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Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today we revisit Laurie Andersonâs grand theatrical treatise, an avant-garde piece comprised of sound sculpture and rock music, gender and social studies, philosophy and linguistics.
On January 25, 1983, Reagan delivered a rousing State of the Union to a country reeling from a recession. He bid for inspiration. âAs surely as Americaâs pioneer spirit made us the industrial giant of the 20th century,â he said, âthe same pioneer spirit today is opening up on another vast front of opportunity, the frontier of high technology.â He had, he said, âa vision not only of what the world around us is today, but what we as a free people can make it be tomorrow.â Six weeks later, in the premiere of his blockbuster âEvil Empire Speech,â he told an audience of the newly-ascendant Christian Right, â
Laurie Anderson is the latest guest to perform for NPRâs âTiny Desk (Home) Concertâ series. Joined by Roma Baran and Rubin Kodheli (on synth and cello, respectively), the esteemed songwriter and lynchpin of the New York avant-garde played three tracks from her 1982 album
Big Science: âLet x=x,â âViolin Cello Improv,â and âO Superman.â Watch it go down below.
Sisters with Transistors. Plus, read about Andersonâs engagement with the environmental crisis in âWhat Can Music Do During Climate Collapse?â
The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music s Tiny Desk (home) concerts, bringing you performances from across the country and the world. It s the same spirit stripped-down sets, an intimate setting just a different space.
Laurie Anderson is a revolutionary artist who has mixed storytelling, music and technology for the past four decades plus. This Tiny Desk (home) concert celebrates the truly breathtaking breakthrough album she put out in 1982,
Big Science. On that record, she used a few different voice processors; one of them was a Vocoder. By singing into a microphone attached to a keyboard, you can hear how it effectively adds harmony to her voice on Let x=x. Laurie Anderson also used that effect, creating what I think of as the voice of authority in her storytelling, on O Superman, a song unlike anything music I d heard when it came out in 1981. She made use of a vocal loop, something ever-present these days in sampling, but
Laurie Anderson: Tiny Desk (Home) Concert
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