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Idioma disponible: inglés
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, Tilt 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, Walker 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 Walker 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 Walker infuses even the most innocuous lyric ("I brought nylons from New York") with indescribable pain and suffering. Tilt 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's 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 Tilt, although one does wonder precisely what monsters could rise from soil so belligerently barren. Even Metal Machine Music could be whistled, after all.
© Dave Thompson /TiVo
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Ian Thomas, Drums, AssociatedPerformer - Sinfonia Of London, Strings, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Roy Carter, Oboe, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Conductor, Piano, AssociatedPerformer - Elizabeth Kenny, Chitarrone, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Louis Jardim, Percussion, AssociatedPerformer - Andrew Cronshaw, Horn, AssociatedPerformer - Hugh Burns, Guitar, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Organ, Piano, Celesta, AssociatedPerformer - Alasdair Malloy, Percussion, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - Andy Findon, Bass Flute, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, Drum, AssociatedPerformer, StudioPersonnel - Roy Carter, Oboe, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Jonathan Snowden, Flute, AssociatedPerformer - Brian Gascoigne, Organ, Piano, AssociatedPerformer - Roy Jowitt, Clarinet, AssociatedPerformer - Jim Gregory, Bass Flute, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Louis Jardim, Percussion, AssociatedPerformer - Andrew Cronshaw, Accordion, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Organ, Piano, AssociatedPerformer - Alasdair Malloy, Percussion, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, Whistle, AssociatedPerformer, StudioPersonnel - Scott Walker, Producer, Mixer, Vocals, Whistle, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Piano, AssociatedPerformer - Colin Pulbrook, Hammond Organ, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Louis Jardim, Percussion, AssociatedPerformer - Andrew Cronshaw, Flute, AssociatedPerformer - Hugh Burns, Guitar, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Piano, AssociatedPerformer - Greg Knowles, Cimbalom, AssociatedPerformer - Alasdair Malloy, Percussion, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Cymbals, Drums, AssociatedPerformer - Sinfonia Of London, Strings, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - John Barclay, Trumpet, AssociatedPerformer - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Jonathan Snowden, Piccolo, AssociatedPerformer - Brian Gascoigne, Conductor, Piano, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Scott Walker, Producer, Mixer, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Piano, AssociatedPerformer
℗ 1995 Mercury Records Limited
Ian Thomas, Drums, AssociatedPerformer - John Giblin, Bass Guitar, AssociatedPerformer - David Rhodes, Guitar, AssociatedPerformer - PETER WALSH, Producer, Mixer, StudioPersonnel - Scott Walker, Producer, Mixer, Guitar, Vocals, MainArtist, AssociatedPerformer, StudioPersonnel, ComposerLyricist - Brian Gascoigne, Piano, AssociatedPerformer
℗ 1995 Mercury Records Limited
Presentación del Álbum
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, Tilt 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, Walker 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 Walker 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 Walker infuses even the most innocuous lyric ("I brought nylons from New York") with indescribable pain and suffering. Tilt 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's 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 Tilt, although one does wonder precisely what monsters could rise from soil so belligerently barren. Even Metal Machine Music could be whistled, after all.
© Dave Thompson /TiVo
Acerca del álbum
- 1 disco(s) - 9 pista(s)
- Duración total: 00:56:56
- Artistas principales: Scott Walker
- Compositor: Scott Walker
- Sello: EMI
- Género Pop/Rock Pop
© 1995 Mercury Records Limited ℗ 1995 Mercury Records Limited
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