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4.1 out of 5 stars
4.1 out of 5 stars
Bish Bosch
Format: Audio CD|Change
Price:£12.55+ Free shipping with Amazon Prime

on 5 December 2012
I have been caught napping by Scott as I expected another few years to get my head around Drift before another creation appeared. I believe this is more accessible than Drift and there only seems to be one real screaming/screeching moment. Having said that I have probably only heard Drift about three times but feel i could listen to this much more. Why bother if it takes that much effort? Well, the first time I heard Tilt I turned it off, the second, i hoovered (and I rarely hoover) but Farmer in the City would now be in my top ten Scott Walker songs.
Like a previous reviewer I laughed out loud a few times but i also had to skip ahead at the end of the very long track four, somewhere around fourteen minutes where it just became a wee bit too manic.
However like Elizabeth I still prefer Scott 1 to 4 and his compositions on 'til the band comes in'. The storytelling on these earlier albums was stunning whereas on this, and Tilt and Drift, I frequently have no idea what is going on, even with lyrics provided! I will listen to this a few more times and maybe I will find something wonderful like farmer but now his music is certainly something that needs time, after which you may still struggle, as I do with Drift, or end up loving it.
I fail to see why people give his latest offerings just one star purely because they prefer the 'old' Scott. This music is different and because you do not like it does not mean it is one star; I don't like opera but would never give just one star to Bizet. I say again, really listen to Tilt and in there you will find something wonderful. I have given 5 stars as I could never give less to someone I have listened to all of my adult life.
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on 3 February 2015
Scott keeps threatening us with a dance album - I hope he does, until then you can dance to Epizootics - I know, I do! This is Scott's comedy album. I listened to it in the dark on head phones the first time thinking he would scare me, but no, I found it really funny. I love Scott's sense of humour. Scott is all kinds of wonderful as always on this album.
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TOP 500 REVIEWERVINE VOICEon 3 December 2012
From the opening salvo of thundering, metronomic industrial rhythmic
mayhem of first track "See You Don't Bump His Head" one knows straight
away that we are not going to be in for an easy ride but then Scott
Walker hasn't been in the business of wooing the mainstream for many
years now. Continuing with the maverick sonic adventures last encountered
on his album 'The Drift' (2006) Mr Walker digs deeper still into the darkness
and comes back with something quite extraordinary. That 'Bish Bosch' owes
far more to the Second Viennese School of Schoenberg, Webern and Berg than
The Beach Boys is no surprise but this new collection is in many ways more
approachable than his last outing. To my ears there seems to be a greater
structural unity in these nine compositions than one might have expected.

The voice, given that he is fast nearing his seventh decade in the listening
world, is in remarkable shape. His rich, strong baritone has rarely sounded
better. The quasi-operatic timbre of his pipes suits this expressionistic
music well. The range of dynamic articulation and tonal colour with which he
imbues each energetic performances is quite stunning. The Bosch of the album's
title leans far closer to that visionary painter's depiction of 'Hell' than his 'Garden
Of Earthly Delights'!; sounds from the pit rather than any anodyne approximation
of celestial bliss. This said there are brief glimpses of something more transcendent
and redemptory. There are moments in 'Corps De Blah', for example, where
the storm clouds burst open revealing, in a coruscating blaze of gloriously
shimmering glissandi and wailing guitar, something far closer to a sense of hope.

The monumental 'SDSS14+138 (Zercon, A Flagpole Sitter)', is perhaps Mr Walker's
magnum opus however. No respite here from the stark intensity of his unsettling
sepulchral alchemy. One almost senses his soul rent in two in a vocal performance
of shattering power and uncompromising focus. A strangely beautiful madness.
So too the haunting final track 'The Day The "Conducator" Died (An Xmas Song)',
challenging the memory of Romanian dictator Nicholae Ceausescu's diabolical spirit.

'Bish Bosch' is certainly no walk in the park but for the sheer audacity and
breadth of Mr Walker's dark vision we may well hear no finer album this year.

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on 15 March 2013
No one else could make an album like this. His current style is pretty much unique, his lyrics veer between the abstract and the absurd and he even rocks out in parts.
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on 3 December 2012
Look, I think it's my fault that I cannot love this record, that I cannot love Scott Walker's strangulated slightly operatic vocals which provide little relief from the challenging sturm und drang of the musical accompaniment that makes up these songs (and I use the word songs in the loosest possible sense). Maybe it's because Bish Bosch isn't of a type that can be readily assimilated by an ear used to Rock n Roll, R n B, Reggae or even Krautrock: maybe I have been spoiled rotten by too many seductive rhythms, tunes and melodies. After listening to the shattering sourness of Bish Bosch I craved the aural digestibility of all kinds of other music, especially Scott Walker's solo albums 1 to 4. Bish Bosch is monstrous and horrible, and yet, as stated, I feel the failure to connect is mine. Well done Scott Walker for producing something as brave and challenging as Bish Bosch. Admirable? Yes. Loveable and listenable? Not in a million years.
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on 10 February 2013
Do not even consider buying this album it is total rubbish,Scott Walker used to be fantastic i.e when in Walker Brothers,but no track on this album even comes close to music,HORRENDOUS.
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on 11 February 2013
Another deliciously skewed slice of genius from the out-there legend. Made me laugh, cry (in the best way), scrunch my face and protein eyes in bemusement. It's a magnificent avant aural sculpture for those with brave discerning ears.
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on 1 March 2013
Scott Walker is a musical genius his albums are so unique and different its a pity he takes so long to release each one I love this man's work - give him a listen with an open mind and fall in love with his music- 10/10
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on 28 January 2013
I just got this album. It confounded me, alienated me, made me feel uneasy. But then I realised it was engaging my interest and I had to stick with it. Gradually, it hit me - this is taking contemporary rock music to a new dimension. In fact, I would struggle to call it rock. Perhaps it belongs more in the realm of classical avant garde? It is music unlike any other and the fact it is made by a kicking 70 year old 'veteran' of the 1960s is inspirational. Scott Walker makes artists much younger than him seem like traditionalist bores. This is music that takes the road less traveled.
I would love to see Scott tour this album and his more recent work. You never know - Scott is full of surprises!
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on 3 December 2012
The first thing to say is that this probably the funniest album ever made - the funniest musical album anyway. I was in stitches throughout. Maybe some people won't get the jokes, but that's their loss. Is this album difficult? Somewhat. But perhaps less so than The Drift. It's also the most original album in existence, though less original due to the prior existence of Tilt and The Drift; it has more similarity with the latter than the former. There are some obvious parallels in the sequence of pieces, and in terms of the approach to sound. Occasionally it's a touch too much like The Drift (the opening of Dimple is a bit too similar to the opening of Jesse). Dimple is one that had me in stitches in particular, as I couldn't help but imagine Scott possessed by a Teletubby (in much the same way he was possessed by Daffy Duck on the last album; or was it Donald Duck?) It's possible to mourn the absence by and large of Scott's former lyricism, although it's not entirely absent if you look for it. But the twenty minute Zercon is strangely affecting, is possibly his finest masterpiece, and is a beautiful portrait of stoic individualism in the face of mob rule. The journey from scorned repulsive dwarf, to flagpole sitter, to dwarf star is literally sublime. There's so much here, it's impossible to go into; it's like an encyclopedia. We all find flatulence amusing don't we? So does Scott. We find observations like 'grinding upheaval/always affects the genitals' both amusing and illuminating don't we? Mischievous hijinx is everywhere. Scott dispatches his punchlines like a stand-up in hell. Blowing up bullfrogs with a straw is bound to be the latest craze among the disenchanted youth of today. There's acres of this entertainment on show. 73 minutes of it. All for a tenner. Can't go wrong can you? And he even signs off on a festive note, which is appropriate, and considerate.
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