10 Songs, 1 Hour 8 Minutes

EDITORS’ NOTES

Scott Walker is the ultimate stranger in a strange land. Born Scott Engel in Hamilton, Ohio, he became a UK pop star with the Walker Brothers in the 1960s, sported a solo career where he was described as sounding like “Tony Bennett on acid,” and in the past eleven years has released just two solo albums – this one and 1995’s Tilt. Both are challenging works that require the listener to suspend their beliefs in what a song should do. You do not hum these tunes. You do not tap your foot to these beats. Preferably, you sit in a comfortable chair in a dark room and let the slowly unfolding drama overtake you. The Drift is the mesmerizing sound of the apocalypse oozing down the walls around you. Walker employs sparse orchestration and much of the album is spent in silence, awaiting Walker’s tremulous proclamations. One doesn’t walk away from The Drift with a favorite track, but with a memory for repeated phrases that have been painstakingly beaten into consciousness: “I’m the only one left alive,” “I’ll punch a donkey in the streets of Galway,” “World about to end.” Careful with this one.

EDITORS’ NOTES

Scott Walker is the ultimate stranger in a strange land. Born Scott Engel in Hamilton, Ohio, he became a UK pop star with the Walker Brothers in the 1960s, sported a solo career where he was described as sounding like “Tony Bennett on acid,” and in the past eleven years has released just two solo albums – this one and 1995’s Tilt. Both are challenging works that require the listener to suspend their beliefs in what a song should do. You do not hum these tunes. You do not tap your foot to these beats. Preferably, you sit in a comfortable chair in a dark room and let the slowly unfolding drama overtake you. The Drift is the mesmerizing sound of the apocalypse oozing down the walls around you. Walker employs sparse orchestration and much of the album is spent in silence, awaiting Walker’s tremulous proclamations. One doesn’t walk away from The Drift with a favorite track, but with a memory for repeated phrases that have been painstakingly beaten into consciousness: “I’m the only one left alive,” “I’ll punch a donkey in the streets of Galway,” “World about to end.” Careful with this one.

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Ratings and Reviews

4.2 out of 5
42 Ratings

42 Ratings

Damon Ford ,

Genius at work!

Scott has excelled on every level this time around. Much in the same vein as 1995's Tilt yet far more distracted and inaccessible. Sheer brilliance. This album is a 14 hour jet flight for those that are scared of flying. I cannot stop listening to it. Thank you Scott.

othostice ,

Obtuse

I am amused by a previous review that said that The Drift makes Tilt sound like Ashlee Simpson. It reminds me of a review I once read that opined that Springsteen's The Ghost of Tom Joad made Nebraska sound like James Brown Live at the Apollo.

Lacking the Jacques Brel covers that actually made Tilt somewhat accessible, The Drift is the aural equivalent of root canal: essential and ultimately rewarding but not really enjoyable.

Like the early novels of Thomas Pynchon, Scott Walker's records are more to be admired than enjoyed. I respect Walker's vision, but to be quite honest, I can't say that I am quite up to the investment of repeated listenings.

Turn Up the AC ,

unlike anything ever written

Listen closely and youll realize that every noise is carfully and precisely placed in these 'blocks of sound'. Scott Walker is the only artist out there that can make music like this, so we should be very thankful. It's like going to a different nightmarish world, in the best most inspiring way possible. I'm rambeling, buy this cd.

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