- Doorway Cave.
- Voices in the Ice Cave from Afarin Records on Beatport.
- Exchanging Pleasantries: screenplay format included.
Eastern Voices. The maximum number of audience members at individual performances varies, but is usually no more than The number of performers per performance varies between 5 and 13, and the technical — production staff is between 4 and 6 people. The minimum number of performances presented in one place is 2. The company can play 2 performances per day are available on request — the latest start time is local time.
The length of preparation and adaptation depends on the specific performance and local conditions, with a minimum of days necessary prior to the day of the first production. Financial requirements are available upon request at info farminthecave. Well miracles take a little longer. Nick says he often comes over as retarded in interviews because he can't trust journalists, especially English ones, who nod in agreement to his halting answers and then ridicule him in print.
He cites two interviewers who've recently grilled him for another British paper as a case in point. Nick Cave is a journalist's nightmare. An artist, who through such emotional blackmail tactics, expects a writer to snip off the barbs of their questions and place their tamed tongues in his rectum. He wants respect but doesn't seem to respect a journalist's freedom to inquire. Cave has even written a song about two ex-NME writers called Scum. It bookends his anthology King Ink. That's how obsessive he is about the press …. The new record is coming back to a more conventional sort of lyric.
There still are stories, but they're a lot more disguised. Like Oh Deanna is a retelling of a true relationship that I had with somebody through the story of somebody else, even if it doesn't begin with 'Once upon a time'. Deanna was a girl I knew when I was about eight. She lived in a trailer on the outskirts of the town with her old man who was basically this drunken, wretch of a character. Our relationship was kept a secret from him because he frequently beat her.
I was just one day older than her. It was a very equal relationship we had. It was impossible to get to because of the briar that surrounded it. But she made this tunnel through the briar. Inside this place she had a collection like a magpie's nest. We used to go on these day raids on the different houses around the town.
We knew the people wouldn't be in the houses and we used to eat their food, lie on their beds, and steal all sorts of stuff like letters, cutlery, clothes and money. The story is important because I've tried to write a lot of songs about it. She was never any kind of threat. I never had any reason to feel anything against this girl because she was really my best friend at this time. The kind of things I've written after this time have a different kind of bent to them altogether, although they might be the same kind of melodramatic fantasies.
So one day we robbed a house and found a handgun which we took back to our little grotto. We, I should add, robbed by ourselves, separately also. One day she was caught by this guy who was in this religious-instruction teacher's house. The wife of this teacher thrashed her and the guy did something to her, but I really don't know what it was. Deanna had gone back to the home and shot the strange man and woman in the religious teacher's house. How the stranger fitted into their lives was a bit of a scandal.
I've tried to write about it many times but I've never felt able to do it justice because it sounds like some sort of fantasy or some Disneyland type of thing. Nonetheless, after that happened she was taken off to some sort of child psychiatric place. And I was taken out of the local high school and sent to the big smoke to a strict all boys boarding school to have a bit of sense knocked into me.
I dunno. Neither do I. Cave is an epic storyteller of Grimm proportions. He'll make up what you want to hear. We turn from the fantastic to the relatively mundane, the stylistic beggar's banquet to be heard on the upcoming album, Tender Prey.
NEW BOOK by Michael Meade
As the provisional title implies, the record marks a continued shift in Cave's attitude to, and use of, biblical imagery, compared to say the Birthday Party's venomous Prayers on Fire , with songs like the almost redemptive tones of New Morning. It's all fairly stylised and each song is very stylised within itself. As the record evolved, we saw this happening and rather than rectify this disjointedness we decided we'd play on what would normally be a weak point within a record and make it its strength.
Cave happily admits a lot of the musical tendons that lift his work are provided by the Bad Seeds, especially the arrangement and interpretation that Mick Harvey brings to bear on the embryos of Nick's ideas. Typically, in rehearsal, he describes in emotional terms — lechery, compassion, violence etc — the sort of atmosphere he wants the band to create. The fact that he can rope in some of the most gifted musicians of the era, be it Kid Congo or Bargeld, is testament to the esteem he is held in popular music's more fractious quarters. Either that or they all need a meal ticket.
Despite popular myth, Cave isn't always deadly serious. Anybody who rues on about his "Hump of sorrow and sack of woe," as he does on the new tune, Up Jumped the Devil, can't be as deadpan as rigor mortis. The way I'm portrayed I find particularly funny sometimes, this supposed pessimism I'm meant to harbour towards everything and anything. I think something like Your Funeral, My Trial has got its humorous side, because I'm reasonably aware of the reputation that I've got.
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I find it curious to think certain people would find songs I write so continually harping on the same themes to be irritating, pathetic and so on. I kind of find some sort of enjoyment in that. Mick Harvey is continually telling me the way I've responded to a situation or what I've felt coming off an audience has not been really realistic … I think our group is capable of supreme disappointment, far more than other groups.
I really care about what we do and I really care that the shows are good and try my hardest to make them that way and I'm always upset if they're not as good as they should be. One has to use what resources one has and live with these things. I am quite aware that my voice is basically unlikable. And I think what I've managed to achieve with it has been quite a feat in itself. It's like trying to play great guitar on some sort of Gibson copy or ten-dollar guitar. The edge and depth of my voice is not a natural thing that great singers have, like Chris Bailey or Tom Jones or even Simon Bonney.
People whose voices automatically give you a nice feeling. That would be jumping out of the frying pan and into the fire. I think trading my voice for Frank Sinatra's would be a pretty poor deal all round.
Neither of us would fulfil our potential. You're involved in a lot of different projects, films, records, a novel. To be honest I thought your acting was really over the top in Ghosts to the point of being funny. From what I've seen of you so far you seem quite the opposite of the character you portray in that you're quiet and considered offstage, despite the media image of you.
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I'm quite nervous and not a racist, which is the opposite of this character. Is that what you mean? I dunno but I suppose that's what acting is supposed to be about, playing a character opposite to your own. Anyhow, I really did enjoy doing the acting, though I admit it was very kind of caricaturish. Basically in the script there were these big gaps which just had Nick Cave and no dialogue written down. I wasn't given any of the coaching the other actors were given, it was just assumed I could walk on and be this particular character. So basically I just had to be in front of the camera and scream abuse out.
Cave part-scripted Ghosts for producer Evan English. Ironically enough, Nick's first script for him, put together in LA several years back, was completely unfeasible and has now turned up as the basis of his novel, And the Ass Saw the Angel. So they got me to write the script.
The script I turned out was absolutely ridiculous.
The Cave of Many Voices
It would have cost millions to make. I had no idea of the expense involved in creating a film that would have an entire town in it and aerial zoom shots that started at one end of the town and zoomed in to a person's eyeball. I would find it impossible to write a book that was written from the author's point of view about myself. But I could write it quite easily by putting a character in to portray me and writing from an outside point of view. In And the Ass Saw the Angel, the photographer is in fact a chronic voyeur.
He acknowledges this fact and spends the entire time recording what goes on in the town that he lives in. It's only in the last two years of his life that he swings into action and creates situations with consequences. That's what the book is basically about, a voyeur, someone who's chastised by the townsfolk or the general mass.
Are you aware that you've got this myth that you carry with you that could be held responsible for the launching of a thousand goth bands? What a horrible thought! Unfortunately all the worst sides of my output in my creative life seem to have been adopted by people as the most influential ones. But when the things that people take from you are the most repulsive misconceptions about you — the way the goths do, for instance — that's all pretty frightening.
I'd hate to go down in history as the No 1 goth, the man who spawned a thousand goth bands with stacked hairstyles, no personality, pale sick people. I really don't want to be responsible for that sort of thing at all. I think there are a lot more interesting things about what I've done than what seems to have most affect on people. Only with the last couple of records I've realised that actually you do fill up again and can do it again.
But I always really worry before I make a record that it's just not going to be there. And this is one of the prime reasons that I do continue to make records, to ward off this fear that grows in me after three or four months. Despite what he calls "the monumental task" of editing his novel, Nick says he will still be unsatisfied with it when it is published. I wondered, therefore, whether he has been totally happy with any of his recorded work?
Like Mutiny, that particular song, and Sad Waters. Just a couple of moments here and there. But I find a lot of my work grotesque and tasteless in a lot of ways. Things like Deep in the Woods are diseased with grotesqueness. I feel like I tend to forget about really significant aspects of what I do that people will generally take notice of. On Deep in the Woods a song whose treatment of the female character was interpreted by many as misogynistic — JB I concentrated so much on sort of lyrical flow and nice use of words that the actual story behind the song is really ridiculous, a grotesque exaggeration that's ultimately really kind of comicbook and shallow.
I find I do that quite often. Sensing the interview is winding down, I decide to put a final shot to Cave. It's a secret personal project that Nick is going to be involved in the coming months, concerning his drugs problem.
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Nick is mortified when I broach the question, but leaves the tape recorder running while he talks extensively about the subject. Because of an agreement settled upon the following day, that particular subject matter has been left out of this article. Nick Cave, before we split for bed after our four-hour interview, summed up his feelings about his heroin addiction in the following way:. It has always worried me that drugs retard the development of ideas. They also retard other things like your physical development. But it does distress me that I have an influence over people in that way.
I've seen myself have an influence over people, in regard to drugs. I really think drugs are quite an evil thing and I really wish I hadn't become involved with them myself because I'm in a situation now where it will take quite a concentrated effort to live without them and it will require quite a major life's fight to stop taking them. The shitstorm begins. Packed and waiting to catch the next plane home, the sound of perhaps Cave's most possessed performance, an obscene song partly about kicking heroin, Mutiny in Heaven, replays itself in my mind. Upstairs in the Museum Hotel, meanwhile, Cave is freaking out.
He's already castigated his PR for talking to me about Simon Bonney and is now giving his friend Bleddyn Butcher the third degree. Nick is bitterly concerned that I haven't yet given an undertaking not to write about his secret project, despite the fact that he has offered to tell me the whole story after its completion. Though I'm satisfied with what I've got on tape already, a compromise is eventually reached.
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I'm informed that Cave will quite happily talk about his use of heroin in detail so long as I draw a veil over his secret project. Given that Cave's drug abuse has only been snidely insinuated in the press, and this is a chance to get the story from the horse's mouth, so-to-speak, and in the process deglamourise the sick junkie chic that surrounds him, I agree. We fly on to Hamburg. The PR is told by Cave that one of the singer's minions had been dispatched earlier to get us up. Our response to the invitation was supposedly to tell the minion to "Fuck off!
Our second interview is closer to a war. Overnight it seems Nick has changed the game-plan. He doesn't want to talk about heroin any more and we're well on the way to a head-to-head collision. Never have I spoken about it in any other way. I've talked about it a lot, in fact. Usually it's considered to be … There are reasons that I don't want you to write about it.
Or one of the reasons. You know, I don't write endless songs about it, for example. This is, of course, true.
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