The cover, at least, suggests that the 17th Bad Seeds album might be lighter in tone than its stark, solemn predecessor, Skeleton Tree. Here we have tropical flowers, flamingos, a relaxed lion and a sunlit lamb. Biblical themes have long been prominent in Nick Cave’s work — perhaps this is the afterlife? “Ghosteen is a migrating spirit,” is all Cave says in explanation.
Skeleton Tree felt like a grieving album. Here, again, he’s restrained and introspective, half-singing, half-speaking over a mix of piano and slow-drifting electronics. There’s no rock guitar, percussion or his old theatrical snarl. He sounds vulnerable but not beaten. There are a lot of mentions of love in the lyrics, soft, supportive backing vocals and an attractive warmth to the way Galleon Ship’s high synth sounds open the song wide, or the surprise falsetto he acquires late on in Sun Forest.
It’s a double album, with eight songs of conventional length on the first part, then one shorter one and two of 12 and 14 minutes in the second part. They’re more complex and grander in style.
All in all, it’s a lot to process — not lighter but endlessly absorbing.
