This is an outstanding record. The low end creates a warm speaker rumbling bliss.

And the elegant background vocals are balanced perfectly, complimenting Cave's voice ever so beautifully. The details that can be heard on this vinyl version are immaculate. The strings on the third track radiant brilliant warmth. And the drums on my personal favorite track 'Jubilee Street' sound lifelike and have outstanding presence, not to mention that great guitar tone is right upfront and in your face but doesn't overwhelm, everything is balanced exceptionally. Very pleased with the stellar sonics on this one. The music has depth to it, very spacious, nothing ever sounds compressed or muddy. The pressing quality, at least on my copy, couldn't be better, dead quiet background, haven't detected even a lick of surface noise and absolutely no hideous clicks/pops, the music shines here.

My Beatport lets you follow your favorite DJs and labels so you can find out when they release new tracks. So go follow someone!

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Not to mention the record is also pressed flat and centered correctly. Got this brand new for $15 bucks which is a hell of a deal for great music and a great pressing. A solid 10/10. Definitely reccomend.

Nick Cave & The Bad Seeds have been doing dignified for almost as long as they’ve been doing undignified, and with the official () disbandment of their midlife crisis rock alter egos Grinderman, it was probably about time that the gang went stately again. Nonetheless, if Push the Sky Away boasts many of the trappings of the pointedly sombre late record by the borderline elderly rock star – strings, gospel, slow tempos, black and white cover – then equally it does a fine job in subverting most of them. Cave, now 55, has already done his stark, earnest album about love and mortality: The Boatman’s Call, released back when he was a stripling of 40. He also indicated that he felt uncomfortable at its emotional openness, and if Push the Sky Away shares a certain sense of gravitas with Boatman’s Call - and is almost certain the least preposterous album Cave has put out in a decade – then it also filters it all through a prism of post-Grinderman irony. This is nicely demonstrated by lead track ‘We No Who U R’, an austere, half-vulnerable, half-threatening pastoral whose vaporously lovely form nonetheless takes on the slight air of a smirk, if only by dint of that text-speak title (which in turn underscores a relatively insubstantial lyric). And there’s that genius cover art, in which the glowering Cave appears to be ordering a weeping, nubile angel out of heaven. It’s gloriously layered: on the one hand it’s an amusingly camp subversion of the bombastic Old Testament imagery Cave used to flirt with; on the other the model is Cave’s other half, Susie Bick, and what we are basically looking at is a middle aged man showing us how hot his wife is.

Cave has written some of the most unabashedly obvious songs of our times – ‘No Pussy Blues’, ‘The Curse of Millhaven’, ‘Into Your Arms’, ‘Scum’, ‘The Weeping Song’, etcetera etcetera – but here everything is defined by restraint. Mortality is not dwelt upon at length, but surreal allusions to fatherhood and ironic youth references pepper the record - sometimes brilliantly: on 'We Real Cool', Cave croons the slightly incongruous title phrase with wince-inducing desperation. Eec iv tuning chip and software. Elsewhere, familiar Bad Seeds tropes are muffled and screwed around with: ‘Jubilee Street’ and ‘Wide Lovley Eyes’ damper the grand melodies of yore into something intimate but conventional; ‘Water’s Edge’ and ‘Mermaids’ tone down the classic blackhearted Cave rant into chic, streamlined beat poetry. What the album is missing is viscerality, be it of the thunder and blood variety or simply out and out heartstring tugging. There's something slightly vague at the heart of a lot of it - examine the lyrics closely and there's less to chew on than other Cave outings; don't pay enough attention and the songs slip down too easily, without friction or nastiness. This is not a major criticism – atmosphere has always been a major part of what the Bad Seeds do, and this is an intensely atmospheric record. But the slight hollowness feels highlighted by the exemplary final two tracks, 'Higgs-boson Blues' and 'Push the Sky Away'.