Gothtober- Nick Cave & the Bad Seeds : "Ghosteen"

it comes to aging Cave is doing it better than Iggy Pop. He has been heading in this direction since 2013 's "Push the Sky Away" This is supposedly the third installment of a trilogy, though I am not sure how this album has anything to do with the two previous ones, particularly "Skeleton Key" since that album was written in the wake of his son's tragic death.He is locked into the the same kind of atmospheric folk ballads that he indulges in. To the extent that the opening track sounds almost just like "Jesus Alone" from the last album. I do appreciate that he makes an attempt to sing up in his head register. As long as he is crooning I am fine with it. I am not sure about when he goes onto the more spoken word songs which are kinda boring at times. 'Bright Horses" and "Waiting For You" are both very strong due to their emotive nature. His voice sounds better when he sings and age creeps into the narratives on the spoken word parts. If he circles back around and sings well at least that gives the song more dynamics.

The Bad Seeds are a great band, that are being tragically under used here.It is not surprising he is just  one tour with a piano as aside from the layers of ambiance he doesn't need them for much more. In this way I find "Galleon Ship " more interesting than "Sun Forest".This album will appeal to long time fans despite the fact it is more morose than it is dark.In fact in places it shimmers more like a Sigur Rios album. When you consider the title track is about the ghost of his son then there is still a Halloween theme here. Percussion finally comes in on"Leviathan". The bulk of the arrangements are fairly minimal minimal. Things that are multi tracked are often choral vocals and strings , both of which make their tapestry felt here. The title track vs "Ghosteen Speaks" finds  the ghosteen theme more hopeful when it is dancing in his head rather than speaking.  It is also more sprawling a cinematic with the string arrangements. 

I am sure the kind of reflective poetry he engages on with "Fireflies" is therapeutic for him, as a listener I do not find it to be as engaging. "Hollywood" is darker . I guess thematically as it should be.He splits the difference on the spoken word element and phrases it in a way that hooks me in more. I will give this one an 8.5, it is marginally disappointing it is not like he has not already given us an album like that, but perhaps that is where is discourages me. I would consider this a success if it was any other artist , but I hold Cave to to a higher standard since with great talent comes great responsibility . I think I am clear on what I was clear about what I like in regards to this album so no need to rehash that . It is solid, but the depression has him locked into this one haze. .

 
6

Mike Patton : " Corpse Flower"

I love Mike Patton when he is locked into an actual song, the large majority of the time. Faith No More , Peeping Tom, Mr. Bungle and Tomahawk are all good by me. Is his voice really being used to the fullest potential or he he just want to make a cinematic  Nick Cave like album? I know Burt Bacharach is an influence and that can be heard here. Aside from some harmony overdubs the  vocals are either spoken  in a low raspy croon. Perhaps sung even less than what Tom Waits does so by the 3rd song the humor is beginning to lose me. He is collaborating here with composure Jean Claude Vannier, who primarily makes film scores. "Cold Sun Warm Beer" is more Mr. Bungle. Higher vocals are in the background. The music is darker and more angular

"Browning" has more of am electric pulse to it.  It moves much more smoothly even taking into consideration the weirdness at the periphery. "Hungry Ghost" sounds like it could be from a 60s Euro trash opera. He does use a great deal of restraint and does not belt these out. The irony is it almost sounds like someone who is just doing what he can to make it through the songs  in a very intentional style , when we know he can knock it out of the park whenever he feels like.  For the title track he goes back into the more spoken thing. The music behind him is interesting. He goes into a more dynamic croon on "Insolubles". It at least sounds like he is trying to sing. There is a theatrical jazz feel to this one. "Top of the World " is more of what you expect from him. He sings more , and declares that he is going to piss and shit down onto the earth.

There are touches of 70s country and American mixed with polka on "Yard Bull" .   "A School Girls Day". Patton narrates this little girls day. The music is more interesting than what he doing. The last song sounds like it belongs in Twin Peaks. At least he croons a little on it.  If you are a fan of Mike Patton then you are going to be up for anything. I am not sure I will be in the mood to listen to this a great deal after summer is over. I will give it a 9 as it is good for what it is, the question is how much of a use to I have for what it is? 

Lana Del Ray : " Honeymoon"

She is obviously more mainstream the majority of the artists I cover, but has enough melancholy to her sound to have her place along side some of the other female artists covered here. She said this album was going to be filled with muddy trap energy and inspired by late night drives listening to Miles Davis. The title track that opens the album is well...boring. Sure ballads are her thing, but she has written them in a much more compelling manner. The second song is more redemptive of the flat opener, and has more of a west coast slink to the lazy dream pop. Her vocal phrasing is more emotive here and doesn't sound like she is trying to kill her self with sleeping pills while in the vocal booth.

"Terrence Loves You" is another song that is barely there, though the vocal lines in places prove to be engrossing. The vocals are really well recorded, since she is far from belting. The instrumental is as minimal as her diaphragm support until she goes up in her head voice to sing about Major Tom. So a Bowie reference is going to be worth something in my book. "God Knows I Tried" does have the 60s Nancy Sinatra feel and is darker than the first three songs. Her voice sounds fuller here. The first single from the album 'High By the Beach" comes closer to her more superlative work. There is more hip-hop beat, trap or not could be debated. She kicks out more rhythmic melodies to compliment it.The album begins to find it's groove on " Freak" . While she has a great voice, it's how she works interesting lyrics within the context of steamy beats that makes the magic here.  "Art Deco' keeps this vibe going in the right direction.

"Religion" has her trade mark croon over a more minimal accompaniment. The lyrics are smarter and when the drums come in they create more of a Portishead vibe. "Salvatore" is more ballad like  and the beat takes the back seat, with strings backing her more dramatic almost operatic vocalization. "the Blackest Day" finds her vocals taking on more soul and a touch of Stevie Nicks on the verses. The chorus isn't the album's strongest , but it works with the swell of organ behind it. The beat builds and the vocal layer multiple to display some of the years best production. "24" finds her voice naked against the minimal pulse that is dialed back behind. This 60s western soundtrack creeps in like the sunset. Her voice glides upwards flirting with her head voice. There is nothing really wrong with "Swan Song" I just don't feel like it is as strong as some of the other cuts, the music site behind her cool croon like it is business as usual. She closes the album with a cover of the Animals " Don't Let Me Be Misunderstood" that retain in the organ some of the trippy 60s feel. Overall this album might not be " the Ultra-Violence" as the lyrics are not as biting and the ballads are sleepier, but she excels when she does what she does best so I'll give this one a 9.