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''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. 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. ==Style== According to Reed (despite the original liner notes), the album entirely consists of guitar feedback played at different speeds. The two guitars were tuned in unusual ways and played with different reverb levels. He would then place the guitars in front of their amplifiers, and the feedback from the very large amps would vibrate the strings—the guitars were, effectively, playing themselves. He recorded the work on a four-track tape recorder in his New York apartment, mixing the four tracks for stereo. In its original form, each track occupied one side of an LP record and was listed with a runtime of 16 minutes and 1 second, although the actual runtimes vary. The runtime for the fourth side was listed on the label as the symbol for infinity, because it ended in a locked groove, causing the last 1.8 seconds of sound to repeat endlessly until the listener picked the needle up from the record. The rare 8-track tape version has no silence in between programs, so that it plays continuously without gaps on most players. A quadraphonic disk was also released by RCA. A major influence on Reed's recording was the mid-1960s drone music work of La Monte Young's Theatre of Eternal Music, whose members included John Cale, Tony Conrad, Angus Maclise and Marian Zazeela.〔The album listed (misspelling included) "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music" among its "Specifications": (text copy ), (image copy (reissue) ).〕 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. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Metal Machine Music」の詳細全文を読む スポンサード リンク
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