Bish Bosch

Bish Bosch

by Scott Walker
     
 

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Bish Bosch is, according to Scott Walker, the final recording in the trilogy that began with 1995's Tilt and continued in 2006's The Drift. Its title combines urban slang for the word "bitch" and the last name of Dutch painter Hieronymus Bosch. Like its predecessors, Bish Bosch is not an easy listen initially. It's utterly strange,See more details below

Overview

Bish Bosch is, according to Scott Walker, the final recording in the trilogy that began with 1995's Tilt and continued in 2006's The Drift. Its title combines urban slang for the word "bitch" and the last name of Dutch painter Hieronymus Bosch. Like its predecessors, Bish Bosch is not an easy listen initially. It's utterly strange, yet alluring. Musically, Walker is as rangy and cagey as ever. His players have worked with him since Tilt; they know exactly what he wants and how to get it. A string orchestra arranged and conducted by keyboardist Mark Warman, and a full symphony on three cuts are also employed. The lyrics on Bish Bosch are full of obscure historical, philosophical, medical, geographical and cultural allusions. For instance, subatomic science, a dwarf jester in Attila the Hun's court, St. Simeon, and an early 20th century fad all appear in "SDSS14+3B (Zircon, A Flagpole Sitter)." Elsewhere, Nicolai Ceausescu, Nikita Khrushchev, the Ku Klux Klan, and God himself show up. While Bish Bosch is another exercise in artful pretension, it is the most accessible entry in this trilogy and well worth the effort to get at it. Themes of decay are woven throughout these songs -- of empire, of the body, of language and religion -- yet they are often complemented and illustrated by wry, pun-like, and even scatological humor. Walker's pessismism is akin to Samuel Beckett's and like the author, he holds space for a sliver of hope. On "Corps de Blah," a chorus of farts answers an a cappella lullaby whose lyrics are grotesque. Before it's over, Walker reaches operatic heights vocally, singing about bodily functions, surgery ("Nothing clears out a room/like removing a brain"), speculative philosophy, and romantic betrayal, all while accompanied by thrumming, wailing strings, metallic guitar riffs, a flailing drum kit, and layers of electronics and ambience. "Epizootics!" uses a "tubax" -- part baritone sax, part tuba -- that introduces an infectious, fingerpopping drum chant before Walker employs bop-era vocal phrasing to climb to a careening crescendo before his version of a Hawaiian folk song closes it. "Tar's" power electronics shriek is brought to earth by a rhythmic strategy that involves machetes frantically clashing against one another. Despite its 21-plus-minute monolithic length, "SDSS14+13B (Zercon, A Flagpole Sitter)" is almost welcoming. Layered ambient and looped textures, bombastic rock dynamics, metal guitars, soundtrack effects, and Walker's theatrical baritone allow the listener inside the maelstrom of his soundworld. Here, as in many other places on Bish Bosch, traces, hints, and suggestions of melody are given small but pronounced spaces that momentarily relieve the listener's sense of dislocation and tension before building them up again. His voice too, is freer to float and engage something approaching lyricism. With Bish Bosch, Walker creates a kind of Möbius Strip: by virtue of creating a less physically demanding sonic landscape, he provides a way into his iconic trilogy on his way out of it.

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Product Details

Release Date:
12/04/2012
Label:
4ad / Ada
UPC:
0652637322026
catalogNumber:
73220
Rank:
69873

Related Subjects

Tracks

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Album Credits

Performance Credits

Scott Walker   Primary Artist,Percussion,Electric Guitar,Keyboards
Ian Thomas   Drums
Guy Barker   Trumpet
B.J. Cole   Pedal Steel Guitar
John Giblin   Bass,Double Bass
Michael Laird   shofar,Kudu Horn,Ram's Horn
Ann Morfee   Violin
James Stevenson   Electric Guitar,Guitar (Electric Baritone)
Pete Long   Baritone Saxophone
Paul Willey   Violin,Leader
Boguslaw Kostecki   Violin
Alasdair Malloy   Percussion
Frank Schaefer   Celli
Steve Bentley-Klein   Violin
Mark Warman   Conductor,Keyboards,Hand Clapping,Musical Direction
Julian Trafford   Violin
Lucy Hare   Double Bass
Stacey Watton   Double Bass
Abigail Young   Violin
Clive Dobbins   Violin
Laura Melhuish   Violin
Ruth Ehrlich   Violin
Chris Fish   Celli
Steve Rossell   Double Bass
Joely Koos   Celli
Chris West   Double Bass
Alice Kent   Double Bass
Tom Rees-Roberts   Trumpet
Tom Pigott-Smith   Violin
Nerys Richards   Celli
Elizabeth Wexler   Violin
Brian Wright   Violin
Charlie Brown   Violin
Vicky Matthews   Celli
Jonathan Rees   Violin
Enno Senft   Double Bass
Sebastian Rudnicky   Violin
Clare Tyack   Double Bass
Stephen Warner   Double Bass
Nikki Gleed   Violin
Justin Pearson   Celli
Peter Walsh   Finger Snapping
Dave Ogden   Violin
Paddy Roberts   Violin
Dave Smith   Violin
Hugh Barnes   Acoustic Guitar,Dobro,Electric Guitar,Ukulele,E-bow,Guitar (Electric Baritone)
Dom Pecheur   Celli
Tamsy Kayner   Celli
Steve Morris   Violin

Technical Credits

Scott Walker   Composer,Producer
Geoff Foster   Engineer
Frank Schaefer   Principal
Steve Rooke   Mastering
Mark Warman   Orchestration,drum programming,Sound Treatment
Enno Senft   Principal
Alex Wharton   Mastering
Peter Walsh   Producer,Engineer,drum programming,Mastering,Sound Treatment
Steve Morris   Principal

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