Eardrum Buzz is an irregular feature looking at key pieces of music that have altered my perception of exactly what music can be. See Eardrum Buzz (intro) for further context. All comments are highly subjective.
Title: Venus In Furs
Author: Velvet Underground
UK Release Year: 1967
Hearing Venus In Furs was a major musical milestone for me and I constantly wish I could hear it for the first time again for the revelation it caused.
Aged 15 I had at some point taped Lou Reed’s Transformer after borrowing it from my local library. Just seriously getting into Punk at the time, on hearing other’s say that Reed was its godfather, I couldn’t quite make the link with the glam I heard on his second solo LP, (excellent as I thought it was). And older friend with a wider musical knowledge than I had Diana Clapton’s Lou Reed & The Velvet Underground 1982 biography which I loved flicking through whenever I visited. It was this book that introduced me to the Velvets, or at least to their myth, prior to hearing their actual music.
On the back of this, one week I used some of my wages from a Saturday shelf-stacking job and took a punt on buying a 6 track import Velvet Underground sampler. The gatefold sleeve contained a stapled in booklet in either Spanish or Italian, with lots of photos of the band—despite not being able to read it, the photos alone made me think it was worth the £3.99 I paid. Although I wasn’t aware of the Velvet’s discography, I later found out the album collated together 6 tracks from Velvet Underground’s first three LPs. I can’t remember exactly what tracks, but can recall both Sister Ray from their second album and Pale Blue Eyes from their third were on it.
All I can now remember of putting the album on for the first time was the incredible effect hearing Venus In Furs had on me. I had not heard a single thing like it before in my 15 short years and it put my head in a spin. Those viola stabs and background drone, the laconic out-of-kilter drums, the chiming guitar and those ever so strange lyrics that were drawled poetically from Reed’s lips. And dropped into the middle of all of this, that uplifting chorus that all too soon, and seamlessly, reverts back to the repetitive atonal noise of the verse. This changed everything for me. I was unsure whether I liked it or not but felt compelled to listen to it again, and again, and again. As it became more familiar to my ears I became more intrigued with it, and more intoxicated by it.
I am incredibly grateful to this song for opening up my ears to vast new musical possibilities. Literal lyrics and actual tunes suddenly didn’t seem as important as they had moments before. And I now realise as I look back that without this song there is so much that I now appreciate and enjoy that I would never have given a chance, dismissing it simply as tuneless and unmusical prior to this experience. But Velvet Underground’s Venus In Furs didn’t just widen my musical perspective, it also opened my mind to looking at many things from a non-mainstream stance—art, politics, philosophy, you name it. In challenging my perspective on music, Venus In Furs made me question my views on many other things; views that were formed purely on a narrow experience. Ultimately it taught me the value of exploring different possibilities beyond the limitations of what was popular, what other’s deemed ‘acceptable’, and what mainstream society presented as culture.