Tilt
was
Scott Walker
's first album following over a decade of silence, and whatever else he may have done during his exile, brightening his musical horizon was not on the agenda. Indescribably barren and unutterably bleak,
is the wind that buffets the gothic cathedrals of everyone's favorite nightmares. The opening
"Farmer in the City"
sets the pace, a cinematic sweep that somehow maintains a melody beneath the unrelenting melodrama of
Walker
's most grotesque vocal ever. Seemingly undecided whether he's recording an
opera
or simply haunting one,
doesn't so much perform as project his lyrics, hurling them into the alternating maelstroms and moods that careen behind him. The effect is unsettling, to put it mildly. At the time of its release, reviews were undecided whether to praise or pillory
for making an album so utterly divorced from even the outer limits of
rock
reality, an indecision only compounded by its occasional (and bloody-mindedly deceptive) lurches towards modern sensibilities.
"The Cockfighter"
is underpinned by an intensity that is almost
industrial
in its range and raucousness, while
"Bouncer See Bouncer"
would have quite a catchy chorus if anybody else had gotten their hands on it. Here, however, it is highlighted by an
Eno-esque
esotericism and the chatter of tiny locusts. The crowning irony, however, is
"The Patriot (A Single),"
seven minutes of unrelenting funeral dirge over which
infuses even the most innocuous lyric ("I brought nylons from New York") with indescribable pain and suffering.
is not an easy album to love; it's not even that easy to listen to. First impressions place it on a plateau somewhere between
Nico
's
Marble Index
and
Lou Reed
Metal Machine Music
-- before long, familiarity and the elitist chattering of so many well-heeled admirers rendered both albums mere forerunners to some future shift in mainstream taste. And maybe that is the fate awaiting
, although one does wonder precisely what monsters could rise from soil so belligerently barren. Even
could be whistled, after all. ~ Dave Thompson