Metallica walks on weird side with Reed
Lou Reed and Metallica, 'Lulu' I'm still not sure if this is the worst piece of junk to be produced in album form in the last 20 years, or genius at a level so brilliant it's beyond my mere mortal capacity to appreciate it.
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“Maker of poetry, art & music”
Since: Dec 08
#1 Nov 21, 2011
From a French website:
Lou Reed - Lulu (with Metallica)(2011)
Lulu was the subject of many adaptations, most notably the opera by Alban Berg and the classic silent film by GW Pabst. It is now Lou Reed and Metallica who are responsible for reviving music sordid work of German playwright Frank Wedekind. The tragic story of Lulu murdered by Jack the Ripper, his ascension to his descent into hell, much as it frightens fascinating. This subject occupied by sulfur and death fantasies disorders seems tailor-made for Lou Reed, an architect from Berlin, a masterpiece of a great darkness. He first started his adventure with Lulu through music Wedekind's play, in collaboration with the director Robert Wilson and the cast of the Berliner Ensemble. Then he wanted to deepen the experience of a conceptual double album along with Metallica.But if Lulu agrees well with the morbid world of Lou Reed, this work less adhesive than the thrash.
Wedekind's tragedy was called the "tragedy-monster." Similarly, Lou Reed Lulu version is a "monster album". Its duration is cause for concern: 87 minutes for ten songs, the duo has seen large, too, especially when the music is revealed as little exciting. The two discs, the first is probably the least interesting. However, the introduction of sound "Brandenburg Gate" announced the best ... until Metallica turns up with his big shoes. It quickly becomes obvious that Lou Reed dragging a ball at his feet in size. The primary group rhythmic beating down the first part of the work, which is similar to an ascent of Everest: the oxygen is becoming increasingly scarce, the vegetation disappears in favor of a steep rock, you climb blind in a foggy landscape and hostile. Moreover, it should close its usually very bad style ambivalent Lou Reed.The latter, a follower of spoken / sung voice is obliged to force, not to be totally engulfed by his cronies, not to mention James Hetfield of interventions that increase considerably the point.
The first part of "Cheat On Me", a small bright spot in this arid landscape, distills an interesting atmosphere, a bit like the experimental "Little Dog" to the unhealthy atmosphere although a bit messy. Planing into a vein, more subtle than the terribly basic "The View" the insipid "Pumping Blood" or inaudible "Mrs. Dead," the last song, "Dad Junior" despite its nineteen minutes, s proves to be managed through a controlled experimental side, a group that avoids playing like deaf and soothing orchestrations. Among the most parts of the mill, we must recognize a certain quality to "Dragon" with its haunting intro riff and catchy, and even to "Frustration", which cleverly combines music and disturbing passages down-to-earth.
So if your not Lulu n'égaillera winter evenings by the fire, this album is a curiosity, far from being devoid of interest, however, listen to free pleasure. The first disc, boring because too tight, not up to the second part of the album, more nuanced and enjoyable, which is significantly quality of the work. We still had more transcendent from Lou Reed.
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