Bish Bosch - Scott Walker
User Score
7.3

Generally favorable reviews- based on 24 Ratings

User score distribution:
  1. Positive: 17 out of 24
  2. Negative: 6 out of 24

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  1. Feb 26, 2013
    0
    I loved The Drift and Tilt, but this album was literally full of farting noises, yo mama jokes, and cacophonous and aimless noises masquerading as songs that sound like a Scott Walker parody by a particularly unfunny comedian.
  2. Dec 26, 2012
    2
    With all due respect to Scott Walker's body of work but this is the most overrated album of the year-extremely exhausting listening experience with almost none of the payoff.Hope he 'll start to write songs again one day soon instead of these quasi-avantgarde exercises in self-importance.
  3. Dec 8, 2012
    1
    Even if this record is a clever one, it is, first of all, a boring one. It is hardly possible to listen to it through at one occasion and, moreover, after one time I could not find any will to listen again. Critics have probably listened to another record. This one is really bad.
Metascore
78

Generally favorable reviews - based on 33 Critics

Critic score distribution:
  1. Positive: 28 out of 33
  2. Negative: 2 out of 33
  1. 30
    How anyone outside the walls of a mental asylum could genuinely enjoy the annoyingly repetitive industrial drum-throbs, aimless experimento-guitar crunches and lyrics about "reeking gonads" that characterise songs called things like 'Epizootics!' is beyond me.
  2. Jan 2, 2013
    70
    Bish Bosch is as much about challenging the people that absorbed and accepted Tilt and The Drift as it is challenging the rest of the world--and while that makes it consistent with all his work since Nite Flights, each subsequent album giving his fan base another hurdle to overcome, it also gives it a thrill that's unique to both his discography and the majority of the music you could compare it to. If, indeed, there is any.
  3. Dec 20, 2012
    80
    Bish Bosch is a wilder, more scattered (and scatty, in the case of Epizootics!, ten minutes of sax-driven jazz which could almost be seen as accessible, if it wasn't so dark and threatening) work than its immediate predecessors.