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I miss the thrill of stepping onto the stage, the rush of the performance, where all other concerns dissolve into a pure animal interrelation with my audience. There is a terrible yearning and a feeling of a life being half-lived. I have come to the conclusion that I am essentially a thing that tours. I am surprised, though, at just how hard not being able to play live has felt. For me, lockdown feels like a state mandated version of more of the same - a formalisation of the kind of hermit-like behaviour to which I’ve always been predisposed, and so, as difficult as it has been to see the devastation and anguish caused by the pandemic - including to the lives of those close to me, and many who have written into The Red Hand Files - I have been doing okay. I am also well acquainted with the mechanics of grief - collective grief works in an eerily similar way to personal grief, with its dark confusion, deep uncertainty and loss of control. I guess this should come as no surprise as I was a heroin addict for many years and self-isolating and social distancing were the name of the game. In many ways lockdown has felt weirdly familiar, like I’ve experienced it before. Songs like 2013’s “Jubilee Street” found them at the heights of orchestral grandeur, while 2016’s electronic-infused Skeleton Tree and 2019’s ethereal Ghosteen found Cave expressing a profound grief in the wake of his son’s death.By the way, here's the whole answer he gave on Red Hand Files: The band’s artistic evolution has bloomed enormously in the 21st century, buoyed by multi-instrumentalist Warren Ellis’ expanding role.
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The lush, piano-heavy atmospheres of “The Ship Song” (from 1990’s The Good Son) signalled a shift toward a more ornate, pop-leaning sound that continued with songs like 1994’s shadowy “Red Right Hand” and 1996’s gloomy Kylie Minogue duet “Where the Wild Roses Grow”, as well as on 1997’s sparse, romantic The Boatman’s Call. As the ‘90s dawned, the band turned their focus toward composition instead of attempting to capture the electrifying energy of their live shows. The band relocated to West Berlin in 1985 and developed the dark, theatrical sound that defined their intense ‘80s output, with feverish numbers like 1988’s “Deanna” or “The Mercy Seat”-a whirling crescendo sung from the perspective of a man headed to the electric chair-becoming fan favourites. Their chilling 1984 debut, From Her to Eternity, helped establish Cave’s singular, mythic lyricism as he plumbed the depths of human darkness through stories about sinners and demons.
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Australian singer Nick Cave and multi-instrumentalist Mick Harvey formed the band from the ashes of their post-punk group The Birthday Party in London in 1983. Fronted by rock ‘n’ roll’s Prince of Darkness, The Bad Seeds have practiced creative destruction since their inception, always transforming their sound to challenge and invigorate listeners.