In 1975, Lou Reed released Metal Machine Music (available on 
), a 64-minute album consisting of guitar feedback and distortion. Two guitars were tuned at different levels and played in front of a speaker at different speeds. To call it polarizing is an understatement. Many hailed it as the first great art-rock experiment; others derided it as simply a bunch of noise, with some even going as far as to suggest it was a “screw-you” to the record label.
| In 2000, musician Ulrich Krietzer of the avante-garde German group Zeitkratzer transcribed the music into a more orchestral form that could be played using other instruments. The group – with Reed putting in an appearance on guitar – performed the piece live in Berlin in 2002. This was merely the beginning of a deeper exporation of this sound. In October, Reed, Krietzer and electronic musician Sarth Calhoun came together as the Metal Machine Trio and performed a series of shows in Los Angeles, continuing to examine and expound on the foundation that had been laid with both the 1975 album and the 2002 Berlin performance. |
LISTEN WHILE YOU READ! MM3 | Night 2 Sample Do not re-host this MP3. |
Tonight and tomorrow, they’ll be in New York at the Gramercy Theatre (and tickets are half-price with a valid student ID when purchased at Blender or Irving Plaza).
We jumped at the opportunity to ask a few questions of the trio about the album, the shows and the music.
NICKY DIGITAL: Why re-visit the sound of Metal Machine Music now? What prompted this weekend’s set of shows?
LOU REED: We are not revisiting [MMM] we are continuing the vision and experiment and love of harmonics for rock, expressed through the genius of electric guitar, as expressed through the technological advancements made by our many forbearers and professors scattered through the world.
ULRICH KRIETZER: It is the ultimate combination of instruments and cutting edge electronics to create something new.
LOU REED: New sounds for new people.
ND: Metal Machine Music was recorded in 1975 but wasn’t really played live until 2002, when Zeitkratzer approached you with a transcription. What was it about their transcription that resonated with you? Had any other artist approached you with their interpretation of the record before?
LOU REED: Ulrich actually is the one that did the transcription, I was struck by the incredibly detailed, specific work, and accuracy of the transcription the most interesting thing is how Ulrich did it.
URLICH KRIETZER: What I was interested in transcribing Metal Machine [Music] was that I heard a very orchestral approach of guitar music and rock music in Lou’s original, this just has to be done for classic instruments to get that out and that ties into the first question as this [MM3] is the continuation of that [MMM], as it is an orchestral approach to sound. Original Metal Machine combines 20th century art music with rock music energy and the free exploration of free jazz.
ND: How does your new material with the Metal Machine Trio contrast and compare with the Metal Machine Music album?
SARTH CALHOUN: One of the big differences is that Metal Machine Music was performed by Lou by himself whereas this [MM3] was performed as collaborative improvisation and this is informed by everything that has happened since the Metal Machine album. The technology that is available is much more diverse than what was available at the time and it sounds different as a consequence of that.
ND: Will you be releasing the Gramercy Theatre concerts as downloads on your website like you did with the L.A. Redcat shows?
LOU REED: Demand will determine everything but we are recording it. If you want it stay in touch.