I have to say that I diagree. I don't think that Scott has ever resorted to mindless atonal faux-concrete. As the film shows, he always has a proper compositional mind at work - the dissonance is never just a gimmick, he is writing songs with 'proper' chords and harmonies but never stops investigating the queasy no-mans land of pushing those chords to their limits. Yes, the tevent albums do have a similar sound palette but it's obviously where Scott is interested.
As far as I know he doesn't have a long-term deal - after Tilt was released by Mercury/Fontana, he's been on a record-by-record basis with 4AD. How does he afford the recordings? Well, he's fast... All the orchestra work on Tilt was done in a day..
reply
share