After science

Press, 8 March 1984, Page 18

After science

LAURIE ANDERSON “Mister Heartbreak” (Warner Bros 250771).

“Mister Heartbreak” follows on from where Laurie Anderson’s debut 1982 album, “Big Science,” left off. Although the music is not as depersonalised, nevertheless the substance of the new album seems to deal with a depersonalising effect. v

The album opens with “Sharkey’s Day” and closes with “Sharkey’s Night,” and it is this Sharkey character who seems to be struggling with this alienation. “Sharkey’s Night” is admirably sung by William S. Burroughs, better known for his writing, and both opening and closing tracks contain the lines “Deep in the heart of darkest America. Home of the brave.” At the same time mundane matters must

be dealt with (“Paging Mr Sharkey. White courtesy telephone please”). So there 'is this pull of social reality against psychological feelings (“And if only I could remember these dreams ...

I know they’re trying to tell me.”)

The music is not as clipped as on “Big Science,” thanks to the influence of Peter Gabriel, plus others like Adrian Belew and Dolette McDonald. But there is a wide experimentation with musical instruments such as iya, shekere and a double bell from the Cameroons, and everyday objects like plywood and bowls. Anderson has not lost her sense of humour either. On “Big Science” she said “this is a record of the time.” On “Mister Heartbreak” it is “You’ve already ??? for this.” “Langue D’Amour” seems to deal with the myth of Adam and Eve in Paradise, and “KoKoKu” is a track that stands out because of its Japanese influence.

Much of the work of Anderson relies on repetition, both in sound and in word play, but the criteria is that all this should be interesting. It strikes me that Anderson is equal to David Byrne, but the danger is that ’’Mister Heartbreak” could be the trendy thing to listen to, in the way that Byrne has become. However, Anderson certainly guarantees that listening is interesting.

music world

nevin topp