Editing Metal Machine Music (section)

==Style==
A major influence on Reed's recording, for which he tuned all the guitar strings to the same note,<ref>[[Alan Licht]], ''Common Tones: Selected Interviews with Artists and Musicians 1995-2020'', [[Blank Forms]] Edition, ''Interview with Lou Reed'', pp.170</ref> was the mid-1960s [[drone music]] work of [[La Monte Young]]'s [[Theatre of Eternal Music]],<ref>[[Alan Licht]], ''Common Tones: Selected Interviews with Artists and Musicians 1995-2020'', [[Blank Forms]] Edition, ''Interview with Lou Reed'', pp.170</ref><ref>[http://www.allmusic.com/album/metal-machine-music-mw0000099717 "Blue" Gene Tyranny on Lou Reed Metal Machine Music]</ref> whose members included [[John Cale]], [[Tony Conrad]], [[Angus MacLise]] and [[Marian Zazeela]].<ref>The album listed (misspelling included) "Drone cognizance and harmonic possibilities vis a vis Lamont<!--"Lamont", sic--> Young's Dream Music" among its "Specifications": [http://www.gutsofdarkness.com/god/objet.php?objet=7406 text copy], [http://www.discogs.com/viewimages?release=748918 image copy (reissue)].</ref> Both Cale and MacLise were also members of Reed's band [[the Velvet Underground]] (MacLise left before the group began recording).

The Theatre of Eternal Music's just intonation harmonies, sustained notes, and loud amplification influenced Cale's subsequent contribution to the Velvet Underground in his use of both unconventional harmony 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 mid-sixties experimental work had on Reed years later.

In an interview with [[rock journalism|rock journalist]] [[Lester Bangs]], Reed stated that he "had also been listening to [[Iannis Xenakis|Xenakis]] a lot." He also claimed that he had intentionally placed sonic allusions to [[classical music|classical]] works such as [[Ludwig van Beethoven|Beethoven]]'s ''[[Symphony No. 3 (Beethoven)|Eroica]]'' and ''[[Symphony No. 6 (Beethoven)|Pastoral]]'' Symphonies in the distortion, and that he had attempted to have the album released on the [[RCA Red Seal]] classical label. He repeated the latter claim in a 2007 interview.<ref name="pitchfork">{{cite web |url=http://www.pitchforkmedia.com/article/feature/45431-interview-lou-reed |title=Pitchfork: Interviews: Lou Reed |publisher=Pitchforkmedia.com |access-date=August 2, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20090113203757/http://www.pitchforkmedia.com/article/feature/45431-interview-lou-reed |archive-date=January 13, 2009 |df=mdy-all }}</ref>