“It’s a song that has fairly humble beginnings,” remembers Mick Harvey, guitarist and co-founder of the Bad Seeds, (who is also credited as co-writer of “Red Right Hand” along with Cave and drummer Thomas Wydler). “Much of it came from a jam we were working on when we writing songs for our album ‘Let Love In’ (released in 1994).”
Nick Cave didn’t think much of the song’s repeating groove at first, but was persuaded to reconsider by his band, and eventually wrote lyrics about a shadowy, alluring, and manipulative figure, stalking the land and striking a combination of fear and awe everywhere he goes. He’s seemingly part deity, part demon. Aside from alluding to the phrase “red right hand,” taken from John Milton’s epic poem “Paradise Lost,” Cave has never revealed who this figure is.
“Peaky Blinders” creator Steven Knight tells that original idea was to use “Red Right Hand” in the show’s first episode, but he installed it as the theme because it fit the characters, settings, and subplots perfectly.
The Visual is an Amsterdam-based outfit consisting of Anna van Rij (vocals/guitar), Timon Persoon (synths/electronics/keys) and Tim van Oosten (drums/percussion). Signed to Mink Records in 2017, they released their debut EP ‘Translation’ on December 15th 2017 at packed show at one of Amsterdam’s finest venues: de Melkweg.
That dreamy, cinematic quality runs through all eight tracks of the band’s debut album ‘Moments Of Being” released last year. Jim Morrison and Nick Cave are touchstones too, admired for their intensity and passion, but her real hero is the artist she’s most frequently been compared to, particularly in terms of singing – Jeff Buckley.
Anna Calvi’s passionate and brooding goth pop/rock imbibed with strokes of flamenco and smoke-filled blues has filled the warm summer night at FIB with cinematic desire.
Hailed as the “best thing since Patti Smith” by Brian Eno, Anna’s also drawn comparisons with the likes of PJ Harvey and Nick Cave as well as garnering rave reviews and awards nominations for her albums “One Breath” and her eponymous debut.
Happy artists families are all alike; every unhappy family is unhappy in its own way. Until Rest, this reference to a quote from Tolstoy had no relevance when talking about Charlotte Gainsbourg. Her childhood was blissfully free and very early on she demonstrated that she was a extremely talented actress and her solo records were marvellous pop caprices with illustrious Gainsbourgettes invited to collaborate: Beck, Jarvis Cocker, Air and Neil Hannon. Serge and Jane’s daughter did, however, cross the shadow line in 2013. The death of her sister Kate Barry undeniably influenced her music and four years later came Rest, an album of grief, which is on the same level as its counterparts by Nick Cave, Mount Eerie and Sufjan Stevens. If before Charlotte was already able to sublimate tragic beauty simply by pushing her fringe off her face with the back of her hand, the interpretation of this quasi R&B repertoire will certainly trigger the Stendhal syndrome in the audience.
A French producer/singer who shares a record label with Bjork: s a r a s a r a is a coder who used to work for an apps company, so it’s no surprise to hear a robotic theme in her music. She sold her record collection so she could buy the right equipment to build her own style of experimental dance music, inspired by the likes of LFO, Nick Cave and Vanessa Paradis.
Aldous Harding has been linked to the sober balladism of Nick Cave and Scott, two names that this New Zealand artist seems to evoke in her songs that are charged with profound intensity and enveloped in infinite darkness. After introducing herself two years ago with a homonymous record, the singer is now seeking to confirm her status with “Party”, an album produced by Josh Parish that did not have much trouble finding its place among the exquisite records in the 4AD catalogue and which has been admired by artists including Lorde. She will playing at Primavera Sound.