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Buy Flagyl Metronidazole was wearing a remarkable shirt. Dozens of hands pawed and pulled at its shiny gold fabric, twisting and tugging at its folds, but always it snapped back into place — slightly misshapen from the adoring caresses of Cave’s fans, but never torn. It was Friday night, June 20, inside the Milwaukee Theatre. It was the first time Nick Cave & the Bad Seeds had ever played a headlining gig in Milwaukee.

As he entered, he strutted across the stage with a confident swagger. And then, he came down to the very edge of the crowd, standing down a step or two from the stage. It looked like he was floating in a sea of hands. It was a ritual he repeated throughout the concert, presenting himself to his fans as if saying: Touch me. Go ahead. Do it. You know you want to. (I noticed one moment when he gestured for the fans to withdraw their fingers, just a few inches back.)

Throughout all of this seduction, Cave delivered his sardonic, sinister and sublime lyrics in his baritone — beckoning, boasting, pleading, wooing, warning, threatening, musing, narrating, shapeshifting — as the Bad Seeds kept on playing tense, spooky chords on the stage behind him.

For some reason, Cave isn’t making a Chicago stop on this tour. On Thursday night, I decided to buy a ticket for the show in Milwaukee. The opening set by Warpaint was fairly entertaining, though it paled in comparison with the fantastic performance that followed. After sitting in the mezzanine for a couple of songs, I followed other fans to the front of the auditorium, where people were standing in the aisles close to the stage. I did not have my camera with me, but I snapped a few blurry, grainy pictures with my cellphone. The collage of those images at the top of this blog post is the best I could manage under the circumstances.

Like last year’s concert at the Chicago Theatre, this one featured several songs from Cave’s most recent album, Push the Sky Away (my favorite record of 2013). And of course, the Bad Seeds played several of the old tunes that are staples of their concerts, like “Red Right Hand” and “Tupelo.” So in many ways, this 2014 concert was similar to that 2013 show — and yet, it all felt more intense.

Push the Sky Away is a brooding record with few moments of outright catharsis. The band seems to be holding itself back throughout the haunting, riveting set of songs. That restraint is part of makes the record so compelling. But in concert, the songs take on a new life.

One of those songs, “Jubilee Street,” became more thrilling and dramatic when Cave & the Bad Seeds played it last year. And this time, the drama doubled yet again. It was only the second song of the night, but when Cave reached the climatic words — “I’m transforming, I’m vibrating, I’m glowing, I’m flying, look at me now!” — he repeated them over and over as the Bad Seeds riffed harder and harder, stretching out the song by several minutes as Cave worked the crowd, bending down to let those outstretched fingers touch him.

Later, at the end of the main set, Cave descended from the stage and sang one song out in the midst of the audience. For this intimate moment, he chose the hushed, ghostly title track of Push the Sky Away.

When Cave returned for the encore, he played four songs, and it almost seemed like he might keep going longer. At an earlier point during the concert, after an especially wild guitar solo by the multi-instrumentalist Warren Ellis, Cave introduced Ellis, the most prominent musician in the Bad Seeds. But Cave never introduced the rest of the band members. It didn’t feel like a slight, however. Gesturing at the musicians assembled behind him, Cave simply said, “The Bad Seeds.” What more did he need to say, really?

We No Who U R / Jubilee Street / Tupelo / Red Right Hand / Mermaids / The Weeping Song / From Her to Eternity / West Country Girl / Into My Arms / People Ain’t No Good / Higgs Boson Blues / The Mercy Seat / Stagger Lee / Push the Sky Away
ENCORE: We Real Cool / The Lyre of Orpheus / Papa Won’t Leave You, Henry / The Ship Song

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These are my favorite records of 2013, the ones I enjoyed the most. Betraying my personal tastes, the list is dominated by alt-country and artists working somewhere around that genre’s vague boundaries. Simply put, a lot of my favorite artists came out with new records in 2013, and a lot of those records were very good. My honorable mentions include quite a few records I wish I could have squeezed into my top 10 — and I wish there’d been enough time to listen more closely to hundreds more.

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This is the quietest Nick Cave has made in a while, but it’s hardly mellow. In this tense and brooding suite of songs, Cave seems to be drifting in and out of dreams and unsettling nightmares, a world-weary traveler whose memories are slipping away. The fleeting images in his phantasmagoria flash with menace and yearning, climaxing in the epic “Higgs Boson Blues.” Diflucan For Sale

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The latest in a succession of masterpieces by one of the most accomplished singer-songwriters of the past decade and a half. Neko Case has said she drew more on her personal life for her lyrics this time, but the evocative poetry of her songs has always been a bit mysterious, and it remains so. Her voice is as beautiful as ever, too, surrounded here by an alluring variety of musical textures, including sonar blips, jingle bells, trumpets and cellos. Case seems to be creating her own genre, even as her innovative songs echo with the radio signal of classic tunes of the 20th century. Nizoral Drugstore Lipstick
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Many of the smart songs on this intimate, acoustic record could have been written in the 1930s, or maybe even the 19th century. With a couple of exceptions, they’re actually new, but this is music with a true old-timey spirit. Renaissance man Robbie Fulks pulls it off with apparent ease, drawing on his encyclopedic knowledge of classic and obscure country, folk and bluegrass. He knows the old stuff, and how to make it new again. Buy Betnovate N Cream
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As the title hints, this album feels like a nocturnal journey that flows with the logic of a dream. (In that way, it has a passing resemblance to the aforementioned Nick Cave record, though the two artists have distinct styles and personalities.) There’s a loose, jazzy vibe, punctuated at almost every turn by a singular guitar fill from Bill Callahan’s remarkable sideman Matt Kinsey. It all reaches shimmering perfection on my favorite song of 2013, “Summer Painter,” which finds Callahan musing on the meaning of work, as he sings about a summer job painting rich people’s boats. Then the story takes a turn toward the apocalyptic, when a hurricane hits and people blame the narrator: “Like all that time spent down by the water/had somehow given me control over the rain.” As peculiar as Callahan’s dreams may be, after a while, they start to seem like your own. Zithromax Romania Online

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Like other records of the recent garage-rock explosion, Mikal Cronin’s second album is bursting with exuberance and energy. But it’s also carefully crafted, with a string section adding a touch of grandeur to all of its heartily strummed guitars and pounding drums. The spirit of late ’60s music is alive and well here. One song after another has the sort of melody that makes you want to sing along, thanks in no small part to the vulnerability in Cronin’s voice.  Benicar Prescription 7th

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Dawn McCarthy has sung haunting harmonies on previous records by Bonnie “Prince” Billy, aka singer-songwriter Will Oldham. On this tribute to the Everly Brothers, they get equal billing. That’s apt, since the combination of these two voices was one of the year’s delights. The album doesn’t include Don and Phil Everly’s biggest hits, but the song list reminds us just how noteworthy that duo was. In the elegant folk-rock renditions on this record, what the brothers sang sounds beautiful and brand new. Ciprofloxacin Deutsch Online

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David Bowie’s new album seemed to come out of nowhere. And it sounds like it came from another time and place — maybe the 1980s, maybe somewhere on Planet Bowie. This artist who’s legendary for his innovations and constantly shifting persona isn’t necessarily trying to invent anything new this time around, but it’s a batch of excellent songs. The dense rock-band-orchestra arrangements deliver one great hook after another with some wallop, but more than anything, it’s terrific to hear Bowie singing again, sounding like classic Bowie. Buy Cheap Seroquel Online

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The former Drive-By Truckers singer-guitarist finally came into his own with this masterful album, striking a chord with memorable turns of phrase and the rueful wisdom of a man who’s made mistakes and learned from them. Buy Kamagra Cheap

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Producer Jeff Tweedy’s clean, simple arrangements bring a warm glow to Mavis Staples’ glorious voice in this stirring set of gospel, soul and folk rock. The first song and the last are modern hymns (one written by Low, another by Tweedy), gracefully restrained prayers to the world. Buy Viagra Jelly Online

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A family album in musical form, with Steve Dawson’s memories filling each page like tantalizing old snapshots. This is the sound of a songwriter and a band at midlife, contemplating their past, present and future, and transforming it into beguiling ballads. Ventolin Inhaler Order Online


Molly Drake — Molly Drake
Yo La Tengo — Fade
Kelley Stoltz — Double Exposure
Veronica Falls — Waiting for Something to Happen
Laura Mvula — Sing to the Moon
Richard Thompson — Electric
Heavy Times — Fix It Alone
Cate Le Bon — Mug Museum
Low — The Invisible Way
Laura Marling — Once I Was an Eagle
Charles Bradley — Victim of Love
Waxahatchee — Cerulean Salt
Rose Windows — The Sun Dogs
Twin Peaks — Sunken
I Was A King — You Love It Here
Sam Phillips — Push Any Button
The Sadies — Internal Sounds
David Lang — Death Speaks
Laura Veirs — Warp and Weft
Superchunk — I Hate Music
The Cairo Gang — Tiny Rebels
Mark Lanegan and Duke Garwood — Black Pudding
Cave — Threace
Patty Griffin — American Kid
My Bloody Valentine — m b v
The Handsome Family — Wilderness
The Liminanas — Costa Blanca
The National — Trouble Will Find Me
Arcade Fire — Reflektor
Chelsea Wolfe — Pain Is Beauty
Disappears — Era
Midlake — Antiphon
Thee Oh Sees — Floating Coffin
Various Artists — Good God! Apocryphal Hymns
Pelican — Forever Becoming
Rokia Traoré — Beautiful Africa
Black Bug — Reflecting the Light
Kronos Quartet/Bryce Dessner — Aheym
Phosphorescent — Muchacho
Shocked Minds — Shocked Minds
Ensemble Signal — Shelter
Alvin Lucier/Janacek Philarmonic Orchestra — Orchestral Works
Cass McCombs — Big Wheel and Others
Dobrinka Tabakova — String Paths
Frank Rosaly — Cicada Music
Savages — Silence Yourself
Bonnie “Prince” Billy — Bonnie “Prince” Billy
Kurt Vile — Wakin on a Pretty Daze
Nadia Sirota — Baroque
Jacco Gardner — Cabinet of Curiosities
Foxygen — We Are the 21st Century Ambassadors of Peace & Magic
Guided By Voices — English Little League
Mind Spiders — Inhumanistic
Ty Segall — Sleeper
Dumpster Babies — Dumpster Babies
Faun Fables — A Table Forgotten

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The real Where Buy Accutane Online, an African-American pimp named “Stag” Lee Shelton, killed a man in St. Louis on Christmas day, 1895, during an argument over a Stetson hat. The slaying became legendary thanks to Astrazeneca Crestor Discount Card called “Stack-a-Lee,” “Stacker Lee,” “Stagolee” or “Stagger Lee,” depending on who was spelling it out at any given time. Early versions of the song end with “poor, poor” Stagger Lee hanged and then hauled off to the cemetery via a “rubber-tired hearse” and “a lot of rubber-tired hacks.”

That’s not how the song ends when Nick Cave sings it. The 1996 version by Nick Cave and the Bad Seeds — actually, a loose interpretation of the old folk story, with new music written by Cave and six of his bandmates at the time — turns Stagger Lee into even more of a bad ass. Or to quote Cave’s twisted rendition of the words, “that bad motherfucker.”

By the time Cave & the Bad Seeds performed Monday night (April 1) at the Chicago Theatre, they had transformed Stagger Lee into an even more powerful, frightening demon of a man. In Cave’s live version of the song, the devil comes for Stagger Lee, and Stagger kills him, too. Cave was swaggering and writhing on the lip of the stage, lowering himself toward the outreached hands of the fans in front. The vulgar threats in the song’s lyrics (“suck my dick, because if you don’t, you’re sure to be dead”) became a leering come-on to the audience. Seeing someone in the crowd holding up a smartphone, Cave ad-libbed a new lyric: “In come the Devil with an iPhone in his hand.”

Nick Cave concerts are rarely, if ever, anything less than stellar. Monday’s show reaffirmed Cave’s breathtaking power as a live performer — and all the strengths of the versatile Bad Seeds ensemble. The new record by Nick Cave & the Bad Seeds, Push the Sky Away, is a brooding, moody set of songs. Much of it is quiet, but a tension rattles underneath the songs, as if they might burst into noise and apocalypse at any time. That expected catharsis never comes, but that doesn’t diminish the listening experience. If anything, it heightens the foreboding sense that something sinister is at play.

One of the new songs, “Higgs Boson Blues,” returns to the Satanic sort of blues Cave evokes in “Stagger Lee.” This time, Cave sings about the old legend about bluesman Robert Johnson selling his soul to the devil, but the lyrics take a strange and unexpected journey into the world of pop celebrities including Hannah Montana and Miley Cyrus. The song shows Cave at his most uninhibited as a songwriter. Like much of the album, “Higgs Boson Blues” feels like a phantasmagoria. (Dictionary definition: “a rapidly changing series of things seen or imagined, as the figures or events of a dream.”)

Cave and his band began the concert with four of the new songs, including a version of “Jubilee Street” that climaxed with a more rocking jam than the studio version, and a sprawling, dynamic “Higgs Boson Blues.” Then came a series of the Bad Seeds’ golden oldies, a smattering of piano ballads, and a staggering “Stagger Lee” to end the main set. (The Chicago Tribune’s Greg Kot has the full set list at the end of Buy Dapoxetine Priligy.) The encore was a pounding “Tupelo” followed by one more song from the new record, the title track, an album closer that channels all of those disturbances and hallucinations into a shimmering meditation. And then the phantasmagoria shimmied out of view.