Hudson River Wind Meditations
Lou Reed
Hudson River Wind Meditations
Boomkat Product Review:
Maiden vinyl venture for Lou Reed’s final studio album, a meditative 67’ ambient excursion idealised for Tai Chi and bodywork, first issued in 2007 on Tami Simon’s Sounds True, now remastered by Grammy-nominated engineer John Baldwin and cut to 2 discs, replete with liner note convo between Reed’s wife, Laurie Anderson, and author Jonathan Cott.
A fine addition to Light in the Attic’s roster of notables and ongoing Lou Reed Archival series, the 20th and final studio recordings by the august and pivotal New Yorker sees him return to the source in the type of purposeful minimalism that paved the way for his legendary work with The Velvet Underground. The music’s gauzy harmonic blur and vaporous nature can be heard as spiritual inversion or counterpoint to his infamous ‘Metal Machine Music’, which shares a particular, singular focus and feel for tone, but at the other end of the spectrum.
Reed describes the record thusly: “I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation."
Newly remastered for posterity and floating poise, the hour long work speaks its piece in circular, slow breathing loops of feedback harmonics surely comparable with the work of Éliane Radigue, or perhaps more acutely, La Monte Young & Marian Zazeela’s blueprint ‘Dream House 78’ 17”’ as The Theatre of Eternal Music, a unit that included Reed’s soon-to-be-bandmates John Cale and Tony Conrad. Trust, it’s a spellbinding work that seduces, not demands, attention, and will possibly comes as a welcome surprise to anyone who’s unaware of the key, early influences on Reed’s work, and his devotion to Tai Chi.
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Back in stock. Remastered blue double LP with booklet featuring unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner.
Out of Stock
Boomkat Product Review:
Maiden vinyl venture for Lou Reed’s final studio album, a meditative 67’ ambient excursion idealised for Tai Chi and bodywork, first issued in 2007 on Tami Simon’s Sounds True, now remastered by Grammy-nominated engineer John Baldwin and cut to 2 discs, replete with liner note convo between Reed’s wife, Laurie Anderson, and author Jonathan Cott.
A fine addition to Light in the Attic’s roster of notables and ongoing Lou Reed Archival series, the 20th and final studio recordings by the august and pivotal New Yorker sees him return to the source in the type of purposeful minimalism that paved the way for his legendary work with The Velvet Underground. The music’s gauzy harmonic blur and vaporous nature can be heard as spiritual inversion or counterpoint to his infamous ‘Metal Machine Music’, which shares a particular, singular focus and feel for tone, but at the other end of the spectrum.
Reed describes the record thusly: “I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation."
Newly remastered for posterity and floating poise, the hour long work speaks its piece in circular, slow breathing loops of feedback harmonics surely comparable with the work of Éliane Radigue, or perhaps more acutely, La Monte Young & Marian Zazeela’s blueprint ‘Dream House 78’ 17”’ as The Theatre of Eternal Music, a unit that included Reed’s soon-to-be-bandmates John Cale and Tony Conrad. Trust, it’s a spellbinding work that seduces, not demands, attention, and will possibly comes as a welcome surprise to anyone who’s unaware of the key, early influences on Reed’s work, and his devotion to Tai Chi.
Remastered black double LP with booklet featuring unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner.
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Boomkat Product Review:
Maiden vinyl venture for Lou Reed’s final studio album, a meditative 67’ ambient excursion idealised for Tai Chi and bodywork, first issued in 2007 on Tami Simon’s Sounds True, now remastered by Grammy-nominated engineer John Baldwin and cut to 2 discs, replete with liner note convo between Reed’s wife, Laurie Anderson, and author Jonathan Cott.
A fine addition to Light in the Attic’s roster of notables and ongoing Lou Reed Archival series, the 20th and final studio recordings by the august and pivotal New Yorker sees him return to the source in the type of purposeful minimalism that paved the way for his legendary work with The Velvet Underground. The music’s gauzy harmonic blur and vaporous nature can be heard as spiritual inversion or counterpoint to his infamous ‘Metal Machine Music’, which shares a particular, singular focus and feel for tone, but at the other end of the spectrum.
Reed describes the record thusly: “I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation."
Newly remastered for posterity and floating poise, the hour long work speaks its piece in circular, slow breathing loops of feedback harmonics surely comparable with the work of Éliane Radigue, or perhaps more acutely, La Monte Young & Marian Zazeela’s blueprint ‘Dream House 78’ 17”’ as The Theatre of Eternal Music, a unit that included Reed’s soon-to-be-bandmates John Cale and Tony Conrad. Trust, it’s a spellbinding work that seduces, not demands, attention, and will possibly comes as a welcome surprise to anyone who’s unaware of the key, early influences on Reed’s work, and his devotion to Tai Chi.
Out of Stock
Boomkat Product Review:
Maiden vinyl venture for Lou Reed’s final studio album, a meditative 67’ ambient excursion idealised for Tai Chi and bodywork, first issued in 2007 on Tami Simon’s Sounds True, now remastered by Grammy-nominated engineer John Baldwin and cut to 2 discs, replete with liner note convo between Reed’s wife, Laurie Anderson, and author Jonathan Cott.
A fine addition to Light in the Attic’s roster of notables and ongoing Lou Reed Archival series, the 20th and final studio recordings by the august and pivotal New Yorker sees him return to the source in the type of purposeful minimalism that paved the way for his legendary work with The Velvet Underground. The music’s gauzy harmonic blur and vaporous nature can be heard as spiritual inversion or counterpoint to his infamous ‘Metal Machine Music’, which shares a particular, singular focus and feel for tone, but at the other end of the spectrum.
Reed describes the record thusly: “I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation."
Newly remastered for posterity and floating poise, the hour long work speaks its piece in circular, slow breathing loops of feedback harmonics surely comparable with the work of Éliane Radigue, or perhaps more acutely, La Monte Young & Marian Zazeela’s blueprint ‘Dream House 78’ 17”’ as The Theatre of Eternal Music, a unit that included Reed’s soon-to-be-bandmates John Cale and Tony Conrad. Trust, it’s a spellbinding work that seduces, not demands, attention, and will possibly comes as a welcome surprise to anyone who’s unaware of the key, early influences on Reed’s work, and his devotion to Tai Chi.
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