Sorry for the radio silence. You catch me in the middle of a rather busy 10-day period.
Nick Cave is still doing what he does. That is admirable. But really, I checked out a while ago. After a series of what sounded to me like overpraised Bad Seeds records, Grinderman was the last straw: the sound of, what? Self-parody? A formerly vital artist unable to summon up by force of will what used to be second nature? I listened forlornly. Cave doing sleazy, bluesy and (yes) grindy rock would once have been a sure thing, a slam dunk. Yet the distance between No Pussy Blues and, say, Junkyard just made me sad.
So We No Who U R, terrible title aside, was a relief. At this point in his life and career, Cave needs to stick to ballads; he doesn’t have the voice or sensibility any longer to play the terrifying demon he did so convincingly in the early 1980s.
Yet, the rhythmic backbone of We No Who U R – the first track off the most recent Bad Seeds record, Push the Sky Away – is synthetic, so it lacks one of the key elements that appealed to me as a Cave neophyte when I first heard The Boatman’s Call (which was a couple of years old by then). Before that, I’d only heard Where the Wild Roses Grow, which I remembered primarily for how stiff and uncomfortable he had appeared when performing the song with Kylie and the Bad Seeds on Top of the Pops, and some Birthday Party stuff: Big Jesus Trash Can, which had blown my teenage mind a couple of years later when I heard it on a 4AD retrospective, and a live album I’d picked up from a record fair. I didn’t recall Where the Wild Roses Grow well enough to remember the key role played in creating atmosphere by Thomas Wydler’s brushed drums.
I love brushed drums. They’re harder to play than non-drummers might suppose. For me, anyway. I find it harder to maintain a consistent tone and dynamic on the snare with them than with sticks. If you listen to the Fleetwood Mac song Sara, from Tusk, you’ll hear even a great drummer like Mick Fleetwood struggle a little to keep his backbeat even. Played well and recorded well, though, they sound amazing, and many of my favourite drum sounds are brush sounds. Charlie Watts’s magnificent snare drum on Love in Vain might be my favourite drum sound ever.
The Boatmans’s Call is high up on the list of albums that made me fall in love with that sound. It’s probably Flood’s most organic-sounding production, lush and deep and spacious, without being distant or unfocused. Into My Arms is a stand-out song, of course, and it starts the album strongly, but the second track, Lime Tree Arbour, is the first to feature Thomas Wydler’s drums in tandem with Martyn P. Casey’s deep, warm bass guitar, so that’s the one I’m picking. It’s a simple part, but it’s empathetically played, it’s perfect for the song and it sounds wonderful, and sometimes that’s all a drummer needs to do. The key is to realise it.