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The Drift CD

Price: £15.50 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
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Image of album by Scott Walker


Image of Scott Walker


Bish (n. sl.), bitch
Bosch, Hieronymous (c. 1450–1516), Dutch painter
Bish bosh (sl.), job done, sorted

“I was thinking about making the title refer to a mythological, all-encompassing, giant woman artist.” Scott Walker

A Hieronymous Bosch painting can’t be apprehended in a single blink of an eye. The Garden of Earthly Delights is made up of panels in ... Read more in Amazon's Scott Walker Store

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for 42 albums, photos, discussions, and more.

Frequently Bought Together

The Drift + Tilt + Bish Bosch
Price For All Three: £38.50

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Product details

  • Audio CD (8 May 2006)
  • Number of Discs: 1
  • Format: CD
  • Label: 4AD
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (49 customer reviews)
  • Amazon Bestsellers Rank: 19,711 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Cossacks Are 4:32£0.99  Buy MP3 
Listen  2. Clara12:43£0.99  Buy MP3 
Listen  3. Jesse 6:28£0.99  Buy MP3 
Listen  4. Jolson And Jones 7:45£0.99  Buy MP3 
Listen  5. Cue10:27£0.99  Buy MP3 
Listen  6. Hand Me Ups 5:49£0.99  Buy MP3 
Listen  7. Buzzers 6:39£0.99  Buy MP3 
Listen  8. Psoriatic 5:51£0.99  Buy MP3 
Listen  9. The Escape 5:18£0.99  Buy MP3 
Listen10. A Lover Loves 3:11£0.99  Buy MP3 

Product Description

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

BBC Review

Scott Walker's music is often described as 'complex' or 'experimental.'

Several years in the making, 'eclectic' barely touches what he's been up to since Tilt, which compared to this, sounds about as avant-garde as The Partridge Family.

Veering through the perplexed clutter of sporadic punch-bag rhythms, serrated riffs and chest-gripping rumbles, it growls and prowls with obsessive Twin Peaks twang-bar paranoia.

Seeping in and out of episodic pieces such as "Clara", "Cue" and "Psoriatic", his singing a ghost-echo of a pop past spookily materialises, rattling chains and cages without compromise or care.

It can be intimidating; the aural equivalent of channel-hopping through a blur of unfathomable references which somehow form cryptic connections after prolonged exposure.

Only the simple acoustic guitar of "A Lover Loves" offers a sparse antidote to the harsh density of this dissonant, dissident manifesto.Beyond genre, you'll love it madly or hate it completely.Frightening, yet magnificent. --Sid Smith

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Customer Reviews

4.0 out of 5 stars

Most Helpful Customer Reviews

38 of 41 people found the following review helpful By Amazon Customer on 17 Jan. 2008
Format: Audio CD
I'm so tired. Last night, I listened to The Drift for the first time, and as a result, I didn't get a wink of sleep all night. Nothing - NOTHING - can prepare you for the sheer terror that this album invokes. I usually try to listen to new albums in one go. I managed most of The Drift, and thought I was doing well, considering some of the waking nightmares I encountered along the way. But I failed. The penultimate track pushed me beyond the limits of fear. This is my story:

I love Scott Walker's older stuff, and to honest, I bought this album without reading any reviews beforehand, expecting something similar to his old work. Thankfully, before I ever actually listened to it, I read the reviews on Amazon, and I watched the 30 Century Man documentary, that showed all the pork-punching weirdness that went on in the recording of this album (it's true - the percussion on Clara is the sound of a man laying a side of pork on a studio table and punching it. I'm not making it up).

I can't even begin to imagine how I'd have reacted to The Drift if I hadn't been warned of it's sheer extemity. I'd probably have had a heart attack somewhere down the line. I unreservedly apologise to the other reviewers on this page, since I read their proclamations of The Drift's sheer horror and mocked - "how can music be so scary, they must be mad!". Oh, how wrong I was. After The Drift, I had to line up CD after CD of happy music to bring myself back from the brink of despair.

At this point in a review, it would be normal to compare The Drift to other albums, but there is seriously nothing like this in the whole world, and I hope there never will be again. One hour and nine minutes of utter terror, the kind of thing you could only ever have heard in your very worst nightmares.
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10 of 11 people found the following review helpful By Mr. C. R. Moore on 30 Sept. 2007
Format: Audio CD
A few months ago I read an article on "the maddest albums ever made", The Drift was included in this. Talk of donkeys being scared and punching pork was mentioned - "eh?" I thought. Then I saw the 30th Century Man documentary on Scott Walker and was particularly impressed by his passion for the music he made. (Up to that point I only knew him as being one of The Walker Brother's and for singing THAT hit) I wanted to check out his later music but was advised to try Tilt before The Drift. I loved Tilt, even if the music spooked me a bit. However, nothing could quite prepare me for The Drift.
Alone on a dark evening I listened to the album through headphones. I could feel my skin starting to crawl as the first few tracks weaved through my ears. Then all of a sudden on the track "Cue" Scott began to wail "Immunity won't feed on the bodies!" against the most frightening music I've ever heard. I threw the earphones off and had to press stop - it petrified me that much! I have a broad taste and have listened to all manner of supposed "scary music" but nothing even comes close to The Drift. The lyrics and imagery conjured up have to be heard to be believed, they are just horrific. This album gets top marks for illiciting such a primal fear in me and for being like nothing else I've heard. Buy it now but beware of what it may do to you upon listening...!
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34 of 38 people found the following review helpful By S. Housley on 15 Nov. 2006
Format: Audio CD
To the reviewer below unsure as to whether to get this album: I recommend it, but be warned. It is scary, even more so than Tilt; if your Scariest Moment in Music up to now was the eerie shrieking at the heart of Face on Breast, as mine was, then prepare to have the breath knocked out of you - *twice* - by The Escape on this album. It's easily the most horrific song I can recall hearing, if not the scariest sound I've ever heard when - (spoiler) - he does that thing with his voice.

But I'm dawdling too much on the one track; the whole thing is immensely rewarding, if you're up to it, and I for one had the long-forgotten feeling, playing this for the first time, that I was actually hearing something new and different for a change. Anyone with a casual interest should hear Tilt first, imho, and progress from there. It's cold, gruelling, and cathartic; it's that man again. Enough said.
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27 of 31 people found the following review helpful By Neil on 24 May 2007
Format: Audio CD
(Note: I wrote this review a while ago and gave the album four stars. That was a mistake. It should be ten. The trouble is, I can't change the rating above. Anyway, buy this album.)

When I first heard this record, I couldn't believe it. I couldn't believe that someone could get away with making rubbish like this. 'Songs' sung on one note, no melody, no structure. And scary. I can't talk about individual tracks - they're all the same, scary. My daughter begged me to switch it off when she heard it, she was terrified. Fortunately, however, I gave it time and effort. So far it's been about four or five months and when I come home from work the record I always want to listen to, despite the lack of tunes, is this one. I don't understand why.

Walker's voice is amazing, of course, and the 'sonic landscape' (as Eno might put it) is constantly interesting and full of the unexpected. You can't sing along to it though.

If you're prepared to put in the effort, you may eventually enjoy this album. But don't count on it.
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19 of 22 people found the following review helpful By Paul Rodgers on 29 Jun. 2006
Format: Audio CD
This is another review which is going to one end of the scale or the other and I'm firmly in the 5 stars camp. Having got into Scott as a result of hearing he was an influence on other artists I like and having the easy way in suggested to me: Boy Child, Scott's 1-4, Sings Brel etc. I found Climate Of Hunter and Tilt exceedingly hard work.

The Drift is by comparison a complete contrast. It has only taken 4 or 5 listens for the beauty and simplicity of the music to start to introduce itself to me. I've barely had time to consider the words Scott is using. At the moment his voice is merely another instrument. A part of a whole.

The album reminds me greatly of the production job Scott did on Pulp's We Love Life album. There are definite echoes of I Love My Life and Wickerman in the guitar sounds and thunderous effects on Jesse and Psoriatic respectively. Buzzers somehow manages to effortlessly swing from a mournful dirge to tantalizing hints of the swooning string arrangements which characterised Scott's work with Wally Stott and Peter Knight.

I don't listen to this album for enjoyment, I don't expect my friends to like it, and I'm not even sure what exactly I like about it. All I know is that in The Drift Scott has created an atmospheric piece, which should be seen as one work of art and not 10 tracks. Some of the atonal string work on CUE reminds me of the Fire Suite on Brian Wilson's SMiLE. This can be no bad thing.

Far from losing his muse Scott has found it, grabbed it, refined it and put it out there for the rest of us to marvel at.

This is the work of a genius and is exceedingly beautiful.
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