Scott Walkers’ Mysterious Delusions

After turning down Sunn O))) on collaborating on their 2012 release Monoliths and Dimensions, Scott Walker returned to the band with a collaborative album idea that was released just last week on 4AD records. Soused is a truly unique album from these two iconic yet highly different experimentalists. In truth, it’s a hard album to wrap one’s head around and features such strange juxtaposition that on first glance, it leaves the listener confused as to how such a project could actually come together. This album leaves the listener wondering what kind of delusions Walker must be having in order to feel his music and Sunn O)))’s would work for a solid 48 minutes.

Soused starts with the song “Brando.” Immediately in, this song delivers waling and operatic vocals brought on by the British 71-year old Walker. His vocals sweep over Sunn O)))’s low-tuned droning hum bringing about an image of an old basset hound singing opera. At the beginning, this song sounds similar to the band Beirut only to have crunchy guitar licks thrown in reminiscent of The Beatles’ “Helter Skelter.” The feeling continues on in the album with “Herod 2014.” Around the 5 minute mark in “Herod 2014” there’s a break in Sunn O)))’s melodic drone ambush to make way for Walker to sing about how “she’s hidden her babies away.” One can’t help but wonder if this obscure song is somehow referencing the Christianic concept of King Herod’s assault on the young children of Bethlehem. Later, Walker references bubonic plague and blankets leaving the listener in a dark veil as to what the song is actually about.

The five song album continues on through it’s strange and experimental journey. The 4th song – “Fetish” – includes a wondrous noise abuse by Sunn O))) reminiscent of the old saws and machinery used by Skinny Puppy. This abuse includes trumpets, shakers, and numerous other musical wonders to the ears that show the true versatility of drone masters Sunn O))). Walker’s voice, however, doesn’t lend much and sounds dramatically out-of-place.

Soused ends with “Lullaby” which would be a wondrous example of an experimental drone lullaby if not for Walker’s wailing. In some parts of the mind, this juxtaposition works, and it works well, but for the most part, the growling tones of Sunn O))) and delusions of Scott Walker should not be joined. Though the combination may not be that satisfactory, that’s what experimenting is all about. May hats tip everywhere to both of these experimental legends for their attempt at merging.