▐
▐
▌ ▐▌ ▐
██
▐▌ ██
██ ████ ▌ ▐
██ ████ ▐▌
▌ ████ ▄▄ ██████ ▌ ██
█ ▄▄▄ ████ ▀▀█████████ ▐█ ██
████▀▀▀██████ █▄▄▄ ▀▀▀ ▄▄ ▐█ ▐██▌
███ ▓ ▀█████▄ ▄▄ █████████▓▓ ██▌ r!0t/BAFH ████ ▌
███ ██▓▄ ▀▀████████ ████████▓▓ ▄▄ ▀ ████ ███▄▄▄ ▄██████████▌
███ █████▓▓▄ ▀▀██████ ████████▓▓ ▀████ ████████ ▀▀▀███▀▀▀▀▀▀ ▄ ██
███ ▄████████▓▓▄▄ ▀▀██ ███████▓▓▐█▄ ▀████████████ ██▄▄▄▄▄█████▓▓ ███
██▀ ▄█████████████▓▓▄▄ ████████▓▓▐██▄▄ ▀▀████████ ████████████▓▓ ██
███▀ ██████████████████████████████▓▓▐██████▄▄▄▄ ▀▀▀▀ ████████████▓▓ ██
██▀ ▄████████████████████████████████▓▓▐███████████████▄▐███████████▓▓ ██
██ ▀███████▓▓███▀████████████████████▓▓▐████████████████████████████▓▓ ██
███▄ ▀███▓▓▀ ████▓▀▀▀▀▀███████████████▓▓▐█████████████████████▀▄▀███▓▓ ██ ▐
▐█▐██▄ ▀▓▀ ▐████▓▓▄ ░░░░▒▒░ ▄██████▓▓▀ ███████▓▓▀█████████▀▄▓▓▄▀█▓▓ ██
▐█ ███▄▄▄█ ███████▓▓▄▄ ░░░░▀▀████▓▓▀ ░ ▀ ▀▀████▓▓ ░▀▀████▀▄███▓▓▄▀▓▓ ███ ▐
█ ████ ▐███████████▓▓▄▄ ░░░░ ▀▀ ░░░░░ ▓▄▄ ▀▀▀▓▄ ░░░ ▀ ██████▓▓▓ ▀ ██ ▐
▌ ███ █████████████████▓▓▓▄▄ ░░▒▒░░ ▄████▓▓▄ ▀▀▀▄▄▄██████████▓▓ ███ █
███ ▄███████████████████▓▓▓ ░▒▒░░ ▄█████████▓▓▄▄▄ ▀▀█████████▓▓▄ ███▄ ██
▌ ███▌ █████████████████████▓▓ ░▒░░ ▄███████████████▓▓▀▄█▄███████▓▓▄ ██████
████ ▐███████▓▓ ▀▀██████▀▄▀▓▓ ░░░ ▄███▓▓ ▀▀███████▓▓▐██ ▀███████▓▓▄ ▀████
█████ ███████▓▓ ░░░░ ▀▀▀▄█▓▓▄▀ ░ ▄████▓▓ ░░░ ██████▓▓▌█▀ ░░ ▀███████▓▓ ███
██████ ███████▓▓▌ ░▒░░░ ▄█████▓▓▄ █████▓▓ ░▒▒░ ██████▓▓▀ ░▒░░ ▀██████▓▓ ██
██▀▀▀▀▀ ████████▓▓ ░░▒░ ▄█████████▓▓▄▀██▓▀ ░░░▒░ ▐█████▓▓ ░░░▒▒░░░ ▀█████▓▓ █
██ █▓▓▄ ███████▓▓ ░░▒░ ▀██████████▓▓▄▀██▄▄ ░░░ ▐█████▓▓ ░░░░░░░▒░ ▀████▓▓
█ ▄███▓▓░ ███████▓▌ ░░▒░░ ▀██████████▓▓▄▀███▄▄░░ █████▓▓▌▄▄▄▄▄▄ ░░░░░ ▀████▓▓
▄█████▓▓░ ██████▓▓▄ ░░░░░░ ▀███████████▓▓▄▀█████▄ █████▓▓▐██████▓▓▄▄░░ ▀███▓▓
▄███████▓▓░ ███████▓▓███▓▓▄▄▄▄█▀██████████▓▓▄▀███████████▓▄▐█████████▓▓▄▄ ██▓▓
████▓▓▀▄▄▄▄▄▄███████████████████████████████▓▓▄▀█████████▓▓▄▐████████████▀██▓▓
████▄█████████████████████████████████████████▓▓▄▀▓███████▓▓ ▀█████████████▓▓
██████████████████████████████████████████████▓▓▀ ▄▄ ▀▀▓██▓▓ ▀█████████▓▓▀
▄ ██████████▀▀▀▀▀▀ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ▀▀▀████████▓▓ ▄█████▄▄ ▀█▓▓ █▄ ██████▓▓▀ ▄██
█▄ ████▀▀ ▄▄▄████████████████████████▄▄ ▀████▓▓ ▄█████████▄▄ ▀ ▀█▄ ▀██▓▓▀ ▄████
██▄ ▀ ▄▄█████▀▀▀▀▀▀ ▀▀▀███▄ ▀█▓▓ ▄███████████████▄▀██ ▀▓▀ ▄██████
████▄▄██▀▀ < E O S > ▄ ▀██▄ ▓ ▄██▀▀ ▀▀▀▀ ██ ▀ ████████
██████ ██ < M P 3 > ███ ▀██▄▄▄██ ▄ ██▄███████
████ ██▌ ██ ██████ ███ ▀▀▀▀ ████
████ █▌ P r o u d l y █ ████ ██ ██
██ ▌ P r e s e n t s . . ▌ ████ █ ██
██ ▌ ██ ▌ ▐▌
▐▌ ▌ ██ ▐
▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
▐
▐
Originally released : 10-26-2004
Release date : 09-27-2011
Album name : Abattoir Blues\the Lyre Of Orpheus
Artist : Nick Cave And The Bad Seeds
Ripped by : Team EOS
Genre : Rock
Label : Mute
Encoding Software : Lame EOS
Quality : -V 0
Tracks : 17
Size of Files : 113,9 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
CD1
01 05:05 Get Ready For Love
02 04:54 Cannibal's Hymn
03 06:32 Hiding All Away
04 05:15 Messiah Ward
05 05:17 There She Goes, My Beautiful World
06 04:54 Nature Boy
07 03:59 Abattoir Blues
08 04:26 Let The Bells Ring
09 02:43 Fable Of The Brown Ape
CD2
01 05:37 The Lyre Of Orpheus
02 03:14 Breathless
03 04:21 Babe, You Turn Me On
04 06:43 Easy Money
05 04:37 Supernaturally
06 04:26 Spell
07 03:37 Carry Me
08 06:50 O Children
Total time: 82:30 min
─ Release notes ─────────────────────────────────────── ─── ─ ─
When Blixa Bargeld left Nick Cave's Bad Seeds, who
would have predicted his departure would result in one
of the finest offerings in the band's catalog? Abbatoir
Blues/The Lyre of Orpheus is a double CD or, rather,
two completely different albums packaged in one very
handsome box with a stylish lyric booklet and subtly
colored pastel sleeves. They were recorded in a total
of 16 days by producer Nick Launay (Kate Bush, Midnight
Oil, Girls Against Boys, Silverchair, INXS, Virgin
Prunes, et al.). Abbatoir Blues, the first disc in the
set (packaged in pink, of course), is a rock & roll
record. Yeah, the same guy who released the Boatman's
Call, No More Shall We Part, and Nocturama albums has
turned in a pathos-drenched, volume-cranked rocker,
full of crunch, punishment -- and taste. Drummer Jim
Sclavunos' aggressive, propulsive kit work is the
bedrock of this set. It and Mick Harvey's storm-squall
guitar playing shake things loose on "Get Ready for
Love," which opens the album. As Cave goes right for
God in the refrain -- "get ready for love" -- in the
maelstrom, a gospel choir roaring "praise Him"
responds. His tense, ambivalent obsession with theology
is pervasive; he mocks the Western perception of God in
the heavens yet seeks the mystery of His nature. That
he does so while careening through a wall of noisy rock
damage is simply stunning. It leaves the listener
revved up and off-center for what comes next. The
chorus -- members of the London Community Gospel Choir
-- is prevalent on both records; the Bad Seeds'
arrangement utilizes them wisely as counterpoint and
mirror for Cave's own baritone. "Cannibal's Hymn"
begins as a love song musically; it's chocked with
Cave's dark wit and irony and ends far more
aggressively while retaining its melody. The single,
"Nature Boy," finds itself on Scalvunos' big beat. Cave
and his piano use love's irony in contrast with cheap
innuendo as underlined by the choir in their best soul
croon. "Let Them Bells Ring" is a most dignified and
emotionally honest tribute to Johnny Cash and the world
he witnessed. The Western wrangle of "There She Goes,
My Beautiful World" references Morricone's desert
cowboy groove against a swirling cacophony of drums,
bashing piano, and the chorus swelling on the refrain,
while Cave name drops Johnny Thunders and poet Philip
Larkin. The pace is fantastic; its drama and musical
dynamics are pitched taut, with lulls in all the right
places.
The Lyre of Orpheus, by contrast, is a much quieter,
more elegant affair. It is more consciously restrained,
its attention to craft and theatrical flair more
prevalent. But that doesn't make it any less
satisfying. It is a bit of a shock after Abbatoir
Blues, but it isn't meant for playing immediately
afterward; it is a separate listening experience. The
title track tells the myth's tale in Cave's ironical
fashion, where God eventually throws a hammer at the
subject and Eurydyce threatens to shove his lyre up his
nether orifice. Warren Ellis' swampy bouzouki and
Thomas Wydler's more stylized drumming move the band in
the tense, skeletal swirl where chorus and Cave meet
the music in a loopy dance. But in "Breathless," the
bard of the love song emerges unfettered at the top of
his poetic gift. On "Babe You Turn Me On," he wraps a
bawdy yet tender love song in a country music waltz to
great effect. But on this album, along with the
gentleness, is experimentation with textures and wider
dimensions. The sparser sound is freer, less
structured; it lets time slip through the songs rather
than govern them -- check the wall of Ellis' strings
married to a loping acoustic guitar on the moving
"Carry Me" as an example. Cave's nastiness and wit
never remains absent for long, however, and on "O
Children," the album's closer, it returns with this
skin-crawlingly gorgeous ballad of murder and suicide.
This set is an aesthetic watermark for Cave, a true
high point in a long career that is ever looking
forward.
─ Contact ───────────────────────────────────────────── ─── ─ ─
Contact us @ : #eos (EFNet)
█▀▀ ▀ ▀ ▀▀█
▀█▀▓▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▓▀█▀
▀▀▀▀▀▀ ▀ RIPPING AT ITS FINEST -- ECONOMY OF SOUND ▀ ▀▀▀▀▀▀