Tilt - Scott Walker

...collection of relatively traditional songs. Tilt isn't.
But the opening "Farmer In The City" is still one of the best tracks ever recorded and still, after 12 years and goodness knows how many plays, brings me to the verge of tears at the "Paulo, take me with you..." bit. Amazing. The strings are stunningly powerful.
"The Cockfighter" is weird beyond belief, especially the way Scott's voice fractures ...
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So Tilt - it's a hard album to like, but easy to admire hugely. It could have been a little better if some of the middle tracks were a bit shorter I feel, but heck, it's a work of art really. Love it or hate it, you can't ignore it. Scott has created his own totally unique style, and presented us with a bleak stark statement. Some of it is musical, some is atonal, some is plainly hard to listen to. But it's here. Take it or leave ... more

Blimey - what an album! It's not, however, very likeable. Scott's previous record Climate Of Hunter, for all it's oddities, is still a collection of relatively traditional songs. Tilt isn't.
But the opening "Farmer In The City" is still one of the best tracks ever recorded and still, after 12 years and goodness knows how many plays, brings me to the verge of tears at the "Paulo, take me with you..." bit. Amazing. The strings are stunningly powerful.
"The Cockfighter" is weird beyond belief, especially the way Scott's voice fractures as he sings "it's a beautiful ni-HIght" which is just freaky. The minute of disturbing scratching noises at the start of the track weirds me out too. A whole new category of music - industrial classical.
"Bouncer See Bouncer" goes on way too long before that lovely shaft of light, the orchestra backed middle eight at about the five minute mark, rewards the listener for persevering with the gloom of the rest of the track.
"Manhattan" needs to be played VERY loudly to get the full benefit of that massive church organ sound. What's it all about - who the heck knows, but it sure sounds good.
Then the album loses its way a little and gets bogged down with all that lemon bloody cola... There's some undeniably impressive stuff happening and the cumulative effect of all this music is incredible.
"Patriot", despite the annoying whistles and drums, puts things back on course. Plus it has one of the loveliest choruses on the album. A really beautiful arrangement at times.
Then "Tilt" itself. A song with a verse and chorus and guitars (though they sound weirdly woozy on the verses) and even a searing guitar solo which divebombs your ears and screeches between speakers. Strangely marvellous. Lots of stuff about buffalo which kind of links it to "Rawhide" in my mind.
Finally, the raw "Rosary" - spindly guitars and a sparse vocal. But unlike the similarly constructed "Blanket Roll Blues" on Climate of Hunter, that majestically commanding vocal has been replaced by an uncertain voice, a singer who sounds on the verge of a breakdown. It's genuinely spinetingling stuff.

So Tilt - it's a hard album to like, but easy to admire hugely. It could have been a little better if some of the middle tracks were a bit shorter I feel, but heck, it's a work of art really. Love it or hate it, you can't ignore it. Scott has created his own totally unique style, and presented us with a bleak stark statement. Some of it is musical, some is atonal, some is plainly hard to listen to. But it's here. Take it or leave it. I'll take it and I recommend you do too. 

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