundtrack for the 1991 film Delusion. She also sang on Mick Harvey’s tribute albums to Serge Gainsbourg: Intoxicated Man and Pink Elephants, and contributed to Einstürzende Neubaten’s 1993 album Tabula Rasa, a 1993 album fronted by fellow Bad Seed Blixa Bargeld.
After Sex O’Clock, Lane moved to Byron Bay, Australia, where she devoted her time to raising a family.

Mute plans reissues of Anita Lane’s solo albums later this year.

Tributes flooded in early in the morning from all over the world. Producer Mark Reeder shared some memories of his longtime friendship with Lane on Facebook this morning.

Reeder spoke about Lane in a recent Post-Punk Podcast episode, which can be heard here:

Rest in peace.

The post Anita Lane, of The Bad Seeds and The Birthday Party, Has Passed Away appeared first on Post-Punk.com.

“Grief and love are forever intertwined,” he replied. “Grief is the terrible reminder of the depths of our love and, like love, grief is non-negotiable. There is a vastness to grief that overwhelms our minuscule selves. We are tiny, trembling clusters of atoms subsumed within grief’s awesome presence. It occupies the core of our being and extends through our fingers to the limits of the universe. Within that whirling gyre all manner of madnesses exist; ghosts and spirits and dream visitations, and everything else that we, in our anguish, will into existence. These are precious gifts that are as valid and as real as we need them to be. They are the spirit guides that lead us out of the darkness.”

This poignant exchange inspired Cave to pen a new single, Grief. “My reply was the first time I was able to articulate my own contradictory feelings of grief,” says Cave. “Letters like Cynthia’s have helped bring me and many others back to the world.”

The single is out as a 7″ vinyl with Letter to Cynthia on the A-side and Song for Cynthia on the reverse. Cave wrote the lyrics to Letter To Cynthia with music performed and written by Warren Ellis; the latter was performed and written by the pair. The single isn’t streaming yet, but you can hear a clip on Cave’s Instagram.

It is heartfelt, bursting with empathy, and a touchstone of comfort for those in mourning.

 

View this post on Instagram

 

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The post Nick Cave Addresses “Grief” in New Single Inspired by Fan Letter appeared first on Post-Punk.com.

Kicking things off, we have an in-depth interview with multi-faceted artist, dance music guru, and label owner Mark Reeder, whose history deeply intertwines with that of New Order. Originally hailing from Manchester, Reeder moved to Berlin in 1978, where he became the German label representative for Factory Records.

Mark would then bring Joy Division over for their famous Kant Kino gig, the inspiration for their song “Komakino,” which was released by Factory as a 7” flexi-disc and given away free in select record shops.

When The Birthday Party broke up in 1983, Mark also convinced Nick Cave to move to Berlin and allowed Nick to crash on his couch. Soon after, Cave would form his infamous Bad Seeds.

Mark also managed the band Malaria!, and formed his own band Die Unbekannten, who released two cold post-punk singles before evolving into the more dance-oriented Shark Vegas. Shark Vegas would tour Europe with New Order in 1984, and later Bernard Sumner would produce and remix the band’s single for Factory Records, You Hurt Me, in 1986.

Mark’s documentary about his life in Cold War-era Berlin, B-Movie: Lust & Sound in West Berlin, also inspired New Order to use some scenes from the film for their music video for “Singularity,” a track featured on the band’s last album Music Complete. Reeder also remixed that track.

Mark Reeder’s electronic dance label, MFS, has become influential in itself, nurturing the career of Paul Van Dyk, among many others. The New Order hit single “Crystal” was originally an MFS track. Listen to the original version below.

Mark Reeder’s remix album Subversiv-Dekadent is out now featuring an international ensemble of artists including New Order, Yello, Liars, Alanas Chosnau, Fifi Rong, Zachery Allan Starkey, Queen of Hearts, Cemetery Sex Fairies, MFU, Mr Sam & Rani Kamal, Birmingham Electric, and STOLEN.

STOLEN are mentioned in the Podcast during the segment where Mark discusses Post-Punk in China.

We have some wonderful guests lined up and recorded already, many that who are legends who have seldom, if ever done a podcast before. But we can only produce this podcast series with your support.

If you like what you hear, please support the Post-Punk Podcast through our Patreon Page, or directly via our Contact Form here.

We would like to thank Jason Corbett from Actors for creating our intro music, Korine for creating our outro, and our Editors Frank Deserto and Andi Harriman.

Listen to the Post-Punk Podcast season one episode one below:

Photo of Mark Reeder by Saki Hinatsu.

The post The Post-Punk Podcast Episode One—An Interview with Mark Reeder about Berlin, Joy Division, Nick Cave, New Order, and More! appeared first on Post-Punk.com.

Nick Cave teased the album with a letter to a fan as part of his Red Hand Files project last month. He describes the album as “a brutal but very beautiful record nested in a communal catastrophe.” Ellis added that the creation of the album was “an accelerated process of intense creativity. The eight songs were there in one form or another within the first two and a half days.”

Cave is no stranger to Biblical themes, old-time religious visions, or the apocalypse: he draws upon these themes once more in this album, but with heavier gravitas, given the global circumstances. It’s a fascinating 40-minute melding of Cave’s poetic songwriting and Ellis’s formidable library of musical influence; the two perform an exquisite dance between Earth and Air, with Cave grounding Ellis’s ethereal synths, freeform jazz elements, baselines reminiscent of Suicide, and emotional strings.

Nick Cave’s last album, 2019’s Ghosteen, focused on personal tragedy, grief, and existence in a new normal.  Cave also performed a piano concert during lockdown last year, released as Idiot Prayer: Nick Cave Alone at Alexandra Palace. Carnage, by contrast, reflects more on the world writ large, current events, and the collective experience. Cave reflects upon solitary confinement, totalitarian oppression, and redemption. This is a record sculpted by seasoned vets of the trials of life and death, and it hits hard.

Listen to Carnage now, and make sure to have a box of tissues handy to collect the tears you’ll shed.

Carnage tracklist:
01 Hand of God
02 Old Time
03 Carnage
04 White Elephant
05 Albuquerque
06 Lavender Fields
07 Shattered Ground
08 Balcony Man

*Photo by Joel Ryan

The post Nick Cave and Warren Ellis Unleash “Carnage” with Surprise Album Release appeared first on Post-Punk.com.

Recently, Billy unveiled a new series of Horror posters were we can see Kraftwerk, The Jesus & Mary Chain, Nick Cave, Klaus Nomi, A Flock Of Seagulls, Talking Heads, Devo, and members Depeche Mode in illustrations inspired by cult and classic horror films, from Dracula, and Nosferatu, to The Hills Have Eyes, and more.

Check out the designs below, which are available on t-shirts, sweatshirts, posters, and more over at Billy’s store on Redbubble .

oy

The post Joy Division, Bauhaus, Nick Cave and More in a new Series of Horror Posters appeared first on Post-Punk.com.

Watch below:

In other news, Cave and the rest of the Bad Seeds were set to embark on a tour of Europe and the UK in support of his seventeenth studio album Ghosteen, however, those shows have now been rescheduled for spring of 2021.

Fall dates in North America with Weyes Blood are currently still on schedule to commence on September 16th. It remains to be seen giving the uncertainty of these days of quarantine blues if this leg of the tour will also be pushed towards 2021.

The post I want my “Bad Seed Teevee” | Nick Cave Launches New Livestream of Career-spanning Material appeared first on Post-Punk.com.

Mute is reissuing Rowland S. Howard’s long-awaited solo albums (through Fat Possum for North/South America; Bloodlines for Australia). Newly remastered by Lindsay Gravina, Howard’s 1999 solo debut Teenage Snuff Film will finally be re-released on double vinyl with one side etched, as well as on CD and digitally.

Howard died aged 50 from liver cancer in 2009, only months before the release of his final album, Pop Crimes, (recorded with Mick Harvey and JP Shilo). Pop Crimes will also be released on vinyl, CD, and digitally.

“… It seemed that everything he did was something I had never heard before…(his voice was) this deep well of emotion you knew was real. An absolutely brilliant musician and songwriter…I’m so glad these records are back out again. –Henry Rollins

Rowland S. Howard’s legacy was documented in the film Autoluminscent (2011), which is now streaming on Amazon Prime.

Both albums will be available on 27 March 2020.

Preorder these treasures through Mute Records.

The post Mute Re-Releases Rowland S. Howard’s “Teenage Snuff Film” and “Pop Crimes” appeared first on Post-Punk.com.