#martyn casey

[nofatclips]

There She Goes, My Beautiful World by Nick Cave & The Bad Seeds, live at Maida Vale b/w Get Ready for Love

[musickickztoo]

Martyn P. Casey *July 10, 1960

[theaskew]

Lyrics:

I found her on a night of fire and noise Wild bells rang in a wild sky I knew from that moment on I’d love her till the day that I died And I kissed away a thousand tears My lady of the Various Sorrows Some begged, some borrowed, some stolen Some kept safe for tomorrow On an endless night, silver star spangled The bells from the chapel went jingle-jangle

Do you love me? She was given to me to put things right And I stacked all my accomplishments beside her Still I seemed so obsolete and small I found God and all His devils inside her In my bed she cast the blizzard out A mock sun blazed upon her head So completely filled with light she was Her shadow fanged and hairy and mad Our love-lines grew hopelessly tangled And the bells from the chapel went jingle-jangle

Do you love me? She had a heartful of love and devotion She had a mindful of tyranny and terror Well, I try, I do, I really try But I just err, baby, I do, I error So come find me, my darling one I’m down to the grounds, the very dregs Ah, here she comes, blocking the sun Blood running down the inside of her legs The moon in the sky is battered and mangled And the bells from the chapel go jingle-jangle

Do you love me? All things move toward their end I knew before I met her that I would lose her I swear I made every effort to be good to her I swear I made every effort not to abuse her Crazy bracelets on her wrists and her ankles And the bells from the chapel went jingle-jangle

[yourfavealbumisgender]

Dig, Lazarus, Dig!!! by Nick Cave and the Bad Seeds is Transgender!

requested by anon

[spilladabalia]

Grinderman - No Pussy Blues

[mitjalovse]

That Neil Young's producer? His name was – he died a long time ago – David Briggs. He was actually more than a production sideman of Neil Young, he also collaborated with many others thanks to his status there. However, do not mention his name in front of Nick Cave. Their project, Henry's Dream, was apparently a communication disaster, though you cannot tell that from the songs there who are incredible and I think the production serves them well. Then again, Nick Cave & The Bad Seeds were in one of their better phrases, so one is allowed to think anyone could've produced them at that point and make the similar sounding album. You see, I somehow wish Nick Cave would've called Brian Eno then, what would've happened there …

[nofatclips]

Red Right Hand by Nick Cave & The Bad Seeds, live on Later... with Jools Holland

LIVE: Nick Cave & The Bad Seeds

[dustedmagazine]

Listening Post: Nick Cave

Nick Cave got his start in the punk clubs of Melbourne, as the shirtless, skeletal and incandescent front man for the Birthday Party, an outfit once dubbed “the most violent live band in the world.” That band split up in 1983, but not before, arguably, launching the goth punk genre with their single “Release the Bats.”

Cave’s next project, Nick Cave and the Bad Seeds launched in 1982, bringing together a core group of collaborators — Warren Ellis, Martyn P. Casey, George Vjestica, Jim Schlavunos and Thomas Wydler — that continues to back him today. (As well as a couple, notably Mick Harvey and Blixa Bargeld, who no longer participate). It was with the Bad Seeds that Cave began to explore a driving blues-based psychedelia. The harder rocking Grinderman project branched off from there in 2006.

Cave’s last few albums, starting with Push the Sky Away and continuing through Skeleton Tree and Ghosteen, are very different from his work with the Birthday Party, or, indeed, early Bad Seeds. They are quieter and more uneasy. Ghosteen, produced after the tragic death of Cave’s teenage son, incorporates lavish orchestral arrangements and lacerating imagery.

In some ways, the 18th and latest Cave album, Wild God continues that trajectory, surrounding visionary lyrics with the sounds of a full orchestra and gospel choir. Yet this one, unlike the past two, again brings in the Bad Seeds, girding whipped cream heaps of violin glissandos with the muscle of bass, drums and rock guitar.

The album also marks a departure from the preceding two by focusing on joy. Despite the untimely death of two of his sons, the passing of colleagues, the pandemic and all the uncertainties of politics and climate and war, Cave fixes resolutely on the beauties of the world, like frogs jumping heaven-ward in the rain or brown horses grazing peacefully in the grass. It’s a bold stance in 2024, but a welcome one. We could all use some joy.

Intro by Jennifer Kelly

Jennifer Kelly: So, I think my very favorite thing in Wild God is the way that “Conversion” kicks into high gear about halfway through, with the gospel choir and all, and it just picks you up and takes you away. What are you all liking or not liking here?

Justin Cober-Lake: I’ve liked nearly all of Cave’s recent work, but this one is probably my favorite of the era. You mention it continuing the trajectory of the past three, which work as a sort of trilogy (ignoring Carnage). Cave’s taken the orchestral and atmospheric approach from those albums, but used it here to fill out a Bad Seeds album. This album returns him to his rock sounds, but it’s still an album that comes out of the trilogy. Though they’re fairly different, it’s hard to imagine this sound arriving without Ghosteen. It brings together a wide stretch of musical thought to create something very focused tonally. It means that forays like the gospel moments make sense even if they’re surprising.

Similarly, it mixes his older sense of storytelling with his more recent confessional sort of writing (admitting that there isn’t a clear era divide for these approaches, just that the personal, emotional sketches are more prominent since Push the Sky Away). Cave’s always been masterful, but Wild God feels like the album where all the elements of his art came together in a unified and powerful way.

Jonathan Shaw: Justin points to gospel moments on Wild God, and yes, I got two-thirds of the way through my first listen and thought, “Oh, it’s a gospel record.” Scans with all the writing and chatter about Christianity and religiosity Cave has done over the past bunch of years, but it still surprised me. I have been away from his music since the early 1990s, save for that first Grinderman record, which I found sort of charming, a return to the grime and squalor of the first few post-Birthday Party records (I still listen to From Her to Eternitysometimes). So, this is a strange place to land as a listener. I am still getting my footing, as it were, but I really like “Frogs” and I really don’t like “Joy” and “O Wow O Wow” is just sort of embarrassing.

So much seems to be in those first two tracks, which I am ambivalent about. I sort of like “Song of the Lake.” As a middle-aged dude, I can identify. But the grandness of the music feels of a piece with Cave’s characteristic grandiosities, which is what drove me away from his stuff in the first place. I’m going to keep listening.

Ian Mathers: For me, I wasn’t so much driven away by Cave’s grandiosities as kept away in the first place. I still have the Birthday Party on my (long, ever expanding) list of bands to get around to checking out one day, but his solo/Bad Seeds stuff never seemed that appealing. The most exposure I got was working in a record store where coworkers played the then-newer Abattoir Blues/The Lyre of Orpheus and first Grinderman records a fair bit. I was never annoyed by those records, but they did confirm and kind of cement my perception of him as very full of himself.

I don’t mean that in a dismissive or diminishing way; I think being full of himself is kind of the key to both what I find appealing in Cave and what I find kind of risible (including his advice column, which in my experience veers between genuinely very good and frequently moving, and making me roll my eyes and sigh). It feels like Nick Cave is as Nick Cave as he can possibly be at all times, and even when I’m not enjoying that there’s something wonderful there.

That being said, Ghosteen in 2019 marked the first time something I heard from Cave really landed with me. Yes, I appreciated his writing around the death of his son (and felt for him and his family), but that alone wouldn’t have gotten me to check it out. Something about the way people were talking about it made me think I had to check it out. And it grabbed me from the first listen. I think it’s a really beautiful record with a lot to talk about... that we’re not really focused on right now. But it did make me feel like I wanted to check out whatever Cave did next.

Something about the opening “Song of the Lake” made me think this was going to be another Ghosteen for me, where I feel like I got it and liked the record right from the first listen. For better or worse the rest of Wild God (at least after my first couple of listens) doesn’t sound much like it, and didn’t land as immediately for me. I remember liking “Frogs” as well, and those two are the ones that most seem to tap into a similar vibe as the one I liked so much on the previous record (despite this being about very different things, as far as I can tell). But of course, that’s coming from someone who’s never sat down with the vast majority of the records Nick Cave & the Bad Seeds have put out.

Tim Clarke: Ian’s description of his relationship with Nick Cave closely aligns with my own. I always found his self-righteous preacher persona to be annoying, and none of the music that I’ve half-heartedly tuned into over the years has piqued my interest. This changed with Skeleton Tree, which I found very moving. The music closely aligned with the intensity of emotion in the vocals, rather than just being a platform from which Cave would perform atop, if that makes sense. Skeleton Tree led me to Ghosteen, Push The Sky Away and Carnage, all of which I enjoyed.

This one is a harder sell for me. The prospect of “happy Nick Cave” doesn’t resonate with my musical taste, so a gospel-leaning record about finding joy was already going to be a slightly uncomfortable experience... There are a few moments here that I enjoyed, many of which have already been flagged by you guys, but mostly this just makes me want to listen to Mercury Rev’s Deserter’s Songs, which works with a similar musical palette, but with much greater emotional resonance.

Justin Cober-Lake: I may be on the opposite side of the Cave listening spectrum than most of us. I listen to the Birthday Party less than any of his music, and I like the grandiosity. I think he does something unique (or at least in a unique way). He’s trying to make art — which plenty of rock musicians are — but in a way that doesn’t correlate to the usual paths for that. His lyrics tend to be either smart and poetic or simply pretentious, probably depending on your starting point. The excess and bombast is part of the statement (differing from either emo or show tunes or prog or whatever, though maybe Tom Waits’ blend of stage and, well, whatever he does, is a good conceptual pairing). I don’t see him doing either advice or preaching in his music or his “Red Hand Files.” I’m not sure what it is, maybe just talking to fans. It’s the Q&A part of a reading.

My stance on all that sets up my listening to Wild God, which while ostensibly “happy Nick Cave,” only sort of is. It’s an album full of violence, death, and the acknowledgement of not just our mortality, but of our decline on the way to the end. From that ground, Cave finds places of transcendence, none of which fully hold up, but all of which get us through. There’s some kind of peace tucked into these emotional swells, a steadiness within the surges. That strained position gives the album much of its power. Freed of innocence but willing to be open allows the album to find real, earned hope and joy; and “joy” here doesn’t scan as a synonym for “happy,” but for something deeper, maybe closer to “at peace with all the destruction,” like a reed bent but always returning to its upright position, even knowing the next storm is coming.

Jonathan Shaw: I hear that, Justin. There are moments in earlier Cave that are big, emotionally and musically, that work really well. “The Carny” from Your Funeral... My Trial is a good example, and I have a long-running and passionate attachment to that whole record. When it’s an interesting musical move, I can get with opulent bombast (Klaus Nomi’s “Total Eclipse,” for instance).

I hear the reading of joy you provide in the song “Wild God” — a variety of “late style” Cave, in Edward Said’s sense of the phrase. It’s one of the stronger tracks on this record, not as good as “Song of the Lake” (lotsa bombast, and I have come to really like the tune) or “Frogs,” but good. On “Joy,” I don’t hear strain or struggle or even cussedness in the face of loss and decline. It’s too close to schmaltz, and the references to his recent grief strike the wrong tone for me. Can’t handle the part about “angry words” and “stars.” It’s true that we can’t subsist on anger alone, but exhausted metaphor ain’t gonna do the trick, either.

Jennifer Kelly: It’s interesting to me that choir music is not something that Cave discovered recently and in fact he was in the choir at his church growing up. This Ann Powers interview explores his connection with church music.

Justin Cober-Lake: My thoughts are starting to diverge with the conversation, so let me throw out points related to the last two comments and we can go whichever way it takes us.

Jonathan, I took a listen to “Joy” out of context with your thoughts in mind, and I think you make some fair points (even if I do like the song on its own). The album really works best as an album, though, and “Joy” has its slot there (notice for example how many songs include lines that reference previous songs). Even alone, though, the joy is entirely couched in an awareness of death, and teenaged death at that (assuming my reading of “giant sneakers”). I realize that doesn’t make the rest of it treacly, but it provides an essential element that keeps it from getting stupid, at least for me.

Jenny, thanks for sharing that interview, which is absolutely fascinating. I’ve long been interested in Cave’s relationship to religion. His spiritual language, even in unbelief, carries a particular potency that isn’t just shared Christian literacy. There’s an existential element to his work that really resonates, and Wild God feels like a particular manifestation of that, more openly... agnostic? Curiously agnostic? Maybe the religious work here, both in the words and in the choir, help direct the bombast and potential schmaltz into something that I find incredibly effective.

Tim Clarke: Thanks for sharing that interview, Jenny. I had no idea Dave Fridmann worked on the album. I can really hear it now. That epic, overblown, overwhelming quality that he achieved with The Flaming Lips’ The Soft Bulletin back in the late 1990s.

Bryon Hayes: I honestly thought I’d have more to say about this album since I consider myself a Cave fan and have dipped in and out of his canon over the decades. Judging by the profound discourse thus far, many of you have fairly strong feelings about Wild God, whether they be positive or not. My own response has been surprisingly muted. Cave’s albums usually stir emotions in me; I’m usually quite moved by his lyrical themes, most obviously on Skeleton Tree and Ghosteen. This album just seems to sit in my head and doesn’t really punch me in the gut. Maybe I’m turned off by “happy Nick Cave,” as Tim mentioned previously. The thing is, I keep going back to it. I enjoy listening to Wild God, I'm just not immersed in it. I do think that Dave Fridmann’s work on the album is bringing up some nostalgia for those classic Flaming Lips and Mercury Rev albums, though. His influence is one element that I find to be endearing on Wild God, and I would definitely be interested in hearing Cave and Fridmann work together more.

Christian Carey: Here’s a quote from Cave to close things out: “All my songs are written from a place of spiritual yearning, because that is the place that I permanently inhabit. To me, personally, this place feels charged, creative and full of potential.” — Nick Cave

[piasgermany]

[Album] Nick Cave & The Bad Seeds kündigen neues Album "Wild God" an!

Nick Cave & The Bad Seeds kündigen ihr neues Album "Wild God" an! Der erste Vorgeschmack auf das am 30. August über Play It Again Sam erscheinende 18. Studioalbum ist der Titelsong, der bereits jetzt zu hören ist.

Die 1983 gegründete Band, die bereits zahlreiche Klassiker und zuletzt das Album "Ghosteen" (2019) veröffentlicht hat, besteht neben dem australischen Frontsänger seit knapp 30 Jahren aus Warren Ellis (Violine, Bouzouki, Mandoline), Thomas Wydler (Schlagzeug), Martyn Casey (Bass) und Jim Sclavunos (Schlagzeug, Perkussion, Gesang, Orgel), 2016 kam noch George Vjestica (Gitarre) hinzu. Ende des letzten Jahres hatte Cave gemeinsam mit Warren Ellis das Live-Album "Australian Carnage – Nick Cave and Warren Ellis Live At The Sydney Opera House" released. Seit ihrer Gründung vor über 40 Jahren haben Nick Cave & The Bad Seeds es geschafft, ihren Sound immer wieder neu zu erfinden. Das kommende Album ist keine Ausnahme von dieser kreativen Entwicklung der Band, die auf den zehn Songs den düsteren Vorhang ein wenig zurückzieht und etwas Licht hereinlässt.

Auf den neuen Tracks von "Wild God" bewegt sich das Kollektiv zwischen Konvention, Experimenten, Anspannung und Entspannung und nimmt dabei auch Abzweigungen und Umwege in Kauf, die die Bilder und Emotionen in Caves Erz��hlungen noch verstärken. So gibt es Momente, die an die Vergangenheit der Bad Seeds erinnern, die aber nur flüchtig aufleuchten und eher dazu dienen, den Fortschritt der Band zu untermauern. “I hope the album has the effect on listeners that it’s had on me”, erzählt 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 masterplan 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.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann der Frontmann Anfang 2023 mit dem Schreiben des Albums. Bei Sessions im Miraval in der französischen Provence und in London brachten die Bad Seeds dann noch eigene Elemente ein, mit zusätzlichen Gastauftritten von Colin Greenwood (Bass) und Luis Almau (Akustikgitarre). “Wild God…there’s no fucking around with this record”, so Cave. “When it hits, it hits. It lifts you. It moves you. I love that about it.”

Als einer der ersten Songs, die Cave für das Album schrieb, ist der jetzt schon geteilte Titeltrack ein Stück, das erneut das besondere Storytelling des Australiers präsentiert und sich nicht nur musikalisch immer weiter aufbaut und schließlich entlädt: „And the people on the ground cried when does it end? / The wild god says well it depends, but mostly never ends”. „When I hear ‘Wild God’ or ‘Frogs’ or ‘Conversion’ – songs on the album that have these big climactic moments – it puts a big fucking smile on my face”, ergänzt Cave über die Single. Dem können wir uns nur anschliessen!

Tracklist "Wild God": 01. Song of the Lake 02. Wild God 03. Frogs 04. Joy 05. Final Rescue Attempt 06. Conversion 07. Cinnamon Horses 08. Long Dark Night 09. O Wow O Wow (How Wonderful She Is) 10. As the Waters Cover the Sea

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[jackmanifold-daily]

In defence of jackmanifold-daily

better call kettle

Earlier today a despicable, scathing callout was posted by our own mod luigra… it was a painful betrayal for all of us, but thankfully, I can categorically disprove each and every allegation and mistruth contained within this evil post. Smash that like button and lets jump right in

MOD STRAD

Okay I cant lie Strad definitely did that, more than once too. But there’s something that was… conveniently omitted. He got Food Poisoning from the foul dogs. 

Strad is the VICTIM here, and painting him as being the problem is just one example of the egregious twisting of the truth all throughout this callout. 

MOD SNALZ

Maybe I can’t prove that Jackity is a pure and unproblematic ship… but I can prove that the call comes from inside the house…blog, and the crew goes down with the ship…house *epic guitar riff*

In the image provided on the original callout post you can see the usage of the word “y’alls” … which doesnt seem too strange, until you remember that I am BRITISH and would never use the word “y’all�� 

No, this tag was typed by someone else… mod luigra itself. My source? Trust me. 

MOD KEY(S)

Frankly, keys has literally never done anything wrong. Keys is a chronic haver of certified 🔑 moments, and is once again being victim blamed here, kinda weirdchamp, kinda gloopydoinky. Everybody wishes they were keys, unburdened by suffering and full of swag, this was clearly a callout spawned from jealousy.

MOD PEP

This is an OLD message, from long before pep had met our beloved keys, who changed their beliefs wholeheartedly. Pep does now ship jack manifold. The lgtbq community has forgiven pep cosmosisfold. People can change, man, thats so beautiful.

MOD TEA

Was that night not dark for us all? During the long, cold jack manifold lore drought? Did it not hurt most of all for poor tea???? Democratically elected owner of c!jack, who made this prediction, only a light joke, to be struck down unwillingly by the gift of prophecy…. also xe is sleeping and cant defend themselves??? You wouldnt call out a sleepyguy. So immoral. 

MOD CASEY

sigh… this is the worst accusation of them all. First of all, martyn is neurodivergent AND a minor. Which speaks for itself. Secondly, As circled in the image above you can see a difference in white colour, the wrong font for discord, the covered up original text. sloppy work tbh

Here you can even see the harshly named channel: martyn-hates-gay-people-and-women created by joy… who first sent this same supposed image… curious. Seems… sus.

MOD LUIGRA

Didn’t think I would made a defence for every mod here and leave the perpetrator out, did you?

No, listen well, good people of tumblr. Despite my clear evidence that the original callout post by the traitorous mod luigra is like, cringe or whatever, luigra is in fact… innocent too (gasp)

Joy is… literally a woman? The only woman on the server, which shows that we really need to do better, im sorry women. God forbid women do Anything. Also she goes through the horrors and maybe even the terrors every day, so, completely innocent. 

Let out that breath of relief, dear follower, you can continue enjoying the jackmanifold-daily blog free of fear, happy april fools <3 thanks for all the support, these guys are my best friends and im glad i got to meet them through this silly blog <33

[nofatclips]

Do You Love Me Like I Love You, Part 13: Abattoir Blues/Lyre of Orpheus - A documentary by Iain Forsyth and Jane Pollard about the album by Nick Cave & the Bad Seeds

[norimatsuaki]

[ulkaralakbarova]

Five twenty-something friends spend a drug-fueled weekend in Cardiff, Wales. Credits: TheMovieDb. Film Cast: Jip: John Simm Koop: Shaun Parkes Nina: Nicola Reynolds Lulu: Lorraine Pilkington Moff: Danny Dyer Lee: Dean Davies Felix: Andrew Lincoln Moff’s Father: Terence Beesley Reality (voice): Jo Brand Andy: Richard Coyle Karen Benson: Jan Anderson Pablo Hassan: Carl Cox Fleur: Stephanie Brooks Howard Marks: Howard Marks Jip’s Mother: Helen Griffin Tyrone: Danny Midwinter Ziggy Marlon: Justin Kerrigan Hip Hop Junkie: Tyrone Johnson Koop’s Father: Larrington Walker Jip’s Manager: Philip Rosch Lulu’s Uncle Albert: Peter Albert Lulu’s Auntie Violet: Menna Trussler Jeremy Faxman: Mark Seaman Connie: Lynne Seymour Luke: Patrick Taggart Boomshanka: Anna Wilson Casey: Robert Marable Herbie: Nick Kilroy Matt: Peter Bramhill Moff’s Mother: Carol Harrison Moff’s Grandmother: Anne Bowen Martin: Giles Thomas Jip’s Ex #2: Sarah Blackburn Doctor: Eilian Wyn Asylum Doorman: Neil Bowens Jip’s Ex #3: Nicola Davey Inca: Roger Evans Tyler: Bradley Freegard Trixi: Emma Hall Jip’s Ex #1: Elizabeth Harper Jip’s Secretary: Jennifer Hill TV Interviewer: Nicola Heywood-Thomas Casey: Robert Marrable Cardiff Bad Boy: Louis Marriot Millsy From Roath: Millsy in Nottingham Karen Benson’s Boyfriend: Robbie Newby Tom Tom’s MC: Ninjah Jip’s Mother’s Client: Cadfan Roberts Koop’s Workmate: Mad Doctor X Bad Boy: Jason Samuels Breakdancer / Bodypopper: Tim Hamilton Bodypopper: Alicia Ferraboschi Bodypopper: Sherena Flash Bodypopper: Marat Khairoullin Bodypopper: Adam Pudney Bodypopper: Mark Seymore Bodypopper: Algernon Williams Bodypopper: Colin Williams Bodypopper: Frank Wilson Film Crew: Supervising Sound Editor: Glenn Freemantle Sound Editor: Tom Sayers Dialogue Editor: Gillian Dodders Casting Director: Sue Jones Additional Editing: Stuart Gazzard Associate Producer: Rupert Preston Producer: Allan Niblo Director: Justin Kerrigan Producer: Emer McCourt Co-Executive Producer: Michael Wearing Steadicam Operator: Paul Edwards Second Assistant Director: Marcus Collier Sound Re-Recording Mixer: Craig Irving Editor: Patrick Moore Director of Photography: Dave Bennett Costume Designer: Claire Anderson Original Music Composer: Matthew Herbert Set Dresser: Ed Talfan Sound Recordist: Martyn Stevens Production Coordinator: Andrea Cornwell Post Production Supervisor: Jackie Vance Post Production Coordinator: Claire Mason ADR Recordist: Sandy Buchanan Gaffer: Andrew Taylor Sound Re-Recording Mixer: Nicolas Le Messurier Script Supervisor: Laura Gwynne Assistant Sound Editor: Susan French Music Supervisor: Pete Tong Makeup & Hair: Kerry September First Assistant Director: Charlie Watson Post Production Supervisor: Maria Walker Second Assistant Director: Matthew Penry-Davey Assistant Editor: Amy Adams Foley Editor: Miriam Ludbrook Original Music Composer: Roberto Leite Storyboard Artist: Nick Kilroy Dialogue Editor: Keith Marriner Makeup Designer: Tony Lilley First Assistant Director: Emma Pounds Music Consultant: Arthur Baker Co-Executive Producer: Kevin Menton Electrician: Mark Hutchings Boom Operator: Jeff Welch Costume Assistant: Karen Mason Casting Director: Gary Howe Production Design: David Buckingham Co-Executive Producer: Nigel Warren-Green Executive Producer: Renata S. Aly Art Direction: Sue Ayton First Assistant Director: Hywel Watkins Third Assistant Director: Tivian Zvekan Location Manager: Peter Vidler Location Manager: Frank Coles Assistant Location Manager: Roland Mercer Focus Puller: Mike Chitty Clapper Loader: Ewan O’Brien Key Grip: David Hopkins Construction Manager: Martin Dawes Property Master: John C. Reilly Set Dresser: Riana Griffiths Art Department Assistant: Jacqui Puscher Storyboard Artist: Deena Mathews Costume Supervisor: Anne McManus Makeup & Hair: Hanna Coles Still Photographer: Hector Bermejo Unit Publicist: Jessica Kirsh Movie Reviews: zag: One of my favorite films of all time, its a period movie describing the young party goers of the UK in the 1990’s. It hits the nail on the head, the lov...

[cakeniron]

Drunken Audiobooks | Red Right Hand - Nick Cave and The Bad Seeds

Nick Cave and the Bad Seeds are an Australian rock band formed in 1983 by vocalist Nick Cave, multi-instrumentalist Mick Harvey and guitarist-vocalist Blixa Bargeld. The band has featured international personnel throughout its career and presently consists of Cave, violinist and multi-instrumentalist Warren Ellis, bassist Martyn P. Casey (all from Australia), guitarist George Vjestica (United…

[spilladabalia]

THE TRIFFIDS - My Baby Thinks She's A Train

My baby thinks she's a train, she don't know the difference between pleasure and pain, my baby thinks she's a train, she walks out the door & she's drinking kisses like rain