”My piano crouched in the corner of my room with all its teeth bared,” Cave sings on ”Hallelujah.” Or in other words, he’s had a touch of writer’s block since the Bad Seeds’ last album, 1997’s The Boatman’s Call. Cave weaves meandering narratives on No More Shall We Part, which hide behind stately piano and string arrangements and grasp for strength in his bellowing voice. The doomed-soul routine no longer sounds convincing. Cave’s songs once conjured eternity. Now they just feel like one.