Mark Twain’s much-loved Huckleberry Finn is transformed from innocent do-gooder into devilish ne’er-do-well, a lost soul who abandons the path of righteousness and finds himself wading through the stinking, sinful swamp of the “dirty ol’ man latrine” instead, until a bullet is lodged in his brain.Ĭave has never been content with mere suffering or misery: he’s a songwriter who wants to turn tragedy into something ghastlier and grander, a detective forever on the hunt for clues and signs that the end is nigh and Doomsday is upon us.
It’s his shrieking, discordant clang that underpins Saint Huck, the first song the Bad Seeds recorded together, as Cave hams it up like a crazed preacher in the throes of zealous rapture. It was Bargeld who held the key to Cave’s liberation: a divine saviour disguised as a haughty oddball with a fondness for making music with ear-splitting electronic drills, and responsible for a bleaker sound than the Birthday Party’s abrasive racket. Exhausted from the drug-related bickering and strangled by his relationship with guitarist Rowland S Howard, he and drummer Mick Harvey fled to start anew and formed the Bad Seeds’ first fixed lineup with ex-Magazine bassist Barry Adamson, guitarist Hugo Race and Einstürzende Neubauten’s Blixa Bargeld. The Birthday Party were an unholy force of evil noise, but by 1983 Nick Cave had grown tired of their mess and muck.
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