I'm not a big Lou Reed Expert 'I know only four of his solo albums, all of which are likely to include its more accessible albums (Lou Reed, Transformer, Berlin and Magic and Loss, the accessibility of the latter two is quite denied). Lou Reed is one yes to the group of known 'love him or hate him' singers and performers, as well as eg Bob Dylan, Captain Beefheart, Tom Waits and William Shatner (hehe, just kidding). Some claim that these were so with the greatest artists in the great field of 'popular music' at all, others think that these guys can not sing at all. I belong more to the first group, but I am not a fundamentalist. But one thing is clear: if you're already in accessible and known Lou Reed songs like 'Vicious', 'Satellite of Love' or 'Walk on the Wild Side' think the guy was a terrible singer, then it is highly unlikely, that at Lulu has its joy (the reverse is not allowed here).
What kind of album 'Lulu'? That is hard to say. The texts are taken from 100% of the spring Reeds and are inspired by Frank Wedekind's 'Lulu' plays 'Earth Spirit' (1895) and 'Pandora's Box' (1904), I (still) do not know. It is not the first time that these works was taken up by other artists' there are several films, comics and even an opera by Alban Berg. Even that, I know, unfortunately, nothing. So how original factory Reeds lyrics are 'I have no idea! What I can say though, is that the lyrics are quite extreme. They are all from the 'first person perspective' telling and acting without embellishment of violence, perversion, hatred and self-loathing, self-abuse and abuse (ok, I've stolen somewhere) and sex in its ugliest form. Only times as an example: the plate begins with the line 'I would cut my legs and tits off When I think of Boris Karloff and Kinski in the dark of the moon'. Further Examples? Happy: 'Blood in the foyer, the bathroom, the tea room, the kitchen and knives splayed. I swallow your sharpest cutter like a colored man's dick. Blood spurting from me, blood spurting from me '. Or: 'I want so much to hurt you, I want so much to hurt you, I want so much to hurt you! Marry me, I want you as my wife! ' Very ugly texts, but that is by design. The texts are shocking (and create). One does not have them identify (thank God and can find them fascinating, despite the rising aversion and the possibly incipient disgust, and that's what I do. However, I admit that I am not sure if there is a genuine framework for action ( I have not really found) or if the album merely a series of songs that are inspired by the plays. I am also not so important, because much more important to me is the question of whether I musically interesting album find.
And to make it short: Yes, I do! Although the first impression also from the musical point of view was rather frightening, because it is not easy to digest and certainly not easily accessible. Lou Reed sings little; mostly he recites the texts in terms of Spoken Word Performance; He does, however, with devotion. If he sings times (as has been said often), then at times also in a different measure, pace, and even a different key than the accompanying music. One could argue, Lou simply could not sing and not then make a sound even if his life depended on it, but I think in order to make it too easy. I am rather convinced that the extremely slanted song is full intention and the objective pursued, nor particularly to emphasize and highlight the disease of the texts. And this goal is achieved.
And Metallica? Well, it's important to understand that this is not a real Metallica album. Metallica can be usually a lot of time with the Kompostion their often quite complex songs and publish them only when they are absolutely mature. This album is much more spontaneous, much jam-heavy and the songs were probably recorded in just a few takes. Mostly the music is based on a reef of Hetfield, who are usually quite simple but very effective. The sound is heavy, produces sparse and dirty, but in contrast to the sound on the St. Anger he looks absolutely authentic and not fake. In all, he has a 'garagig', but that fits very well for vocals and lyrics. The bass is barely visible between the guitars, and even Hammett is more challenged because there are hardly any real guitar solos' his job are more likely some feedback like guitar effects during the quieter songs, because there are quite a few, and they are usually even less accessible than the harder pieces. Hetfield has not much to sing 'mostly backing vocals, but certainly among the highlights of the disc. During the opener, he has only once every few lines 'Small Town Girl' screaming in the background, but it remains in the memory and improves the piece felt. In total, there are 10 pieces, 4-20 minutes. The album is quite diverse, not a piece sounds completely like another, and yet they go well together. The 20 minute bouncer 'Junior Dad' is very calm and is reminiscent with its more classical instrumentation (cello etc.) sometimes almost to Sigur Ros.
As I said at the beginning it may be both musically and lyrically shocked. From the musical point of view, but I have got used very quickly to the particular style of the album and I like it better with each listen. Where 'like' does not mean that I identify with the lyrics or the music feel as beautiful or harmonious. No, this album will disturb, and that creates it. Yet the fascination grows with each listen. At first listen I thought, you can listen to the album by no means at a time 'now I can hardly tear myself away from it.
Lars Ulrich said a few months ago in an interview that the Metallica fans not necessarily like everything that makes the band, but also respect that she looks once the bigger (in my opinion a bold statement, considering that have caused negative reactions from the usual variations (Black Album, Load / Reload / S & M) in parts of the constituency). We'll see if he's right with this assessment. You have to like this album, but you should respect it definitely.
I like it too, or better: it fascinates me.
8/10
