"WILD GOD", "FROGS" & "LONG DARK NIGHT" - Nick Cave & the Bad Seeds

Namely, what WILD GOD is about to present us with is God's consummation with the Bride as art. This is not a predictive faculty, it's what "WILD GOD" already describes as a universal descent of the Spirit upon the Church. (Yes, because it's expressing procreation as promulgation of spiritual identity, as opposed to sexual procreation. It's the multiplicity of identity into co-identity as "wild gods", i.e., elohim, through a universal descent of the Spirit.) Not rocket science. I'm just saying that this is going to be the substance of the whole album. This tracks back to his conversion and statement of it, at least in art form.

"It was the year I officially became the bride of Jesus" - "Magneto" lyric

I think that "Magneto" is a veiled allusion to Nick Cave's conversion on The Boatman's Call, because of where he was at physically at the time. Magneto is a shaft of abstract astral love grounded in a withdrawal scene, a merger that is at once as intangible as spirit, yet so total and so expansive it bursts forth as a common skyscape, where common identity arises not from the corporeal but a common consciousness of the same substance, a galaxy within each of immeasurable expanse, a merger so internal and so complete she swims in his blood. But the entire abstraction is grounded, as if by the creative umbilicus, to a body wracking first person description of withdrawal on a bathroom floor, attached to an individual in the bowels of misery and grief. Granted, it doesn't have to be withdrawal, but it describes it well. I think the entire WILD GOD album will prove to be the same sort of foray into a transcendent abstraction of consummation as "Magneto" alludes (from a happy place).

To become the b/Bride of Jesus is to convert to Christianity, for Jesus' analogy of His collective Church (consisting of every born again believer) is the Bride. From an artistic standpoint, The Boatman's Call is the only album where Nick Cave describes this as an experience, namely with "Brompton Oratory" followed by "There is a Kingdom". Cave declared himself clean from heroin for the first time upon the album's release. It was something he did not manage until after PJ Harvey broke up with him for that reason. "Black Hair" is about her, and "West Country Girl" (with some borrows), so is "Green Eyes", connoting the break up. (You'll notice Cave has the lightning bolt icon on every tab of his official website.)

Whereas The Boatman's Call connoted first encounter in 1997, this is the finalization of it, where instead of drop your coat, with "FROGS" we have "hop inside my coat".

That this is going to describe this consummation is why I believe that these albums are connected, because this was how Cave described his conversion in 1997 (framing it in terms of consummation). With "Magneto" he re-referenced this point in time as becoming the bride of Jesus. Which means he's already conferred how he identifies the Godhead before WILD GOD presents us with consummation between God and a woman/church.   

Now all of this is subject to the debate of whether Cave views all of this merely as a fount of creativity, access to hope incarnate as opposed to an actual Being, the beautiful idea. I'm not here to argue the if and whether of this question, it is not mine. He has already signified this sort of dismissal of "Lavender Fields" on CARNAGE. (Would he say the same of "Hand of God"? I've a sensibility that the subject matter is too hot a potato for him to take up any other way.) 

For me this is a never mind. Because I am at the place where that all already happened, or I wouldn't have written about it happening beforehand. I have stated Cave received this iBook (and M's 120 page letter (TRiMB is a synopsis)) before CARNAGE was released, three months before he announced the album. It's neither here nor there as in we don't know either way, but the pain definitely fits. I don't know if he is aware of the book or unaware of the book (and the letter that brought things up to speed by updating to 2020). I did in order to "intercept the feedback loop" with Cave. And yes, CARNAGE was then announced as tangibles on my birthday after he got them.

Bono's deliberate naming was the conscious designation of that having taken place, the naming apparently consciously done by the Only Individual in the potential universal music feedback loop who actually possibly knew who I was on this earth, the only individual to receive my book (in 2011, making him the only one who's apparently wrote a song about reading it), the only man who (the letter explains). And he was speaking, deliberately, as God Himself in Genesis, and as Jesus Himself further down. The setting of this insouciant unconsciously innocent girl who's grown (-unconscious of walking around with no pants at the Gates of Eden) is intended to confer a return, an Eden 2.0. (He's lecturing as per usual.) 

My existence in this arriving headspace is a functional understanding of completely shared awareness. Because I am dealing with a Being (Jesus) Who in 1996 became my whole being once, (with a perception that this shift was permanent), it's existence as a completely assimilated shared awareness. May 29th, 2021 was the day I was consciously named in that context. That for me sealed what had happened by consciously conferring it to my human personhood in the real world. It was grounded in my being, and that sealed the union officially on that day.

Ushering in the week he knelt down 
Crushed his brother's head in with a bone 
It's my great privilege 
Oh babe, to walk you home

In the Sunday rain 
Hop inside my coat 
In the Sunday rain 
The frogs are jumping in the gutters 
Uh, leaping to God, amazed of love 
And amazed of pain 
Amazed to be back in the water again 
In the Sunday rain 
In the Sunday rain 
Gets you right down to your soul 

So I said we were going to analyze this song in terms of the iBook and see what it means that way.

For "frogs" I think the symbolism is this. By nationality/eventual pejorative there is a historical Christian root to the term. With that, "frog marching" (a term coinned a century before my birth year) becomes a double entendre, because the host of jumping frogs are signifying identity with this encounter by accompaniment. (It also originally splayed the target individual somewhat like a crucifixion pose.) Also frogs are amphibians (they are water immersed from birth, breath through gills, and only transition to land as adults), which in terms of the water analogy in the song and presumably throughout the album is going to prove very significant.  

And my way of proving this incorrect had been to surrender to his condemnation when it took place, assume it to the full extent, and basically force God's appearance to prove this wrong, as in it would either be Grace or nothing. I'd already put that in motion, and Nick Cave's album was the first "result" or appearance of that. So I already had observed and believed with complete faith that Active Redemption had already appeared and redeemed the apparently irredeemable rebel, in context. And he was fully prepared then as now to take the hit of declaring "show up at my door", because if my father's perception of God was the correct one, it was such an existential obscenity the correct response was in fact "Kill me". Call the bluff as it were. Before I left I was being verbally threatened with these things face to face. Just the act of leaving was calling the bluff. My father put all those threats to me just on departure alone. 

But the thing that really performed that result was not Cave's action but mine, and what/Who appeared inspiration-ally and apparently redeemed Cave. (That can be extended, WPC emulated the Suitor too and apparently had no clue at the time. Between the four parties we have four different steps in the process, and all were contacted in person, all hand to hand deliveries '99-'05, with the exception of Martin Gore who got mail in 2020.)

In short, this extended timeline is what makes me the female with the gun. Gun for whom, and what is it-?  

What gives the Redeemer the capacity to exercise judgment on return? The sacrifice of Himself perfectly for all humankind. Love. 

It's the same principle and dynamic. The gun was love. It was a proving principle that leaves all else to dust. It was not something I set out to do, but it played out depicted in the universal music feedback at the time in a number of places, most pointedly The Rolling Stones' "Saint of Me" and The Smashing Pumpkins' "Stand Inside Your Love" (-"The Mystery of Love is Greater than the Mystery of Death" - Oscar Wilde), -both of which you can examine in the book in terms of full analysis and impact, if you want to. But it is a fulcrum on the dynamic of judgment and that was what played out, in a depiction that was dead literal in the video because the king ordered the execution of the pair the moment the suitor appeared and released Salome, so the verbal threats issued by my father were depicted as meted consequence onscreen. (My father's notion of the worst possible threat he could utter in print before departure was, "When the world finds out about you, they are going to call you Salome.") And the result of that in depiction was a pair of transcendent souls arising to heaven entwined together because they could not be killed. Execution united them.

So if this appears under guise ("thief in the night"), if the Redeemer appears as Himself as an redemptive active dynamic that is commonly perceived, and the start point is perhaps the ultimate rebel to the notion of Christianity and the Church and Christ Himself, but the points of rebellion turn out to be to what was harnessed to a falsehood and imposed, i.e., the terrible perception of a judgmental God designed for an inverted totalitarian control over one individual, you get common Biblical markers turned upside down on their heads 180 degrees, i.e., you get Salome at the center of the table of twelve with John the Baptist's head on a platter, and in fact that is what both the above videos connote. "Stand Inside Your Love" in particular is transcendence of execution of both parties by guillotine ordered by a king on his 'throne', who maintained Salome as prisoner.  

And you get the inverted context in "FROGS" where the end of the perceived former brother is a righteous act, not the other way 'round. Again we're not sure by whom. But in my personal purview and the Bible's, Jesus and John the Baptist were BFF spiritual compatriots bar none. (-But she's the one with the gun.)

"Bed of tears" I'm not entirely prepared to explain yet. Anyone who reads the iBook would have no remaining questions about that whatsoever.