The final years of Scott Walker’s musical career were defined, however loosely, by collaboration.

Distills all of Walker’s wonderful excess into a bleak, digestible and sinister package.

Walker’s discography is defined by releases that, though separated by massive gulfs of time, nonetheless show a restless drive for continual advancement.

Bish Bosch is Scott Walker’s strangest, grossest and longest project.

At best a minor musical work in the string of flooring, near-perfect releases that Walker crafted in his last few decades.

The Drift still stands as one of the bleakest and most despairing releases of the Bush era.

Pola X is a stirring entry in Walker's discography – a rare display of instrumental compositions that stand on their own, despite the impetus for the work.

Tilt delves directly into the interests and anxieties of the man himself, and may actually be, despite former album titles, the first time we truly see Scott.

Walker’s sole album of the ‘80s is like a crystal, cut and polished into the purest jewel.

Nite Flights both predicted post-punk and sounded older and scarier than nearly anything else that could be called rock.