A collection of posts about the strange, the unusual, the experimental and the odd in a variety of musical genres.
Scott Walker - “Tilt”
(Fontana 1995)
It was 1995 and I was working on sound design as a freelance designer for another media artists' video installation. At one time during the process we got to talking about music and what we were both currently listening to and decided to make a tape trade. Although released in 1989 and I purchased it in early 1990, Godflesh's “Streetcleaner” was still a key album for me, very influential and something I had begun listening to again around that time. I dubbed it to cassette and gave him a copy. With no real explanation or context, in return he gave a me a cassette with the words ' Scott Walker – “Tilt” ' written on the label in ballpoint pen.
That cassette changed my music listening life and “Tilt” soon became one of my favourite albums of all time and Walker one of my favourite artists. With the opening track 'Farmer In The City', I was initially struck by the dark droning strings, but then came the sonorous tone of a voice singing 'Do I hear 21' and the repeating of '21, 21, 21'.
What was this? Why had he given me this? This was an odd voice, I couldn't tell if I disliked it or adored it for it's utter originality, especially within my range of listening at the time. I hadn't heard this voice before. Except that I had.
Eventually I made the connection that this was the person who had sung 'The Sun Ain't Gonna Shine Anymore' and later 'No Regrets' as the lead vocalist in the Walker Brothers. But this album was a different kettle of fish altogether. This record had a profound effect on me and made me backtrack and discover earlier works after I secured my own proper CD copy. I believe the next thing I got was 1984's “Climate Of Hunter”, which was indeed the previous release (Scott has since become a tad more prolific with lesser gaps between releases) and then the final Walker Brothers release “Nite Flights” from 1978, which contained 4 Scott originals that showed the path he would travel subsequently. I have pretty much everything Walker has done now!
Interestingly from the point of “Tilt” onwards, Scott's albums have become more abstract, stranger, more challenging, including his recent collaboration with Sunn O))) “Soused”. Maybe it is because it was 'my first', but “Tilt” remains the pinnacle for me. And not in the least to slight what came after, but with “Tilt” the balance was just right. It is a wonderful combination of symphonic pop, industrial, neo-classical and electro-acoustic experimentation, with a wholly original voice vocalising some impressively abstract but still emotive poetry. Beginning with the orchestral drama of 'Farmer In The City' and ending with the sparse voice and single guitar of 'Rosary', this album is a journey.
Rather than go through it song by song, it really is something you should experience yourself. I know it's not for everyone, but it's for me. Not sure how he felt about “Streetcleaner”, but I want to sincerely thank David for giving me “Tilt”, it's hard to believe its been 21 years. I guess that is quite apt. And thank you Scott for travel your distinctive path.
1. Farmer In The City
2. The Cockfighter
3. Bouncer See Bouncer
4. Manhattan
5. Face On Breast
6. Bolivia '95
7. Patriot (a single)
8. Tilt
9. Rosary
For more info, I highly recommend the excellent 2006 documentary “30 Century Man” by Stephen Kijak. Although there has been a number of releases since that time, it still gives a great historical overview of how he came to be at the musical place he is situated at now.
Scott Walker - “Tilt”
(Fontana 1995)
It was 1995 and I was working on sound design as a freelance designer for another media artists' video installation. At one time during the process we got to talking about music and what we were both currently listening to and decided to make a tape trade. Although released in 1989 and I purchased it in early 1990, Godflesh's “Streetcleaner” was still a key album for me, very influential and something I had begun listening to again around that time. I dubbed it to cassette and gave him a copy. With no real explanation or context, in return he gave a me a cassette with the words ' Scott Walker – “Tilt” ' written on the label in ballpoint pen.
That cassette changed my music listening life and “Tilt” soon became one of my favourite albums of all time and Walker one of my favourite artists. With the opening track 'Farmer In The City', I was initially struck by the dark droning strings, but then came the sonorous tone of a voice singing 'Do I hear 21' and the repeating of '21, 21, 21'.
What was this? Why had he given me this? This was an odd voice, I couldn't tell if I disliked it or adored it for it's utter originality, especially within my range of listening at the time. I hadn't heard this voice before. Except that I had.
Eventually I made the connection that this was the person who had sung 'The Sun Ain't Gonna Shine Anymore' and later 'No Regrets' as the lead vocalist in the Walker Brothers. But this album was a different kettle of fish altogether. This record had a profound effect on me and made me backtrack and discover earlier works after I secured my own proper CD copy. I believe the next thing I got was 1984's “Climate Of Hunter”, which was indeed the previous release (Scott has since become a tad more prolific with lesser gaps between releases) and then the final Walker Brothers release “Nite Flights” from 1978, which contained 4 Scott originals that showed the path he would travel subsequently. I have pretty much everything Walker has done now!
Interestingly from the point of “Tilt” onwards, Scott's albums have become more abstract, stranger, more challenging, including his recent collaboration with Sunn O))) “Soused”. Maybe it is because it was 'my first', but “Tilt” remains the pinnacle for me. And not in the least to slight what came after, but with “Tilt” the balance was just right. It is a wonderful combination of symphonic pop, industrial, neo-classical and electro-acoustic experimentation, with a wholly original voice vocalising some impressively abstract but still emotive poetry. Beginning with the orchestral drama of 'Farmer In The City' and ending with the sparse voice and single guitar of 'Rosary', this album is a journey.
Rather than go through it song by song, it really is something you should experience yourself. I know it's not for everyone, but it's for me. Not sure how he felt about “Streetcleaner”, but I want to sincerely thank David for giving me “Tilt”, it's hard to believe its been 21 years. I guess that is quite apt. And thank you Scott for travel your distinctive path.
1. Farmer In The City
2. The Cockfighter
3. Bouncer See Bouncer
4. Manhattan
5. Face On Breast
6. Bolivia '95
7. Patriot (a single)
8. Tilt
9. Rosary
For more info, I highly recommend the excellent 2006 documentary “30 Century Man” by Stephen Kijak. Although there has been a number of releases since that time, it still gives a great historical overview of how he came to be at the musical place he is situated at now.
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