LAURIE ANDERSON THRILLS BAM / ROGER ENO / SLAUSON MALONE 1
Let X = X: Laurie Anderson with Sexmob at BAM
| Having had the good fortune of seeing Laurie Anderson’s new show this past summer in Europe, we’re thrilled ourselves to present it at Big Ears in March. Seth Colter Walls shares his thoughts from last week’s North American premiere at BAM. “Laurie Anderson sounds like she’s ready to have fun again. That much was clear after the first minute or so of her thrilling multimedia show on Tuesday at the Brooklyn Academy of Music. This one-night-only, 100-minute set, titled “Let X = X,” featured new arrangements of several 1980s-era Anderson songs. It also featured a fun backing band in the jazz combo Sexmob, reliable purveyors of a good time.” |
Roger Eno
Roger Eno has released a quiet but powerful new recording on Deutsche Grammaphone, The Skies, They Shift Like Chords…, which he will present in concert at Big Ears in March.
“Roger Eno’s The Skies, They Shift Like Chords… unveils an ethereal sonic universe, blending various instruments to create a contemplative journey of profound beauty and introspection.”
“On his 2020 debut release with Deutsche Grammophon, Mixing Colours, Roger Eno was accompanied by his brother Brian Eno. After great success, including an NPR Tiny Desk appearance with The Turning Year (2022), Eno gifts us with the truly luminous The Skies, They Shift Like Chords… On this album, one is presented with a meticulously crafted sonic universe that extends upon the ethereal beauty of his 2022 release, The Turning Year. Whilst his previous album explored the clarity of piano and strings, this new offering delves into an even more celestial realm, incorporating a rich tapestry of sounds, including guitar, clarinet, bass clarinet, electronics, and more.”
Slauson Malone 1
Jasper Marsalis has just released Excelsior, his second recording under the moniker Slauson Malone 1. Expect shape-shifting and ear-bending when he performs at Big Ears 2024.
“In his history with the New York avant-garde collective Standing on the Corner, Jasper Marsalis has been viewed as both a musical innovator and a multi-disciplinary artist. But as Slauson Malone 1, the musician has carved a space for himself in the landscape of post-rap, settling on an experimental, spaced-out and often fragmented approach, which when spliced together, produces a cohesive whole.”
