![]() ![]() Cave is quick to point out what a “legend” Ellis is. The song breaks down into swooping electronics and atonal sounds: Ellis and Johnny Hostile voicing the terrible loss, as though the planet were leaning over in slo-mo.Īlthough the reliance on oscillations can become repetitive, more often than not Ellis’s electronic spirit world rebounds, bell-like, around the concert hall’s generous acoustics. On Hollywood, a youngster “climbs into the sun” before his time. The vocalists reassure him: “There is a kingdom in the sky.” Is that really meant to comfort? In Cave’s mythos, that very same sky eats children. On Lavender Fields, Cave is travelling “appallingly alone”. Perhaps the merch stall should consider selling empty packets of Indian spices. Naturally, she comes back empty-handed, because “everybody’s losing someone”. Hollywood climaxes in the folk tale of the bereaved mother Kisa, instructed by Buddha to take a mustard seed from every household in the village that has suffered no loss. Cave imagines “my baby” coming back to him on the 5.30 train – a nod to the locomotive as a storied musical motif, and an example of Ghosteen’s defiant, petulant commitment to magical thinking.Īll the kicks to the solar plexus are here. It is a recurrent theme of Ghosteen, and tonight’s set: that the material world is not the be-all and end-all, and the loved ones we have lost persist. Within moments, we’re straight into the metaphysics of sorrow: Bright Horses, a Ghosteen high point in which Cave wrestles with his own dazzling imagery, deciding that mundane reality is insufficient to describe all that exists. Within moments, we’re straight into the metaphysics of sorrow “It’s a big hit,” jokes Cave as he introduces another keening track, to be met with hushed silence rather than the howls that often greet Cave’s swaggering, blood-spattered back catalogue. Cave’s solo spoken-word tour of 2019 aside, this is the first opportunity audiences have had to hear all these songs live. ![]() The Bad Seeds were supposed to tour Ghosteen Covid intervened. It’s an assault course for the innards in which the division between the real and the unreal dissolves and everything left is absurd – not least the kitsch Ghosteen tea towels available at the merch stall. Born from the maelstrom of grief and existential questioning resulting from the death of Cave’s teenage son Arthur in 2015, Ghosteen is not really a record. But why are there no seatbelts? This ride is not for the faint-hearted. Written and composed by: Leroy Sánchez, Keith Harris, Ibere Fortes, Maggie Szabos and Arjen Thonen. ![]() “SloMo” lyrics – Chanel (Spain Eurovision 2022) The song was composed by Leroy Sánchez (ESC 2021 songwriter for Spain), Keith Harris, Ibere Fortes, Maggie Szabos and Arjen Thonen. This is a pop-dance track with an urban and Latin essence. With her song “SloMo”, which translates well across borders, she seeks to inspire and energise people on Benidorm’s dancefloor, but also those beyond Spain She has journeyed all across Spain doing musicals, performing in front of packed houses and transmitting her energy directly to onlookers, sometimes just metres away. Scroll down for the “SloMo” lyrics Benidorm Fest: Chanel “SloMo”Ĭhanel is a multifaceted artist, bringing her magic to acting, dancing and singing. Life is a dance floor and you can be the star.Ĭhanel knows her powers well and sings that she is always ready “to break hips, break hearts” and she knows that her “boom boom” can get him going “zoom zoom” for her “yummy.” Don’t believe her? Then watch her move and “t ake a video – watch it slo mo, mo, mo…” The song is a Latin influenced club banger with a message of empowerment and self-confidence. “SloMo” is Chanel’s entry for Benidorm Fest. ![]()
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