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3.4 out of 5 stars
13
3.4 out of 5 stars
Format: Audio CD|Change
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VINE VOICEon 22 September 2007
This is an instrumental piece: 24 minutes long, and clearly designed to be listened to in conjunction with movement on stage. Without the visuals, the first part in particular is very sparse, whilst the fourth is overpowering - though it is easy to imagine staccato motions accompanying the music. The often beautiful third part is compensation enough for the lack of visuals, and as a whole the piece has a clear thematic unity, although the world depicted is, as you would expect from Scott Walker, not entirely a welcoming one.
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on 25 April 2008
To quote, D.Eves.

"This EP may connect when heard alongside a visual performance but I can't help but feel the event would leave feeling pretty dreadful and nauseous."

I did go along to see Condoco perform to the EP when they came to Newcastle. I was really impressed with the way they interpreted the music. It also as you said, helped me to connect with this 4 piece movement of Scott's but rather than leave me "feeling pretty dreadful and nauseous," I felt uplifted by it. I guess the impressive performance by the dancers in Condoco helped.
It is a brilliant piece of music, I stand in awe of anyone who can transfer their thoughts into action as Scott has with this... living inside that head is another matter.....:)
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on 14 December 2007
I really wanted to like this ep (it's not an album), but I don't.
I love Drift, but this crosses the line from 'experimental' into self-indulgent.
The main problem is that it clearly relies on the presence of the dancers to make sense of it. There are long stretches of silence (filled in performance by dance routines) and much of the rest sounds more like 'sound effects' rather than incidental music.
Perhaps a DVD of the ballet would have been better? It would have made more sense.
The packaging is wonderful, but that's about the only positive thing I can say for this set.
I'm giving it two stars because I can't bring myself to give a Scott Walker record just one...
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on 9 October 2007
it is more or less what i expected-bleak sounding "classical" music but no vocals and other than part one i liked it but basically only for fans of "the drift",others would be bemused by this.when i first played it i thought my cd was faulty!!!!!track one had very little at all for the first 2 minutes!the other 3 tracks are exciting and stirring with quiet passages.
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on 2 January 2012
This is a work of art, though neither Adagio nor Archangel. It is, however, a haunting, gothic type of modern classical instrumental which fires the imagination. The first movement is very empty sounding but persevere through the movements and the piece evolves gradually into an intriguing mix of short bursts of beautiful strings interrupted "Drift" style with modern layers (birds?!) but also containing shots of pleasing melody and rhythms. Rich cello and violins await you in the 3rd movement. So much going on in the fourth movement, but it seems to be comfortingly resolved by strings underpinned and held together by incredibly long, flat bass notes which makes you want to listen to it again. You may even find yourself wondering if you really heard that layer from "The Electrician" (or was it wishful thinking?) in there at around 4:31 which remains hauntingly until the end. If you have a copy of "The Electrician" have a go at listening to it straight afterwards: Act 5 if you like. Not as Scott intended, but it sounds very good - comforting resolution, perhaps. As with listening to a piece of classical music, you don't need lyrical or visual guidance. But you do need to listen to it with an open mind and through a good set of headphones so that you don't miss any of the sounds.

This makes for very rewarding listening if you can afford the time it deserves; please play it several times before you pass judgement.

If you enjoy listening properly to music and you would like to explore a new piece of music which contains a good deal of genuine classical style and interest, as well as the odd and surprising reminders of older Scott works, then buy it!
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VINE VOICEon 22 October 2007
An instrumental in four parts,this brief release by the rather-prolific-actually Scott Walker lacks the melodic interludes he included on his contributions to the Pola X soundtrack,containing instead weird bursts of electronic noises,horror soundtrack violins and sections of silence.With none of the awesome beauty of,say,'Boy Child'.But then you weren't really expecting that were you?
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on 8 October 2007
It may be that everyone eventually comes to dread Scott Walker's music. At some point people need to get off and let the train chug away. For me it was probably Climate of Hunter. Glorious stuff. Then a few god-like tracks off Tilt but others left me cold. Worse than cold. There's no way I can access Drift. It feels icy cold, dehuman.
This EP may connect when heard alongside a visual performance but I can't help but feel the event would leave feeling pretty dreadful and nauseous. If Scott truly is the first 21st Century Man then the future is not a bright one. So said I admire his spirit and maintain his god-like status in my mind. I just can't share his sense of alienation.
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on 24 December 2012
Big fan of Scott Walker since picking up "Tilt" on a whim. This orchestral cd is an interesting addition to his body of work. The first track is not much of a listen to be honest, seeing as the first 2 and a half minutes is made up of the occasional electronic squawk. But if you are prepared to listen to challenging contemporary classical music the rest is more than worth investing time in, by turns gentle and delicate then brassy and muscular. Not too much melody though, this is all about the structure and the sound.
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on 9 April 2013
Mawkish miserable gloom pervades as ever
As this somewhat neurotic chap revels in his warped misery. Let the sunshine through at least for your long
Suffering sheep. Unless they enjoy misery of course.
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on 19 February 2009
A good introduction to Scott Walker - a kind of EP, to be listened to as a whole. Definitely to be listened to, appreciated like a work of art rather than as background sound. Well worth the effort, as the length and instrumental nature of the work bring out a more controlled, coherent sound than in some of his album work, and allow him to take you on a real emotional journey. Perhaps his best single work yet?
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