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City of Elms sees Ghosts becoming more corporeal
Scott Walker | Bish Bosch
November 27, 2012
Scott Walker - Bish Bosch
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Scott Walker's late-period about-face is one of the strangest in the annals of pop music. Walker, however, has never not been strange, as his 1960s operatic art-pop flamboyantly attests. Now near 70, the one-time Walker Brother has disconnected the "pop" from the "art" and staged a questionable redefinition of "art." His third album in 17 years has been making buzz for merely existing, but its other buzz — namely, tuneless, abrasive discord — is poised to make the loudest racket. Mechanical percussion, insect-like orchestration, metal guitars, and pregnant silences dart in and out of focus, all of them lorded over by Walker's warbling voice and overwrought poetics. Layered-onion genius in need of peeling, or faux-artiste bullshit? Call it what you want, just be prepared to call it something other than music.
ARTICLES BY ZETH LUNDY
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NICK CAVE & THE BAD SEEDS | PUSH THE SKY AWAY
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Much like the similarly low-key The Boatman's Call , Cave's highly anticipated 15th album with the Bad Seeds manages the puzzling feat of making a great band seem inconsequential, if not entirely absent.
SCOTT WALKER | BISH BOSCH
| November 27, 2012
Scott Walker's late-period about-face is one of the strangest in the annals of pop music.
BILL WITHERS | THE COMPLETE SUSSEX AND COLUMBIA ALBUMS
| October 31, 2012
Bill Withers has always been the down-to-earth, odd-man-out of the '70s soul brothers: he's the one who came bearing a lunch box on the cover of his relaxed 1971 debut, Just as I Am .
R.E.M. | DOCUMENT [25TH ANNIVERSARY EDITION]
| September 19, 2012
Fans of R.E.M. enjoy arguing over which album was the band's true shark-jump, but 1987's Document was inarguably the end of a groundbreaking era.
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