Metal Machine Music

Metal Machine Music
Studio album by Lou Reed
Released	July 1975
Genre	Noise avant-garde drone industrial
Length	64:11
Label	RCA
Producer	Lou Reed
Lou Reed chronology
Lou Reed Live (1975) Metal Machine Music (1975) Coney Island Baby (1976)

Metal Machine Music, subtitled *The Amine β Ring, is the fifth solo album by American rock musician Lou Reed. It was originally released as a double album by RCA Records in 1975. A departure from the rest of Reed's catalog, Metal Machine Music is variously considered to be a joke, a grudging fulfillment of a contractual obligation, or an early example of noise music. The album features no songs or even recognizably structured compositions, eschewing melody and rhythm for an hour of modulated feedback and guitar effects, mixed at varying speeds by Reed. In the album's liner notes he claimed to have invented heavy metal and asserted that Metal Machine Music was the ultimate conclusion of that genre.

The album cost Reed credibility in the music industry while simultaneously opening the door for some of his later, more experimental material. Although panned by critics since its release, Metal Machine Music is today considered a forerunner of industrial music, noise rock, and contemporary sound art.^[1][2]

In 2010, Reed, Ulrich Krieger and Sarth Calhoun collaborated to tour, playing free improvisation inspired by the album, as Metal Machine Trio. That same year, Reed announced his plans to re-release Metal Machine Music in remastered form.^[3]

Style

A major influence on Reed's recording was the mid-1960s drone music work of La Monte Young's Theatre of Eternal Music,^[4] whose members included John Cale, Tony Conrad, Angus Maclise and Marian Zazeela.^[5] Both Cale and Maclise were also members of the Velvet Underground (Maclise left before the group began recording).

The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to the Velvet Underground in his use of both discordance and feedback. Recent releases of works by Cale and Conrad from the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young) testify to the influence this important mid-sixties experimental work had on Reed ten years later.

In an interview with rock journalist Lester Bangs, Reed claimed that he had intentionally placed sonic allusions to classical works such as Beethoven's Eroica and Pastoral Symphonies in the distortion, and that he had attempted to have the album released on RCA's Red Seal classical label; it is not clear if he was being serious, although he repeated the latter claim in a 2007 interview.^[6]

Critical reception

Professional ratings
Review scores
Source	Rating
AllMusic	[7]
Chicago Tribune	[8]
Christgau's Record Guide	C+[9]
Classic Rock	[10]
MusicHound Rock	woof![11]
The Rolling Stone Album Guide	[12]

On release, it was reviewed in Rolling Stone magazine as sounding like "the tubular groaning of a galactic refrigerator" and as displeasing to experience as "a night in a bus terminal".^[13] In the 1979 Rolling Stone Record Guide, critic Billy Altman said it was "a two-disc set consisting of nothing more than ear-wrecking electronic sludge, guaranteed to clear any room of humans in record time". (This aspect of the album is mentioned in the Bruce Sterling short story "Dori Bangs".) The first issue of the seminal New York zine Punk placed Reed and the album on its inaugural 1976 issue, presaging the advent of both punk and the discordance of the New York No Wave scene. To quote critic Victor Bockris, Reed's recording can be understood as "the ultimate conceptual punk album and the progenitor of New York punk rock". The album was ranked number two in the 1991 book The Worst Rock 'n' Roll Records of All Time by Jimmy Guterman and Owen O'Donnell.^[14] The book expresses sympathy for legendary record cutting engineer Bob Ludwig for having to listen to the album in its entirety. (In fact, according to the liner notes of the 2000 reissue of the album, Ludwig was "totally into what Lou was doing" and compared the work to that of avant-garde classical composers Iannis Xenakis and Karlheinz Stockhausen.)

Robert Christgau referred to Metal Machine Music as Reed's "answer to Environments" and said it had "certainly raised consciousness in both the journalistic and business communities" and was not "totally unlistenable", though he admitted for white noise he would rather listen to "Sister Ray".^[9] Writing in MusicHound Rock (1999), Greg Kot gave the album a "woof!" rating (signifying "dog-food"), and opined: "The spin cycle of a washing machine has more melodic variation than the electronic drone that was Metal Machine Music."^[11] In 2005, Q magazine included the album in a list of "Ten Terrible Records by Great Artists", and it ranked number four in Q's fifty worst albums of all-time list. It was again featured in Q in December 2010, on the magazine's "Top Ten Career Suicides" list, where it came eighth overall. The Trouser Press Record Guide referred to it as "four sides of unlistenable oscillator noise", parenthetically calling that assessment "a description, not a value judgment".^[15]

Probably the most sympathetic appraisal of Metal Machine Music was given by rock critic Lester Bangs, who wrote that "as classical music it adds nothing to a genre that may well be depleted. As rock 'n' roll it's interesting garage electronic rock 'n' roll. As a statement it's great, as a giant FUCK YOU it shows integrity—a sick, twisted, dunced-out, malevolent, perverted, psychopathic integrity, but integrity nevertheless." Bangs later wrote a tongue-in-cheek article on Metal Machine Music titled "The Greatest Album Ever Made", in which he judged it "the greatest record ever made in the history of the human eardrum".

Despite the intensive criticism (or perhaps because of the exposure it generated), Metal Machine Music reportedly sold 100,000 copies in the US, according to the liner notes of the Buddah Records CD issue. The original edition was withdrawn within three weeks of its release.^[16]

Performance

Lou Reed didn't perform Metal Machine Music on stage until March 2002, when he collaborated with an avant-garde classical ensemble at the MaerzMusik festival in Berlin, Germany. The 10-member group Zeitkratzer performed the original album with Reed in a new arrangement featuring classical string, wind, piano, and accordion.^[17] A few years later, he formed a band named Metal Machine Trio as a noise rock/experimental side project.

Track listing

On the original vinyl release, timings for sides 1–3 were stated as "16:01", while the 4th side read "16:01 or ∞", as the last groove on the LP was a continuous loop. On CD, this locked groove was imitated for the final 2:22 of the track, fading out at the end.

References

• Bangs, Lester (1987). "How to Succeed in Torture Without Really Trying". In Greil Marcus. Psychotic Reactions and Carburetor Dung. New York: Alfred A. Knopf. ISBN 0-394-53896-X. 
• Fricke, David (2000). Liner notes. Metal Machine Music by Lou Reed, 1975. Buddah Records 74465 99752 2 (reissue).
• Guterman, Jimmy and Owen O'Donnell (1991). The Worst Rock 'n' Roll Records of All Time. New York: Citadel Press. 
• Eno, Brian (1996). A Year with Swollen Appendices. London: Faber and Faber. ISBN 0-571-17995-9. ISBN. 

Citations

Further reading

• Morley, Paul. "Metal Machine Music". Words and Music: A History of Pop in the Shape of a City. London: Bloomsbury, 2003. ISBN 0-7475-5778-0

External links

Wikiquote has quotations related to: Lou Reed

• A humorous essay on the 25th anniversary of Metal Machine Music
• Section on Metal Machine Music from Sangild article about (minimal) noise
• Lester Bangs' review of the album for Creem