One would be hard-pressed to name a major artist who ever released an album as thoroughly alienating as Lou Reed's Metal Machine Music; at a time when noise rock and punk had yet to make their presence known, Reed released this 64-minute aural assault that offered up a densely layered soundscape constructed from feedback, distortion, and atonal guitar runs sped up or slowed down until they were all but unrecognizable. Metal Machine Music seems a bit less startling today, now that bands like Sonic Youth and the Boredoms have created some sort of context for it, but it hasn't gotten any more user friendly with time -- while Thurston Moore may go nuts on his guitar like this for three or four minutes at a stretch, Metal Machine Music goes on and on and on for over an hour, pausing only for side breaks with no rhythms, melodies, or formal structures to buffer the onslaught. If you're brave enough to listen to the whole thing, it's hard not to marvel at the scope of Reed's obsession; it's obvious he spent a lot of time on these layered sheets of noise, and enthusiasts of the violent guitar freakout may find it pleasing in short bursts. But confronting Metal Machine Music from front to back in one sitting is an experience that's both brutal and numbing. It's hard to say what Lou Reed had in mind when he made Metal Machine Music, and Reed has done little to clarify the issue over the years, though he summed it up quite pointedly in an interview in which he said, 'Well, anyone who gets to side four is dumber than I am.'
![Can Can](/uploads/1/2/5/7/125773875/608146429.jpg)
Sep 13, 2011 Believe Music (on behalf of Sonodisc); SODRAC, Abramus Digital, ARESA, BMG Rights Management, LatinAutor, and 8 Music Rights Societies Show more Show less Loading.
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With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. 'Paperhouse' starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both 'Mushroom' and 'Oh Yeah,' the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. 'Halleluwah' -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of 'Aumgn' is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. 'Peking O' continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. 'Bring Me Coffee or Tea' wraps things up as a fine, fun little coda to a landmark record.
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3 | 07:22 | |||
4 | 18:32 | |||
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7 | 06:46 |