Nick Cave And The Bad Seeds* – Let Love In

In 1994, Nick Cave had emerged out of the obscure so-called gothic post-punk scene with an already long list of albums. The latest, Henry's dreams had been the most convincing, but none really stood much behind. Cave's music had evolved into a unique mix of melancholy and primal energy, balancing between sophistication and rough guitar sounds. Then came Let Love In.

As a university student, I had discovered Nick Cave through an audio tape of Henry's dream bought on sale. I liked the combination of folk songs with some rock spirit, the sound of the organ and some strings arrangements added to the charm. When the next album was released I swiftly went to buy it. At the time CD was king and the small artwork was an acceptable price to pay for the convenience it provided.

It was therefore possible to listen to the entire album at once. And this album felt like it deserved it, every song sort of responding to the others, in a superb movement, from the opening (Do you love me?) to the close (Do you love me? (part 2)). Like in the previous release, the mellow tones of some tracks (Ain't gonna rain any more) are counterbalanced with the aggressive tempo of some others (Jangling Jack). If it only were for either the album would not be so much noticeable (and some of the following Nick Cave's albums weren't for the lack of such a contrast).

So there we were, listening to this masterpiece, complex and lugubrious, over and over, and almost always in its entirety, fascinated by the dark jewel offered to our sight. It accompanied our moments of joy and despair, the unbearable uncertainty of being 20, the craziness of our endeavours, the silliness of our age. Even today, almost 30 years later, I am still listening to it in fascination and self-indulgence, getting transported in the shady universe that Cave's lyrics depict. I have moved on to listening tons of other artists, in may styles, I have fallen for Bach's spiritual magnificence, got bewitched by Offenbach's melancholy, marvelled at Stan Getz and Cannonball Adderley's elegance, or Kraftwerk's wit, yet this is easily my favourite album of all times.

Quality control on this is awful. Pressing itself sounds good but a brand new record shouldn't have a great big fat dirty fingerprint on the first track, as well as scratches and divots causing loud pops. Very disappointing because otherwise its a great record.

Anyone have a copy in Australia they are will to sell - with the four postcards?

sounds great to me, a whole lot better than the bootleg I had for years.

People who write this version sounds good, should have their ears checked out by a doctor. Yes there are some good moments, but mostly it sounds flat and compressed. The cover is also not so good and looks like a scan from another sleeve. I guess I will have to continue my search and sell this one...

I have this one, but the stickers on both side A and B are different. They are the same with the 1st issue original ones.

Haven’t heard the original pressing but this one sounds spot on to me. 9/10
Sounds really good. Very enjoyable

I have the same pressing, same EAN,.. But i dont have the sticker on front with mp3 download, also no code included. BMG seems to spend up their money..

Does this edition contain hires stereo audio, or is it just 5.1 mix? Text on the cover mentions only 5.1 audio.

Good sound but ugly cover art. Looks like a poor scan of the original. You can even see some photocopied dust and scribbles if you look closely. Sound wise it's great. A bit cold and digital perhaps. I would get the original DMM pressing.