Sitting conspicuously at #9 in our 2011 Releases of the Year chart was Lou Reed and Metallica's Lulu, one of the most hated albums of the year. Reactions to its charting have ranged from noisy retching to charges of conspiracy. What's struck me, looking after The Wire's various digital channels, is the nature of these reactions - it's not the fact that hardly anyone likes Lulu that's unnerving, but that the response has been so over the top.
A few readers were bemused by the fact that James Ferraro's Far Side Virtual was our album of the year, but the reaction was rather more considered to say the least. As a result of Lulu's Top 10 placing, we have been accused of constructing the chart purely as a hyper-ironic statement, received an email (on Christmas day) that referred to it as a "piece of shit", and otherwise been variously slagged off. While every music magazine is used to receiving its fair share of beefs, the reaction to Lulu (and its appearance in our chart) has been uniquely venomous.
Interestingly, people seem to think the Loutallica album is objectively bad music; not just something that few people like, but something it is impossible for anyone to like, at all. It's a bizarre response to a record that is essentially a mix of overwrought beatnik poetry and overwrought Metal riffing, especially in the context The Wire - there's really nothing in it that's so shocking to modern ears it warrants the reception it's been getting. Why is it legitimate to react to it like this? What's the key difference between Lulu and other 2011 albums that people didn't like, the one ingredient that pushed everyone over the edge?
The obvious answer to that is Lou Reed himself, who has been (intentionally) whipping audiences into a hate-filled frenzy since at least the mid-1970s, and even once released a live double album, Take No Prisoners, full of obnoxious crowd baiting routines (sample line: "Give me an issue, I'll give you a tissue, and you can wipe my ass with it"). But that can't be the whole story. There's also the attitudes of Metallica fans to take into account. And of course, the ever present trolls.
Perhaps because there's been little consensus on what's definitively great this year, there's relief to be found in a consensus on what's terrible. In some ways that happens easier online – the balance of negative and positive in comments sections, YouTube and sometimes on Twitter tends towards the former. Add the objections of Metallica's more conservative fans to the group going way off message, stir it up via a YouTube preview and a set on Jools Holland, add some scathing reviews, and hey presto, Lulu's branded as safe to hate.
But not all zines, papers or sites thought Lulu was awful (although it garnered 1.0 ratings and "one of the worst albums ever made" type assessments). Ultimately, the reaction to it is a testament to Lou Reed's ability to still get up the noses and under the skin of even the most open-minded listeners. He's probably laughing his head off at it all this very minute.
(The above image comes courtesy of Rock Sound magazine, whose office is just across the corridor in the same building as The Wire's. They think Lulu is a joke too - obviously)