To go to the underworld a mortal and return back the same, yet much, much different—this is not only the story of Orpheus and Eurydice, but of Scott Walker, who began his career as a teen pop idol in the 1960s and died as an icon of the avant-garde in 2019.
An array of artists have cited Scott Walker as an influence including Radiohead, Jarvis Cocker, Holly Herndon, Bat for Lashes, Panda Bear, Brian Eno, Low, Alex Turner and most famously, David Bowie, who served as the executive producer of the 2006 documentary about Walker’s life,. After discovering Walker via his ex-girlfriend, Bowie became obsessed with his work, calling him “his idol” during his 50th birthday special for BBC Radio One after hearing a message Walker recorded and sent to him.
During Walker’s eight-year hiatus from original material, he was already respected as a songwriter and performer.put this respect into overdrive. No longer trapped in the shadows of his teen pop past, he was able to take his songs in a truly modern direction, fully bringing to light the dark subjects he learned about after discovering the works of Jacques Brel.
Described by Walker himself as a “fascist love song,” the song was inspired by seeing Mussolini and Petacci executed in old news reels at the cinema as a young boy, which gave him nightmares. A lot of Walker’s music is informed by trauma, with each of his subsequent albums picking deeper into this specific trauma. The reality of these events begin to surface lyrically and most importantly, musically.
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