Monthly Archives: October, 2013

The day I spoke to Lou Reed

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Lou Reed is something of a hero of mine. Just the same as many, I’ve loved his music with the Velvet Underground and his solo stuff for years and years…
I had the good fortune to interview him one afternoon back in 2008. In my capacity as an occasional music journalist, I was to interview him about his recent work and plans. I was at the ATP festival in Camber Sands and somehow fought back the beer, noise and general telephonic mayhem to attempt a semi-lucid conversation… I sort of got there. I’m glad I got to talk to him.

Read the interview over at Clash  and below.

Hi Lou, how’s it going?

Good, and you?

Yeah, I’m not bad at all – so you’re just back from touring? Whereabouts have you been playing?

Memphis, Nashville, West Virginia, North Carolina.

Touring ‘Berlin’?

No, a completely different show.

Are you looking forward to coming back to Europe with ‘Berlin’?

No, I just hate the idea of it.

Really, why’s that?

I’m…joking.

I detected a certain sarcasm.

Did you?

Why are there no dates in Berlin?

I think we played Berlin already.

I mean this summer.

I don’t know. Do you want to talk to my agent about booking?

No, I’d rather talk to you about the album and the tour.

Why, thank you.

It’s one of my favourite albums actually.

Is it older than you are?

It’s four years older than me.

When did it come out?

It came out in 1973. So three or four years older than me.

How old are you?

I’m 31.

And it’s older than you are?

Came out in ’73 right?

God…

It’s the 35th anniversary of the album this year isn’t it?

I guess so. I don’t actually keep track of things like that. Someone has to.

I guess some people do… How important is it for you to be able to tour the album when you didn’t tour it in the ’70s?

Well, one has nothing to do with the other. But this is a lot of fun. Horns and strings…

And you have original members from the album such as Bob Ezrin and Steve Hunter?

Yes, we have the original arrangements and Hunter on guitar. Hunter is pretty astonishing…

I’ve seen the film that Julian Schnabel made of your 2006 shows of ‘Berlin’…

You saw what?

I saw the film. I saw it a few weeks ago.

You saw it where?

At a press screening.

Hmm. You know every place that we’ve shown it I was there to check the sound out before the film came on because most theatres they have it too low…I hope that wasn’t the situation.

No, it sounded fantastic. And I’ve not seen the show live so the film looked amazing and I really liked the set design, the way it looked and also the dramatised sections. It looked really good.

Well, thank you.

Were there any plans to make those dramatised sections longer?

Are you on a cell phone?

Yeah, I am, yeah.

Cos you’re cutting in and out.

Not sounding too good?

It’s just sometimes hard to hear you. What was the question again?

I was asking about the dramatised sections of the film.

Lola Schnabel’s films?

That’s right, yes. Were there any plans to extend those and make a longer film?

No, it was just to be part of the texture of the whole thing.

What did it mean to you to tour the album after so many years?

I just told you. I’ve got Hunter, I’ve got strings, got horns…a choir. It’s really cool. Really fun.

And it seems like the attention paid to the album has turned around a lot since the ’70s because back then it took a bit of a hammering from the critics…

Let me make one thing really clear to you: I don’t write for critics. I have no interest in what they say. Nothing has anything to do with them at all. Period. Over. I don’t write for them, I’m not interested in what they say. I’m not interested if they like it, I’m not interested if they don’t like it. I like it. So you don’t have to ask me about what I think about the reaction and the blah blah… let’s just talk about ‘Berlin’, not the opinion of critics.

Okay. Where did the idea for ‘Berlin’ first formulate?

My friend Susan Feldman runs St Ann’s Warehouse [New York’s cutting edge performance space] and thought we should stage ‘Berlin’ or just play it with the band. And she asked every year.

For how long?

Do you really want an answer to that question?

Yeah, I do.

I don’t remember. But she asked again and I wasn’t doing anything and I thought you know maybe this would be fun to go and do that. And then it went from there.

Is it more important than some of your other albums to stage it in that way?

What do you mean?

With the orchestra and lots of different people involved…

I still don’t know what you mean. I told Julian that I was thinking of performing ‘Berlin’ and he said, “I should make sets”, and he was making a movie at the time in France and he said, “but I should direct it.”

Did you know Julian for a long time before? He’s a good friend of yours?

He lives across the street… I was in a store today where they have Damien Hirst Warhol jeans. That’s unbelievable.

Damien Hirst Warhol jeans?

Yeah.

I didn’t know Damien Hirst made jeans. Must be branching out.

It says Damien Hirst. Maybe there should be some Andy Warhol/Lou Reed jeans, Jesus!

Why not?

They’re not 501’s but these were… these were…

Did they have a print on them or something?

They had something on them. They were great!

Yeah?

What a great idea. Right now I’m looking at some remarkable pictures by Nan Goldin. For a show she’s going to have at the Tate. Getting off ‘Berlin’ for a minute…But let’s go back to ‘Berlin’.

Yeah, let’s go back to ‘Berlin’. Creatively speaking how much of a link is there between ‘Berlin’ and your other work, or does it stand alone?

No, it’s part of the whole thing. If you think of everything as a bunch of vignettes, it slides right in.

I’ve been listening to your music for years and ‘Berlin’ for me stands apart in a certain sense. Perhaps because the songs are more personal? I’m not sure… To me it seems more personal, less of a commercial record.

You’re not saying my other albums are commercial are you?

No, not at all.

How could you even dream or think something of someone who is as uncommercial as I am?

Well, there’s nothing wrong with commercial, anyway.

Well, there you go. Are you commercial?

Er, no I’ve got about 10p. The only reason I’m doing this is because I love your work so much. I’m actually at a festival.

You’re who?

I’m at a festival that is named after one of your songs.

Where?

In England. In Sussex.

Which festival?

All Tomorrow’s Parties.

I thought that… I played at All Tomorrow’s Parties but it was in California.

They move it around.

It was a great festival. Are we talking about the same festival?

Yeah, I think so. It moves around. You know Pitchfork – the website? They are curating it.

Well, sure… So you’re at the festival? Have you got the ‘Berlin’ CD?

I’ve got the record.

Wait till the DVD is out. It was pretty terrible when they first made CDs…it sounded horrible. But they’ve got a lot better.

I prefer records.

Do you have a record player?

Yeah, I do.

What kind?

It’s pretty old. It’s a Gerrard stack. ’70s. Pretty cool.

Do you have a vinyl ‘Berlin’? After all these years?

Well I didn’t buy it at the time. Cos I wasn’t born but…

(Laughs) Well that’s good. Do you know who Nan Goldin is?

No, I don’t.

She’s a great artist and photographer and she’s gonna have this great show at the Tate.

In New York?

No, no in London. She’s great.

Because you’re quite involved with photography now aren’t you?

I’m going to have another book out soon.

Are you concentrating more on photography at the moment than music?

No. It’s just whichever way whatever. It’s kind of hard going from one to the other; memorising different systems.

What about any new projects musically speaking? Any plans for new albums, new records?

Well I’m making some new music for a Tai Chi DVD and I’m writing a couple new songs. When we were touring I was writing new songs… but I don’t have enough for a CD. It’s a very slow process.

Tai Chi?

Who’s your favourite new group?

Hot Chip. They’re pretty good. Have you heard of them?

No.

I just saw a band called Sebadoh. Do you know them?

Spell it.

(Spells Sebadoh)

You’re really dropping out.

Better now?

Yes.

I’m in a chalet kind of thing.

Okay, we have about five minutes left… You’re a nice guy.

Oh, cheers. This isn’t the easiest interview ever.

I got lucky. Getting you.

Well thanks; it’s not the easiest of circumstances I must admit because I’m at a festival with my phone.

I appreciate the effort. Last question. Do you still like Portishead?

Yes the album’s really good. After about eight years of waiting.

It is really good.

You like it?

I do like it. I like it a lot.

What other bands are you listening to at the moment?

I like Dr Dog. They’re in Philadelphia, they’re really good. Bon Iver. There’s so many out there. All these crazy Japanese groups, I mean my God! Melt Banana, Boris.

Melt Banana are amazing.

I wonder how long they can do that.

It looks quite tiring.

Yeah, my God! I wonder if Melt Banana came from the Velvet Underground’s Banana?

It could well have done. You’re probably sick of talking about the Velvet Underground but how much of their influence is still out there?

How would I know?

Well you were in them.

Well yeah but I don’t measure. I have no idea. It would be better to ask people in bands.

There was that famous quote about…

Oh I know.

Yeah that thing that always gets reeled out about everyone who bought the albums…

That was Eno I think…

[Brian Eno once said: “Only a thousand people bought the first Velvet Underground album, but all of them went out to form a band”] I know a lot of bands still listen to the Velvets, but I think ‘Berlin’ means as much…well to me anyway.

Well it meant a lot to me too. More than you’ll ever know! You have no idea.

What was the pressure on ‘Berlin’ after making an album like ‘Transformer’? Why were people so shocked by it?

I think… although you find things like that in novels and plays for hundreds of years, that kind of plot… for some reason that I don’t understand to this day having it out on vinyl was considered, I dunno… very left field or something. And it was considered violent and depressing and this that and the other… so, I don’t understand it to this day. You know, it’s about jealousy.

About human interaction?

Well, yeah. But I mean in ‘Othello’ he kills Desdemona. What do you think about that? In ‘Berlin’ the lead guy is not a king or a general. (Laughs) He’s just a bloke like me.

RIP Lou x

A version of this article first appeared in Clash Magazine back in 2008.

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Monday Mix

ImageJust a quick update on the old health situation…

I’m feeling very tired and somewhat frail today. Part of that is probably the old psychological effects of ‘Monday Sickness’, a day of the week which I still have an inbuilt nervousness of, despite the fact I work from home and more or less work when I want deadlines permitting that is…
Cheering me from my dazed-slumber was the news I received from the Charité this morning. Next week after my last pre-trial MRI scan I can begin the course of trial-treatment. All going well this should lesson any undue worries I might have about the condition and how likely any relapses may be.

In general though, I am feeling extremely healthy and positive. Just a case of the Monday aversion today. In one sense, it is all very interesting, both psychologically and philosophically. When our mood goes so far in effecting how we see the world – how much is objective (hint – not a lot) and how much is subjective (hint – most of it)?

The Kick – Out on DVD

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My review of Thai/Korean Taekwondo action production is over at Flickering Myth and appears below…
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This neat fusion of slapstick comedy and intricate martial arts from Ong-bak and Chocolate creator Pinkaew is reminiscent of the kind of Hong Kong movies that Jackie Chan used to make back in the 1980s. Concentrating on turbo charged scenes of feet, fists and swords; the joint Korean-Thai production finds its mark with explosive force and accomplished dexterity.

Following a Korean family team of Thai-based Taekwondo fighters as they prevent the robbery of the ancient knife the ‘kris of kings’, the film pits them against a blood-thirsty gang of criminals as they try to claim the artefact. The younger members of the family are sent out to their uncle, the confusingly named country living Mum (Petchtai Wongkamlao) where they train themselves up for the inevitable showdown.

As far as main plot elements go that’s about it. But in a movie as enjoyable as this it certainly does not feel to be wanting of anything more. An essential element of all martial arts movies is of course the choreography, and this production features a superb display of exactly how to do it. Each member of the family – and their adversaries – has plenty of room to shine, and do so in action scenes of a memorable vivacity.

The sub plot of family son Tae Yang’s (Tae-joo Na) dreams of becoming a K-Pop star adds a slightly different edge to the production, with one scene in particular incorporating the two disciplines of Taekwando and performance dance beautifully. This scene in particular marks him out as the true star of the picture and the movie itself as a razor sharp cut above a standard martial arts offering.

An added bonus for entertainment fans of a slightly different order is offered by a light sprinkling of computer game visuals. These console inspired elements truly capture the fun and pure entertainment of this style of movie.

For tornado kicks and fighting dance styles, this is a great addition to the kung fu/martial arts genre.

Gravity – Spacey 3D Master-class – Out Now

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My review of the fantastic Gravity is over at ExBerliner and reprinted below…

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Outer space, cinema and feelings of awed humility have always experienced an intrinsic link. From Méliès’s 1902 A Trip to the Moon through Kubrick’s 2001 and Tarkovsky’s Solaris right up to Duncan Jones’ recent Moon, this connection has never been broken. The greatest picture show in the universe lies above us; post-global pollution – we just have to go to the cinema to catch it.

Following medical engineer Dr. Ryan Stone (Bullock) and astronaut Matt Kowalski (Clooney) during a space shuttle exercise that goes drastically wrong, the film benefits from two Hollywood stars at the top of their game and a technical production that is truly breath-taking.

With Gravity, Cuarón takes the possibilities of cinema portrayal of space exploration to new heights. Essentially, cinema space has never been as deep or as evocative as this. It attempts to describe the indescribable, the feelings that a human has when they find themselves drifting off into an endless abyss of nothing, with nothing to motivate them except an animalistic sense of survival. It is the realisation one feels that for all our achievements and bright ideas we are but microbes in the wider scheme of things.

This might make Gravity sound depressing. It isn’t. Light years away from that. It is life-affirming in the best possible sense, bringing into sparkling 3D the fact that what we do does matter. The connections we make and the memories we hold keep us alive. Highly recommended.

Insidious: Chapter 2 – released in Germany Oct 17.

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This mini review of the disappointing Insidious: Chapter 2 appears in the October edition of ExBerliner.
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The second entry of the psychedelic horror show Insidious sadly loses something in the telling. Whereas the first had a genuine mystery around it, this comes across like someone trying to explain a joke. Not funny.

Patrick Wilson is particularly entertaining with a Jack-in-the-Shining act and other key players keep their vision, but the details occasionally seem painfully drawn out.

And as we all know, the Devil is in the detail.