NICK CAVE AND THE BAD SEEDS: SKELETON TREE REVIEW
So basically this album is every bit as harrowing and melancholy as you would expect it to be. As the tremendous singer-songwriter-storyteller that he is, Nick Cave on his new album Skeleton Tree uses his plethora of sonic tools to paint a sorrowful picture with deep running concerns in loss and grief.
Having tragically lost his son little over a year ago, with only part of this album in creation at the time, this album displays the shattering effect and resonations such an event has had. One need look no further than the song “I Need You”, in which the emotion in Cage’s voice is near palpable, and definitely heartrending.
Focusing more on the instrumentation, everything feels expansive and yet somewhat vacant. With synths eerily sound-scaping the terrain onto which Cave often seems to simply wander atop, with delicate and often surreal worlds being wounded into its surface.
With death being so constantly close in Nick Cave’s discography, its rare to find it so ever-present without it being used as a dramatic or metaphoric device so often employed in his stories.
An experience not to be delved into lightly, and with this incredible new album, this year is shaping up to be one in which flirtations with death are abandoned for sheer confrontation.
Black Dog wears this heritage proudly on its sleeve, to ground a film that can at times feel too universal.
Time to sort out your schedule for Laneway Festival 2025!
In support of his sophomore album, Kansas Anymore, Role Model hit up the Forum in Melbourne on Saturday the 8th of February 2025. This is the second last date of his tremulous Australian and New Zealand Tour, which also featured a sub-headline slot at this year’s Party in the Paddock.
We speak to Payal Kapardia about her new film, loitering, urban expansion, and rice cookers.
Linnea’s delivery is compelling and commanding.
If you’re looking for a quick Fringe hit, we’ve selected a sampler of five shows coming up (or happening right now!) that are on our radar.
We Live In Time is a very human film, performed exquisitely by its two leads.
Homegrown brought a new and innovative way to use classical music to “activate” the community around us, allowing us to access live music performances in a seamless, easy-breezy, no-fuss experience.
The raw enormity of the feelings on screen are undeniably moving, and I found myself teary-eyed at a few points throughout.
Despite its rush to finish, Holy Cow is funny, warm and runs its course with a wry charm befitting of the characters.