On their first record without co-founding member Blixa Bargeld, who exited after 20 strong years of service, The Bad Seeds divide this 2004 double album into discreet segments that largely contrast the chaotic (Abattoir Blues) with the more reserved (The Lyre of Orpheus). Abattoir Blues telegraphs its harried churchly fervour on opener “Get Ready for Love”, the first of several gospel-rock rave-ups. Even without Bargeld’s integral guitar parts—he is succeeded here by Gallon Drunk’s James Johnston, who also features prominently on hothouse organ—Cave and his band create a vivacious racket. With its joyous hand drums and backing choir, “There She Goes, My Beautiful World” evokes Let It Bleed-era Stones, while “Fable of the Brown Ape” swings between loud and quiet with knowing mischief. “Messiah Ward” is especially striking, thanks to a skeletal groove and Cave’s spontaneous-sounding vocal turn. Considering that both sides of the album were reportedly recorded in less than two weeks, that crackling air of immediacy makes sense. Turning down the volume considerably, The Lyre of Orpheus still sees Cave prowling and preaching with brooding intensity: check the title track’s scenery-chewing retelling of Greek mythology. Lighter turns like the flute-kissed “Breathless” feel downright jaunty by comparison, with Thomas Wydler taking over from drummer Jim Sclavunos on this section. The double album’s second side has its feverish moments too, as heard via the juddering rhythms and impassioned vocals of “Supernaturally”. That track’s evocation of Nina Simone feels anything but accidental, while the choir’s invitation for children to lift up their voices on the closing “O Children” seems uncharacteristically optimistic for Cave. It’s remarkable that after two decades of leading The Bad Seeds, Cave remains so creatively fruitful here. Rather being left stranded by Bargeld’s departure, he seizes on the sudden vacuum to explore a heady rush of new ideas. He would only continue to flourish after this, in his signature ensemble as well as with the exaggerated grotesquery of side project Grinderman and his more solemn work and soundtracks with frequent Bad Seeds MVP Warren Ellis. If this themed double set was about showing off his multitudes, Cave’s output would only become more colourfully prismatic in the years to follow. Flanking his albums with novels, screenplays, film scores and even blogging, Cave would follow this project’s prolific lead into many other facets of his creative life.