Scott Walker could sing a song to perfection as you can hear on his four solo albums. He was a very melancholy guy. In an interview he once stated: "I live in a very nightmarish world." David Bowie and Brian Eno were working on Low/Heroes when they heard "Nite Flights" by the Walker Brs. and they were blown away by Scott's new approach. Bowie stayed a lifelong fan and even produced the documentary "30th Century Man". When "Tilt" was released it was like a bomb. People had never heard anything like it. The guy was on another level. "The Drift" must be one of the darkest, scariest pieces of music ever recorded. It's like opera from hell. He was truly unique. Thanks for bringing his music back to attention.
Nightmare? It's real music. I found Hunter very recognizable music. Dissonance is nothing new. Genre is not important. What annoys you the most probably says something about you.
The four Scott Walker penned tracks on 'Nite Flights' represents some of the best avantgarde pop music ever made, culminating with the amazing 'The Electrician'. 👌👌 ..and 'Tilt' to me was hands down the most unique and special album of the 90's.. 🤗 My favorite, though, has to be 'Scott 1'; that album contains some of the most beautiful music EVER created; take for example 'Montague Terrace (in Blue)'...😍😍 There will never ever be a singer/composer quite like Scott Walker again; the man was truly something special. A complex, uncompromising and unique character, despite at the same time being a very humble, down to earth recluse. R.I.P Noel Scott Engel...
@@PlutoTheGod crazy enough, I was falling asleep to one of William basinskis songs and I was literally having sleep paralysis. It was “paradise lost” from the “lamentations” record.
Interestingly, the guys in Sunn seemed disappointed by the collaboration, in that it didn’t actually feel like a true collaboration. They said Walker just asked for their parts, then he took them and incorporated them into the music. And to me, the album sounds like alternating Scott Walker sections and Sunn sections.
His music later was so brilliant. He transcended so many genres, and his work just blows my mind. He also influenced Bowie’s last, beautiful-beyond-words album, Blackstar.
Long comment, but enjoy. Good overview! I got into his music circa 1986 after being a fan of "The Sun Ain't Gonna Shine Anymore" and found a used copy of SCOTT - this was the US version re-titled ALONER although with no changes what was on the album (*). I bought TILT as soon as I could get it (Early 1996, if memory serves right), but I loved it - "The Cockfighter" clearly had moments when you could imagine an Einsturzende Neubauten influence on the loud percussion which connected with my music listening by then. There are two CDs from 1990 which are great ways to experience the Mid-Late 60's Scott in a more compact way to those who want to hear the progression of his music: The Walker Brothers' AFTER THE LIGHTS GO OUT collection that wraps most a very Scott-centric collection of highlights into one great collection and BOY CHILD focusing only on originals from the four SCOTT albums and TILL THE BAND COMES IN which I can imagine some fans calling SCOTT 5 (**). There was one album in between 3 and 4 which was SCOTT SINGS SONGS FROM HIS TV SERIES which is a good selection of songs which formed a cash-in album for the short but successful series. Typical of the more Pop side of his 60's albums, it is seriously saved by his singing and solid choices which fit his voice. (*) - Smash Records did alter SCOTT 3 by removing the iconic "30 Century Man" and fitting in the UK single-only ballad hit "Lights of Cincinnati". (**) - Reportedly due to company pressure, there had to be covers on TILL THE BAND COMES IN, all which form most of the second side. That sequence of songs was mentioned in Pulp's "Bad Cover Version"...produced by Scott (Album - WE LOVE LIFE).
The track "The Escape" with the "donkey" is actually about the story of Mel Blanc, the voice of Bugs Bunny, and Daffy Duck who suffered a car crash, putting him a coma. The doctor treating him had an idea to bring him out, and addressed him in the voice of Bugs....he replied in the voices of his characters...."What's up doc..." "I tawt I saw a puddy tat..." That track would make anyone jump out of their skin!
Just watch 30 Century Man it's a great doc about his life and artistic evolution. Fascinating and Inspiring artist who was truly Visionary in his own way. I think part of the feeling that you're picking up on with his music (especially after he completely abandoned Pop Music) is how Scott works on the level of Myth and Archetype. He's drawing from a deep, unchanging well of Humanity that we all share and, as you noted he's exploring the unorthodox, almost "abyssal" territory. It can be harrowing, if you go too deep into it. It can be even more alienating because he's not going about creating it in the typical "spooky scary" metal/extreme way of exploring this emotional territory. "He who stares into the abyss" and all that, you know. Also, "Fuck Dying, I Hijack a Mech!" 😉
So good to see Scott getting love on this channel! The Drift is the single most scary thing I’ve ever heard, more than any funeral doom black metal blah blah blah
I did finally get around to listening to The Drift from a previous recommendation from a video you made earlier. It made for quite the interesting play through of Doom 64 I must admit, oddly fitting and made the whole play through an unnerving experience in the most interesting way possible!
@@dannycheesums The darker mood fit really well and gave the "other world-like" feel a whole new dimension, the pain elementals that popped up were a bit EXTRA horrifying which is saying a lot because they are already terrifying as is, let alone with the creepy vibes of The Drift filling in the background noise. I recommend it!
I recently got obsessed with the enigma of Scott Walker. His later music is terrifying and impenetrable, even transcendental. Some songs may convey the aural sensation of being completely eviscerated on an assembly line but most songs lay beyond the bounds of description. For some reason, themes from 'The cask of Amontillado' come to mind when I think of The drift.
Scott’s music came into my life when he did a live interview on the tv show The Tube in early 1984 when he was promoting Climate Of Hunter. The Walker Brothers were often the radio in the ‘70’s and ‘80’s. But I knew nothing about the early solo albums as I was only 15 when I watched that interview. I picked up COH a few years later and that was the beginning of my love for Scott’s music - it’s an incredible album. Then in 1990 the Boy Child comp came out and I fell even deeper into the rabbit hole. I love almost all his albums and he is my favorite artist - the best. Excellent review of Scott’s work.
I didnt notice it, and because of this comment I just listened to the album. Its way ahead of its time, and fun. Also sounds super good for the time. I personally havent heard anything like it before. Thank you!
Scott Walker is one of my favourite artists of all time, so thanks for this video! I'm not saying her music is anywhere as extreme, intense, or bizarre, but if you haven't heard her already you should check Keeley Forsyth - she's great and there's definitely an influence from late-period Scott Walker in her sound. Also, seeing as you mentioned Scott being pretty much on his own in his journey from beloved pop idol to the furthest fringes of experimental musicianship, have you investigated the career of David Sylvian at all? His band Japan were pretty huge in the 80s and while not as extreme or out there as the later Scott Walker stuff, his solo recordings (as well as his many collaborative releases) did get increasingly more experimental and detached from his pop beginnings. The albums of Talk Talk (as well as their frontman Mark Hollis's lone solo album) are also fantastic examples of a successful pop-tinged artist following their inspiration and curiosity to the outer reaches instead of just riding on the back of their success, and in my opinion the albums 'Spirit of Eden', 'Laughing Stock', and 'Mark Hollis' are some of the most beautiful and important albums of all-time - sonically, it's almost as if Hollis took note of the opening line from 'Rawhide' (the first track off 'Climate of Hunter') and was trying to show us "This is how you disappear..."
Great video! I feel the same way when I listen to his later stuff. However, over time I've really warmed up to albums such as Climate of Hunter and Tilt and I don't find them nearly as hard to take as they once were. Regardless, I find his later output so fascinating that I always find myself coming back to them now and then. I am so glad that it's not just me who can't find anything close to what Scott did on his last 4 albums. I was beginning to think that I just didn't know where to look. The only thing I have found that resembles this style of music is the song Heat by David Bowie from his second to last album The Next Day, and that song is definitely worth a listen.
Thighpaulsandra - Double Vulgar 1 & 2 confused the hell out of when I first listened to it. It still gives me anxiety every time. When I first listened to it, I had an instance of thinking I'd gone too far with my fascination for avant garde and experimental music. I took a break and returned to more conventional music for a period of time.
Dear Wyatt Regarding interesting trajectories in popular music, are you familiar with John Lydon's works within Public Image Ltd first three albums? From punk rock poster boy to avant-post punk pioneer in just a matter of 4/5 years. - First Issue (1978): Considered one of the first post punk albums (an info that matters more when you consider that it was made by former Sex Pistols frontman) - Metal Box (1979): According to some critics (such as Simon Reynolds), a symbol of what post-punk aimed to be. Stellar performance by founding members Jah Wobble on bass (influenced by dub music) Keith Levene (also founding member of The Clash and one of the most inventive and influential guitarists of his generation). - The Flowers of Romance (1981): A bizarre industrial-esque piece of alienating beyond-rock music.
Started out in 2001 with Its Raining today. From my brother. Who turned me on to Dead Can Dance. It was a monument in my life. Quite a character. Very good video Wyatt. Always love listening to you. Thanks man for doing this on one of the most interesting people in music. Have a good day man
Scott Walker is to metal like a psychological thriller is to a monster movie. With most metal, you know what you’re going to get: occasional scary/gory imagery, dudes in black tees, and loud guitars. With the Scott Walker trilogy, you have no idea what’s around the next corner, nothing in the imagery suggests what you’re about to get, and in interviews, Walker seems like a pretty normal guy.
I grew up listening to and loving the voice of Scott Walker but his work after Till The Band Comes In left me cold . I know a number of people sing his praises saying how inventive and genius the work but personally I found it self absorbed and way over the top . Maybe I am a shallow listener or maybe I just don’t buy into the whole avant garde nonsense . If , like me , you still appreciate a great voice singing quality music , check out David Sylvian after his time with Japan , check out his solo work or his work with Nine Horses or Rain Tree Crow , I always feel it’s the direction Scott should have gone down
To me the album The Drift from Scott Walker is the pure equivalent of the movie Begotten by Elias Merhige. I know the act is monumental I felt it when I encountered it and I can’t help my mind stop thinking about it nor trying to reach or find ideas and people to speak about it but never I want to hear or see it again. Now I know, and knowledge is a powerful source of self destruction. Thank you for all your work btw
Might be a brash title, but I definitely agree. Hearing 'Farmer in the City' track from Tilt for the first time seriously made me keep checking over my shoulder. Think that track is also about the true story of an Italian director or actor who has killed in a hit and run murder. Might be wrong, but look it up if so
Cool overview! Scott was more than influenced by Brel. He recorded a number of his songs with English lyrics and orchestral arrangements. Such a great discography that I’m still trying to wrap my head around. Also look into the early works of Paul Roland. Not much to do with Scott’s music apart from both having an influence on neofolk and appearing on the Looking for Europe compilation.
Scott's later albums are music from a different planet, would suggest later einstruzende neubauten as similar as they have been doing the created sound and making their own instruments for there whole career and Blixa Bargeld has a very similar approach
He effects me in all ways. Listening to "Louise" or "Joe" or "Boy Child" makes me feel the deep feels. Most everything on Tilt is frightening, but transcendent. He wasn't here for us He wasn't even here for himself. He was here for his art. That's it. Uncompromising. Deliberate. Incisive. Gold.
Greg and Steven of Sunn have said in an interview that Scott approached them for the collab, though they were more like session musicians following closely to Scott's direction rather than combining their creative instincts and processes.
“This is how you disappear”…..Scot Walker on Climate Of Hunter…..I believe Portishead’s third album is the closest to Scott’s style I have heard from another set of musicians….
Personnally, Scott Walker gives me depression. I love Bish Bosch, but I've only listened to it a few times since its release. Wyatt insists on the unfamiliar and unique aspect of this record. Overall I agree, but "See You Don't Bump His Head" gives me strong "Mr. Self Destruct" vibes. I quite enjoyed this video. He seems friendly enough, but also extremely determined in his creation. Love this. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kOlGT2QMJuA.html
It's "what's up doc?" Scary stuff, and a very strange story about Mel Blanc, the voice of Bugs Bunny and Daffy Duck. He was in a car crash and was put in a coma. His doctor had the bright idea of trying to communicate with him as Bugs Bunny.....Mel replied in the voices of his characters. Now that is scary. It reminds me of all those films about ventriloquists being taken over by their dolls, particularly "The Dead of Night."
Scott wasn't on a downward spiral & although yes, he's on his own, other people are definitely out there being experimental such as Kate Bush, Radiohead & Roger Waters. Scott is the best though, there's no one quite like him.
I love it when an artist branches out and does their own thing to its apex. Another one that comes to mind is Nico with the marble index. Check it out.
