on 21 December 2013
OK so this must be a mistake. I just bought this, as part of a two CD for £15 deal. On downloading, it turns out I got the whole of Live from KCRW too, although this doesn't show on the listing, well chuffed as the latter is probably the album of the year for Nick Cave fans.
It is beautiful of course, you'd have to be dead not to love this guy.
on 15 January 2014
Bought the download version for £2.99 which came with the new live album free - bargain! It's good but not up there with 'No more shall we part' or his Grinderman albums. I guess it's all down to taste and this is way better than 99% of the rubbish that's out there now and he doesn't really get recognised for it. No justice.
on 10 August 2016
I may not be a typical Nick Cave fan - Dig Lazarus Dig! left me cold, and I struggle with the heavier rock anthems - but I absolutely love the softer, more orchestral stuff, and Push the Sky oozes quality. Most of it has been said already in the 5 star reviews, better than I could, so I'll just add a few words about the vinyl release. I have it on CD, and the difference is startling - it sounds so much richer, so much more detailed on vinyl - it's one of those albums that really showcases how good vinyl is and why it is better than CD - so, congratulations to the prodction team on the 180 gram vinyl release.
on 17 March 2013
I bought my first Nick Cave CD(Greatest Hits) after hearing Where The Wild Roses Grow with Kylie Minogue, and I wasn't disappointed. I then went on to buy Let Love In, Dig Lazorous Dig and The Lyre of Orpheus, all were good but to me not brillaint. Late last year I bought Murder Ballads, absolutely fantastic, dark but brilliant. Then a few weeks ago I ordered Push The Sky Away, and waited with anticipation, would I like it, would it be as good as some of the reviews, and more importantly would it get played regularly, occassionally or just put in the drawer.
The day of reckoning came, opened it with great expectations, in the cd player and then WHAM!! what an absoutely fantastic collection of music and songs, would I play it again? it hasn't been off yet!
From beginning to end you will not be disappointed, so much so that I have bought a ticket to his October concert after listening to this album alone.
The more I listen to the whole album the better it gets, every song plays its part in this perfect collection, the lyrics are superb, the music hauntingly fantastic, overall by far the BEST CD of this year.
on 3 April 2013
Am I getting too demanding in my old age, or am I missing Mick Harvey? It's great, it's even got a good cover, but...it doesn't surprise or move me as much as I expected. Don't fret, it'll probably be the best thing ever, ever in a couple of weeks. But I will miss Mick Harvey.
on 19 February 2013
Simply, one of the greatest songwriters currently walking the earth! One critic gave this album a 4* review, but said that this is not
where you would like Nick Cave to end up. I disagree. Yes, it's a hauntingly mellow affair, so I suppose it will split opinion, depending
on what coat you personally prefer Nick Cave to wear.
Nick Cave has produced quite possibly the best album of his career.
This is a work of art; a creation of beauty - an exceptional collection of songs written in Cave's typically poetic style, with the most divine and understated accompaniments. it is as if he has produced this album as an antidote to the full-on Grinderman project.
on 26 March 2013
Reflective, intense, majestic and mythical, yet prosaic,up-close and personal, PTSA cements Mr Cave's reputation as an elegant man of letters long resident on England's south coast and it has the fishy smell of Brighton & Hove all over it. Sensitively underplayed and surprisingly scored throughout, it's overall impression is of a lone, though not entirely lonely, figure loping along the detritus littered shore of an ink-black ocean. The opening track, 'We Know Who UR', will sneak up on you and follow you around for days, 'Wide Blue Eyes' is a classic folk song over an insistent itch-scratch guitar that drips with grateful love and if you don't get a shiver down your spine during the 'Higgs Boson Blues' just after Hannah Montana, surprisingly, 'moves on to Amazonia and cries with the dolphins' you might want to get someone to check your pulse. Essential.
on 20 February 2013
Pretty much everything Mr Cave releases meets with a 5 star approval in my world. That is up until the release of Dig Lazarus Dig, which was still a great album by anyones standards but in my opinion Ellis's influence had just grown too strong, and with it, the album too loud. Stangely enough I prefered Grinderman doing similar material.
Anyway, onto Push the Sky Away and I was excited to hear that the Bad Seeds would be reverting to a more stripped down, sparse, ballady effort. The Boatmans Call or And No More Shall We Part, mark 2 came to mind, or at least that's what I was hoping for.
At times the album does deliver, from the gentle opener of We no who U R, and into Cave at his best in Wide lovely Eyes. But from there the album stutters along with intermittent highlights of Jubilee Street, Higgs Boson Blues and Push the Sly Away. But more often than not I was left questioning would any of the remaining songs make it onto previous albums. In my opinion, they wouldnt. Furtherly frustrating was that this album seemed to lack another 3 or 4 songs. It just seems incomplete, or more like an extended EP.
I'm as big a Cave fan as you can get and still like this album, but overall it disappointed me in content, lyrics, music and length and it just felt like a very lazy effort (and perhaps missed Mick Harveys input). I've now had the albumon repeat for a while now hoping it would grow on me but find myself getting increasingly bored by it.
By most artist's standards this is still a very good album, but by Nick Cave and the Bad Seeds standards... I would struggle to put this into their top 12 albums.
A mixed review from me hence the 3 stars only.
Any Nick Cave album release is, for me, hotly anticipated, since this is one of my all-time favourite song-writers and front men - in the Bad Seeds, fronting, in fact, one of the most innovative and dynamic backing bands that has graced any stage (in my book, in the same league as the likes of the E Street Band, Dexy's, The Rumour, The Blockheads, etc). Of course, one was slightly wary in advance of the release of Push The Sky Away, since it is the first album (except those by Grinderman) on which Cave has not collaborated (in his 30 year plus career) with long-time band member, Mick Harvey. My overall feeling is that whilst Harvey's physical stage presence will no doubt be missed, Cave's burgeoning song-writing partnership with Warren Ellis appears to be more than making up for the loss, and Ellis' influence on Push The Sky Away is evident from the fact that he has co-written all the songs with Cave.
This is an album that is by no means immediate, but whose haunting, moody atmosphere gradually reveals sublime beauty (and subtle melodies) in most of its songs. It is more in the vein of earlier restrained masterpieces The Boatman's Call and (my own favourite) No More Shall We Part than Dig, Lazarus, Dig!!! or the violently exuberant blues of the Grinderman recordings. However, whilst the mood and melody of pretty much everything here is (eventually) intoxicating, I also am left feeling that some of the songs (Wide Lovely Eyes, Water's Edge, Mermaids) are perhaps under-developed. On the other hand, album opener We No Who U R is simply superb, with its hauntingly sparse keyboards, heavenly backing vocals and Cave's fragile lead, and (my current favourite) We Real Cool features a brilliant pulsating beat, exquisite bowing from Ellis and another killer Cave vocal hook.
Lyrically, the album is darkly romantic, and whilst it may lack the acerbic wit of Cave's very best efforts, it still has its moments (e.g. from Mermaids, 'I do driver alertness course, I do husband alertness course, I do mermaid alertness course'). The eight minute infectious melancholy of Higgs Boson Blues provides another such lyrical highlight, name checking the likes of Hannah Montana/ Milie Cyrus, Robert Johnson and the site of Martin Luther King's assassination (the Lorraine Motel), before building to a suitably macabre climax. Similarly, the album's other magnum opus, Jubilee Street, is another crescendo-building gem (featuring Ellis' powerful tenor guitar riff), a tale of misplaced and doomed love, but with a surprisingly upbeat conclusion ('I am alone now. I am beyond recriminations. The curtains are shut. The furniture has gone. I'm transforming. I'm vibrating. I'm glowing. I'm flying. Look at me.')
My overall feeling is that, whilst there is some inconsistency in Pushing The Sky Away, its melodic highpoints and beautifully sparse and sombre mood just about push it into 5 star territory. For me, it does not match the lyrical beauty of No More Shall We Part or the brilliant virtuosity of Abattoir Blues/Lyre Of Orpheus, but is a very fine album nevertheless.