• Scott Walker, in the doc 30 Century Man, recording his album The Drift

Since it came out a few weeks ago, I’ve listened to Scott Walker’s Bish Bosch several times, almost always with friends and at top volume. I tend to be a headphone enthusiast (when the listening experience is that private, I feel like I’m disappearing into music the way I do with works of literature), but Walker’s records feel most impactful when they’re able to fill an entire room. Walker has long expressed affinities with cinema, and this is less evident in his references to particular films (Scott 4, from 1969, begins with a song about Ingmar Bergman’s Seventh Seal) than in the imagistic quality of his arrangements. In his recordings, you can practically visualize the space between instruments or sections of an orchestra—it’s not just the notes that matter, but the impeccable sense of mise-en-scene.