The new spin magazine has an interview with Lou Reed.
You can read part of the interview on the site of Spin magazine
The picture below is from the interview:







Artificial Eye is pleased to announce Lou Reed's critically acclaimed concert film "Lou Reed's Berlin", directed by Julian Schnabel (The Diving Bell and the Butterfly) will be officially released on Monday 27th October on the new Blu-ray format, in addition to the conventional DVD release.
We have just received Blu-Ray check discs for this release that feature the following extras: Lou Reed Biography, Julian Schnabel Biography, and Berlin Trailer.
The Blu ray has the same extra's as the DVD, so no interview with Lou Reed as it said in the press release before.
Transsexual star Holly Woodlawn was making a special guest appearance at the Contemporary Urban Centre in Greenland Street tonight.
The evening will coincide with the exhibition of intimate and revealing paintings of Holly by award-winning artist Sadie Lee.
The 61-year-old, who was the inspiration for American rock singer Reed's classic lyrics, starred in many of Andy Warhol's movies.
Holly, who rocketed to stardom in the film Trash, said: "If it was not for that song and Trash, I would not be here in front of all these wonderful works of art."
An Evening With Holly Woodlawn takes place at 7.30pm tonight. Tickets costing pounds 10 are available from the Unity Theatre on 0151-709 4988.
(c) 2008 Liverpool Echo. Provided by ProQuest LLC. All rights ReservedThe REDCAT stage looked like a rehearsal room Friday night when Lou Reed, Ulrich Krieger and Sarth Calhoun took the stage. Effects boxes, pedals and other sound manipulation tools were strewn here and there in cluttered arrangements. In the center, a row of guitars sat next to a vintage amp. The set-up was practical, not symbolic, but it also carried a message: Tonight's performance by the trio, going by the name "Unclassified," would be informal and almost private, an act of creation first and a show second.
Not all improvisers adopt this casual aura. Some are highly theatrical, other quietly mystical. Still others are aggressive punks. But for Reed, one of the most venerated leather-jacket-clad pioneers of the rock era, this evening offered something particular -- the chance to put aside his image along with his songbook, and turn inward. He had his collaborators and the intimate room downstairs in Disney Hall to thank for that.
Reed has been in an arty mood lately. His latest release is the DVD of "Berlin Live at St. Ann's Warehouse," the Julian Schnabel-directed concert film of his super-heavy 1973 song cycle of that name. He recently performed with fellow New York boho potentate John Zorn, and earlier this year he wed his longtime partner, performance art doyenne Laurie Anderson. Tonight's concert is part of this move away from having to recap "Sweet Jane" for drunken nightclub nostalgics, and toward a serious legacy.
For that, Krieger is an excellent match. The saxophonist, composer and CalArts professor did what Reed had deemed impossible when he transcribed and arranged the Velvet Underground co-founder's epic 1975 feedback experiment, "Metal Machine Music," for chamber orchestra in 2002. The two men met at the premiere; Friday's performance and the two that preceded it Thursday were their first public gigs together.
Like Reed, Krieger is both strong-willed and eclectic. His projects have included the John Cage-focused quartet A Cage of Saxophones; Text of Light, a group that improvises soundtracks to avant-garde films, and Sus Futuros, a death metal-inspired duo. The German-born Krieger ranges wide as he seeks the spots where noise and beauty meet, and that makes him an apt helpmeet as Reed cultivates his avant-garde side. (Calhoun is another fellow traveller, a knob-twisting daredevil who describes himself as an "electronic alchemist," and who's currently in Reed's band.)
At REDCAT, the trio played two improvisations in an approximately hourlong set, easing into a distinctive approach. At first the music's chromatic and dynamic shifts seemed emblematic of minimalism, recalling both Terry Riley and Robert Fripp. Reed bent notes up high on his guitar fretboard while Krieger found some interesting multiphonic tones deep in his saxophone.
The mood grew grittier after Reed had his roadie fuss with his amp for a while and changed guitars. Calhoun, using a laptop, a keyboard and a sort of electronic slide instrument called a Haken Continuum Fretboard, added gut-shaking low notes, distortion and drone to the mix. Krieger responded aggressively, and Reed seemed to draw in the energy, modulating his own contributions more carefully.
The music touched on free jazz, especially when Krieger let forth some quick runs or hit those intense, dented notes aficionados refer to as "skronk." He was a fiery presence onstage, often bending over an amp to produce feedback or furiously stomping on his pedals. The approach mirrored Calhoun's mad scientist act, while Reed, older and wiser perhaps, eschewed such flamboyant moves.
Though Reed's playing could be noisy, there was something essentially relaxed about it. He'd spend time exploring one or two musical phrases, bending notes or varying their tempo, deconstructing bar chords. Only occasionally did he really sink into the raga-like drones for which the Velvet Underground was famous.
Once in while, the blues surfaced, and the trio's final chords invoked the majesty of the most high-minded heavy metal. But more than any one moment, what intrigued was the current of ideas that Reed and his colleagues formed into a rough channel.
It was a rare chance to see Reed at his most spontaneous and introspective. A few audience members walked out early, either driven to leave by the noise (Calhoun's bowel-shaking keyboards were particularly challenging) or by the realization that they weren't going to be hearing "Walk on the Wild Side." Those who stayed took a different walk than they might have expected, and an interesting one.
-- Ann Powers
From Los Angeles Times

Rating: 4 out of 5 stars
When Lou Reed first released his Berlin album in 1973, Rolling
Stone referred to it as a "distorted and degenerate demimonde of
paranoia, schizophrenia, degradation, pill-induced violence and
suicide". Some 30 years later, the magazine named it one of the 500
greatest albums of all time.
The recent audio release of Reed's 2006 performances of Berlin, was
recorded over four days at St Ann's Warehouse in Brooklyn -- the first
time that Reed had ever performed the album live.
If you're not a seasoned Lou Reed fan and you don't know the
album's tumultuous history, Berlin may initially take you by surprise
given that in a word (or three), it is dark, dark, dark. The album has
been said to tell the tale of a dysfunctional, self-destructive couple
who are addicted to sex, drugs and rock n'roll. So depressing is
Berlin, that the stories told in each song follow themes of domestic
violence, drug abuse, neglected children, suicide and death.
The mood of the album is somewhat exacerbated by Reed's voice - in
fact, his cheese-grater-for-vocal-chords mixed with melodic gospel
backups and Steve Hunter's killer guitar licks (Men of Good Fortune)
amplify the devastation and destruction of Berlin's story, which was
later captured as a 'rock-musical' by Julian Schnabel and recently
released on DVD.
Storytelling is the key to Reed's Berlin repertoire. In listening
to Berlin, you pay attention to every word. The Bed for example, is a
tragic tale of suicide that draws you in like a good novel that you
can't put down. You feel as tortured as the artist himself appears.
Whilst the mood of the album is unapologetically dire, the tempo picks
up in Sweet Jane, which (to some relief) adds a little sugar to an
otherwise bittersweet experience.
Whilst once deemed a commercial flop by critics, Berlin continues
to push boundaries and tolerance levels, and is now touted as the
winning arrow in Reed's difficult career bow.
From SF station

