Laurie Spiegel ‎– The Expanding Universe

Label:
Philo ‎– 9003, Philo ‎– PH9003
Format:
Vinyl, LP, Album
Country:
Released:
Genre:
Style:

Tracklist

A1 Patchwork 9:42
A2 Old Wave 6:47
A3 Pentachrome 7:24
B The Expanding Universe 28:32

Companies, etc.

Credits

Notes

Composed 1974-76 using a computer playing the actual sounds by controlling analog synthesis equipment using the GROOVE (Generating Realtime Operations On Voltage-controlled Equipment) hybrid system which was developed by Max Matthews and F.R. Moore at Bell labs. Interaction with the computer was through a keyboard, a drawing tablet, pushbuttons and knobs, as well as complex "algorhythms" written in FORTRAN.
Mastered by SNB.

© 1980 Laurie Spiegel Publishing
This record ℗ 1980 Philo® Records, Inc.

Barcode and Other Identifiers

  • Rights Society: ASCAP
  • Other (Library of Congress Catalogue Number): 80-750442

Other Versions (4 of 4) View All

Cat# Artist Title (Format) Label Cat# Country Year
UW09 Laurie Spiegel The Expanding Universe(19xFile, MP3, Album, RE, 320) Unseen Worlds UW09 US 2012
UW09 Laurie Spiegel The Expanding Universe(LP, Album, RE) Unseen Worlds UW09 US 2013 Sell This Version
UW09 Laurie Spiegel The Expanding Universe(2xCD, Album, RE) Unseen Worlds UW09 US 2012 Sell This Version
UW09 Laurie Spiegel The Expanding Universe(LP, Album, RE, Ltd, Cle) Unseen Worlds UW09 US 2012 Sell This Version

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michael.saul

michael.saul

September 6, 2016
edited 6 months ago
The same conclusions were reached here as were reached by Juan Atkins a good while later, and to outstanding effect. Here, Laurie Anderson pretty much intuits the whole structure of techno by herself, 6 years prior to Cybotron's first release. It is somewhat striking she gets so little attention even in retrospect. Beautiful throughout, her debut LP The Expanding Universe reveals plainly and simply the fact that Techno cannot be conceived of as other to women as if they didn't play a role in its emergence and later its subsequent forms. Through Laurie, we recognise Techno' emergence through a multiplicity of distinct origins. It didn't come from any one person, crew, scene, night city, but is derived collectively through shared artistic and cultural endeavour, and experimentation with machines often very demanding and foreign in nature. Laurie was unique in being among those who properly domesticated technology to her own ends: she bent the Groove Synthesiser into a shape that through the work of others such as Jeff Mills or Robert Hood on altogether different machines, would later come to be known as techno. Her work sits alongside pioneers like Chris Carter, Craig Leon, In Aeternam Vale, Terry Riley, La Monte Young, whose power of vision sat exactly in proportion enormity of scale at which some of the producers delivering over the same period.