SCOTT WALKER Bish Bosch 4AD

The Irish Times - Friday - The Ticket - - MUSIC REVIEWS - JO­CE­LYN CLARKE

The ti­tle of Scott Walker’s new al­bum al­ludes play­fully to both the non­sense po­etry of Ed­ward Lear and the apoc­a­lyp­tic paint­ings of Hierony­mus Bosch, de­scrib­ing the ex­u­ber­ant ex­per­i­men­ta­tion of his fourth solo al­bum in four decades. The fi­nal part of a loose tril­ogy of Tilt (1996) and The Drift (2006), it’s also the best of the mav­er­ick singer-song­writer’s solo ca­reer, achiev­ing his most suc­cess­ful mish­mash of words and mu­sic in a streamof-con­scious­ness col­lage, equal parts sound poem and art mu­sic. Walker’s pro­tean and lay­ered songs com­bine acous­tic in­stru­men­ta­tion, dis­so­nant elec­tron­ica and found sounds (clash­ing ma­chetes, wail­ing sho­far, tum­bling mar­bles) with frag­mented melodies and el­lip­ti­cal lo­cu­tions, all held in ex­quis­ite dy­namic ten­sion by his sig­na­ture dra­matic croon. Bish Bosch is jar­ring and lyri­cal, at once beau­ti­ful and un­com­pro­mis­ing. 4ad.com

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