Lulu

Another experiment from Metallica

When Metallica’s guitarist Kirk Hammett said early in 2011 that his band was working on something that could not be called a one hundred per cent metal this was a surprise to very few. Somewhere from the early nineties, the most influential extreme music ensemble has been conducting experiments on the audience observing the reaction to most various deviations from the flawless style it once invented. And if we still enjoy the highlights of Master Of Puppets and still believe that St. Anger is a border that should not and could not be crossed, you will have to think twice. The most urgent issue today is a new ordeal for everyone who cherishes the memories of the good old Metallica. In fact, this is not another studio album to the discography of the heavy metal legends, but a joint work with a performer as established, albeit of a different genre. We are talking about a CD called Lulu that Metallica recorded with Lou Reed, a rock music veteran and a member of the standout act The Velvet Underground.

Music that can’t live without words

The musicians discussed their collaboration for quite a while until they got down to business in 2011. The Lulu basis is a set of music penned by 69-years old Reed for the eponymous play. Metallica’s credit here is the execution of practically all instrumental parts here and back vocals done by frontman James Hatfield. The project’s main character, ideological leader and lead singer is Reed himself. As a matter of fact, it is not singing he does. Lou’s contribution is a kind of monologue divided into several pieces. Of course, it is flavored with a good deal of drama and thrill for the vocalist has a particular voice and charisma. He is supported by a very peculiar instrumental background. You could not expect from masters heavy metal virtuosities that level of monotonous and arrhythmic noise. The guitars sound as heavy as they are supposed to in thrash metal, but their owners do everything possible so that their trite tunes and endlessly repeated themes would not distract you from Reed’s voice. The ninety-minute length of Lulu is explained by the story-based character of the album, and the narration is really extended as it lays out all kinds of details. Actually, listening to Lulu without texts at hand might be totally meaningless.

Dare listen that

Out of the depth of what is already said emerges the threatening and uncomforting conclusion: Lulu is an incomprehensible something and you should stay away from it. Yet you should always take your time making conclusions. Although the whole set has only thee tracks somehow reminding of normal songs, and these are acoustic Brandenburg Gate, and Little Dog, as well as lively Iced Honey, and the rest sounds like an accidentally made record of the musicians practicing during a rehearsal, Lulu is a extremely unique piece. All of those who are fond of studying nonstandard formats, analyzing fancy forms and deciphering cryptic messages might want to test Lulu on themselves. If you survive even the nineteen-minute Junior Dad, you get the prize. You either have a super powerful nerve system or you possess a very sophisticated taste and sense for the beauty that is not perceived by others. What you certainly should not do is take Lulu as one more studio album by Lou Reed or Metallica. Do not compare it with other works by these performers. Lulu should be placed separately and, should your exquisite nature demand so, play it from time to time.