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  • Tilt
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on 20 March 2015
Probably the Scott album I come back to the most (closely followed by The Drift) Two albums I couldn't do without.
If you are into experimental and avant garde works then both those albums are worth a listen. It's where music, soundart and dark poetry of the human condition meet. Even Robert Plant did a cover version of, Farmer In The City.
It's one of those albums that, if it grabs you, it will hold you for the rest of your life. At times it's haunting, yet beautiful.
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TOP 1000 REVIEWERon 7 February 2017
Bought for my husband who has suddenly decided that he needs to research his musical history after finding out that Scot Walker is mentioned by the likes of Bowie and Marc Almond as being someone who inspired them. The albums Tilt and Climate of Hunter surprisingly at times sound like David Bowie's last album!
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on 15 May 2013
I'm a great fan of Scott's so i l love everything he's done and will continue to do so...Tilt is very different to what he's done with The Walker Brothers, and most of his early stuff, but having heard clippets of the different songs that Tilt has to offer i wanted to experience it for myself, and i am not disappointed!!His voice continues to amaze me and this shows his voice off to an amazing degree. If you are a Scott Walker fan like me then you will have to hear this CD for yourself,i for one love it!!!
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on 28 March 2017
Wow. Don't expect old style Scott. The arrangements of the tracks are beautiful, as is his voice which has aged very well.
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on 29 January 2018
A work of genius.
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on 3 October 2017
Mix of genious and not so good - but worth it for the genious
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on 11 March 2017
Great album!
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on 28 April 2001
'Tilt' is not the best place to start with Scott Walker- the Walker Brothers 'Best of's' and the 1-4 'Scott' LP's are...However, since 'Til the band comes in' he has been very hit and miss: the bits of 'Nite Flights' which he wrote ('Shutout', 'The Electrician', the title track) were awesome; the rest was dull. The rumoured Brian Eno & David Sylvian collaborations did not appear; 'The Climate of Hunter' did- which was o.k...After the 'Man from Reno' single came this album- which did get in the UK album charts- but was treated with critical derision, as it appeared unlistenable...A housemate of mine was initially disturbed by it- the locust sounds on 'Bouncer see Bouncer' or the moaning at the start of 'The Cockfighter' in that instance. After listening to it many times over three years (preferably in the dark)he now LOVES it!!!...The opening track, 'Farmer in the City' is an ode to the murdered film director/writer Pier Paolo Pasolini and is as good as 'old Scott' tracks such as 'Big Louise' or 'The Old Man's Back Again'...The production is fantastic- the only LP's of late to sound this good are 'Grace' by Jeff Buckley and 'Time Out of Mind' by Bob Dylan (the producers being Andy Wallace & Daniel Lanois)...'Bouncer see Bouncer' & 'Manhattan' are hard to get through but the rest is highly listenable. This record sounds otherwordly and really is ahead of its time...For me 'The Cockfighter' is the best song- parts are as 'industrial' as anything by ATR, Neaubauten or 'Nail' by Foetus (with which it shares dark themes of torture; think of 'Salo')...The songs aren't the overblown doomed romantic of yore- they are the logical progression from the torture dialogue of 'The Electrician'...Saying that, it's a very elliptical album- the lyrics are great but as baffling and exact as Samuel Beckett...One that everyone should own- any record that has Scott sounding so passionate when singing Adolf Eichmann quotations is just fine by me...Just a pity that 'Man from Reno' wasn't used as a reprise, after 'Rosary' (a few tracks date from 92, 'Reno' 90) but I'm only saying that cos it's not on a CD I have...If you like 'Bone Machine' by Tom Waits or 'Rope on Fire' by Morphine- this one's gonna blow you away...If you think it's terrible on first listen, really, you MUST try harder!!!!
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on 18 May 2005
While Scott Walker had alluded to war before (The War is Over, The Plague), it became a dominant-theme around the four-tracks he wrote after six-years of writer's block for the final Walker Brothers album. The year zero was ultimately 'The Electrician', whose theme of torture would advance and recur on 1983's 'Climate of Hunter' and this follow-up from 1995.
'Tilt' is an album that takes no prisoners, a record that drifts deep into the avant-garde, seemingly influenced by Schoenberg, Messiaen, Einsturzende Neubauten, Gorecki, Glenn Branca it is far from the catchy pop of the Walker Brother. Despite many listeners/failed-listeners misgivings, 'Tilt' is an album that has been cited postively by David Bowie, Nick Cave, Elvis Costello, Neil Finn & Paul Morley. I think it will be seen as a classic in years to come, and it made more sense when released on an indie-label in the U.S. than it did on a major label at the time of Britpop. 'Tilt' is an album I've played frequently- an album that generally drops any rock-angles, which Walker appeared to exhaust on several similar sounding & titled tracks on 'Climate...'- Tracks Five and Seven (& maybe three also!)
Walker's voice is more operatic than before, while the extreme-atmosphere aligns it to more extreme albums, such as Nico's 'The Marble Index', Talk Talk's 'Laughing Stock', John Cale's 'Music for a New Society' & David Sylvian's 'Blemish.' It's all a highlight, albeit an oblique one - I have no clue what Walker is singing about. But I have ideas...and in the scheme of things, it's still more 'Ulysses' than 'Finnegans Wake.' The themes of exile and torture found in 'The Electrician', and continued over several-'Climate- tracks are key here. The influence of Samuel Beckett, notably plays like 'Not I' & the trilogy of novels, seems apparent- or rather- Walker has the same oblique-exactness with a similar nightmareish quality...
It's all a highlight, but the ones I like the most are 'Farmer in the City (Remembering Pasolini)', which like Coil's 'Ostia' recalls the murdered auteur who made 'Salo.' This is a reworked version of Walker's 'Man from Reno'-single and feels like a cut-up-dream recollection after reading about Pasolini. 'The Cockfighter' is a complex, multi-part track that veers off into a sound like 'Dark Magus' played by Stravinsky, then into Neubauten-metal, strange moans & a touching part...which nods towards the Holocaust...
'Manhattan' reminds me of 'Before Night Falls' - a sense of tortured exiles in New York: "scalper in the lampglow...chief of police a la collar - bones connected...i tip to Bengal/i tip to Somal/i tip to Burmese..." The music is not merely avant-classical, and several-tracks have elements that take in world-music, whether whistles, Ba-Wu Flutes or chittaroni. 'Tilt' sounds immense...
The final four-tracks are as strong as the rest, 'Bolivia'95' offering up some stunning blues-based-guitar up; while 'Patriot (a single- at 7.58 minutes!)appears to nod to the Iraq War of the early 90s, 'ja'91/see how they run'- which must allude to the mass-murder on the Bazra-highway? The repeated 'chorus', "the good news you cannot refuse/the bad news is there is no news" remains hypnotic stuff - though I'm not sure what is meant by the allusions to Zeitung! The title-track is hypnotic trance-rock, the guitars veering off into the otherworldly- a missing link between "Heroes" and 'Hail to the Thief.' Finally, Walker plays guitar alone on 'Rosary', the adieu to the greatest album of the 1990s...
'Tilt' is an album that frequently finds itself at the top of any list of favourite albums I make (other titles include 'Sulk', 'The Marble Index', 'Pacific Ocean Blue', 'Closer' etc)& it still remains to be accorded the appreciation I think it warrants. Walker would follow this with the soundtrack to 'Pola X', a box-set of his past-work, and is apparently recording a new album for 4AD. Roll on 2009!!!!
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on 23 September 2007
I bought this just a couple of months ago after getting 'The Drift' and being astonished by it. This is much more approachable than 'The Drift' but is still stranger, more challenging and more creative than (and miles ahead of)... I was going to say 'almost anything else out there', but you can dispense with the 'almost'. Others have tried to describe the music, which I think is a waste of time. The only way you can know what it's like is by listening to it. It's probably not like anything else you will have heard. It is simply excellent and deserves a much wider audience. Buy it!
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