Bill Laswell Albums (52)
What The Critics Say
Invisible Design II showcases Bill Laswell playing a series of "compositions" -- that feel more like improvisations -- completely solo, a decade later follow-up to Invisible Design that appeared in the Tzadik Composer Series in 1999. Laswell plays fretless and eight-string basses, and uses loads of effects to create either sonically atmospheric backdrops or multi-layered bass parts to accompany himself on these ten selections. The results are busier than those found on the first volume, musically more agile and compelling. That said, Laswell's love of ambient textures and soundscapes is also indulged here, and notions of space, silence, depth of field, and subharmonics are utilized as interludes between more active numbers-"Aphasia," walks the line between futurist space dub and ambient dub, while "Sub Sonnet," which follows it, immediately moves from dub to complete sonic wave drifts of varying tones and levels of distortion that still create a sense of float and hover. Other tracks, such as "Pillar," enter and leave as simply a series of pitches added to by efx without any noticeable "playing." The set closes with the beautiful and sometimes tense "Darkness After," that employs some of Laswell's most understated melodic tendencies as well as his love of King Crimson's more paranoid fantasies with fuzz and distortion (think of the long bass or guitar sections in some live versions of "Fractured"). If you are a Las fan, this will more than likely keep your interest over the entire 50 minutes, if you are anything less than that, this will most likely be a minor curiosity. ~ Thom Jurek, All Music Guide
'The Only Way to Go Is Down'
Release Date 2/14/2006
Tracks 9
Label Sublight
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What The Critics Say
Bassist and producer Bill Laswell's 30-year musical journey has taken him through the wilds of rock, hip-hop, funk, electronica, ethnic fusion, and hellacious noise, but in recent years it seems like he keeps gravitating back to the ethno realm. There's always been a thick vein of dark mysticism winding like a black rope through his various musical projects. The degree to which he buys into the reality of any of the transcendence he peddles is an open question, but one thing is certain: no one writes a prettier bassline, or delivers it with more elephantine authority, or brings together more beautifully matched singers and players. His latest under the group moniker Asana (the core of which is a duo consisting of Laswell and percussionist Karsh Kale, joined by a variety of South Asian collaborators) finds him exploring Indian classical and devotional themes as expressed by singers Kiran Ahluwalia, Ustad Sultan Khan, Asha Puthli, and others. The pattern is set early on: Kale builds a tasteful but generally restrained rhythmic bed on which Laswell lays down a bassline of dark, rich suppleness, and then someone starts singing. When that someone is Ahluwalia, the resulting sound is joyful and soaring; when it's Khan, the sound is grittier and more earthbound. And when it's Vidya Shah, it's a sharp, keening wail offset brilliantly by Laswell's meaty bass and a juddering jungle breakbeat. Every track is brilliant, each one in a different way. Highly recommended. ~ Rick Anderson, All Music Guide
'Bill Laswell and Material'
Release Date 1/31/2006
Tracks 46
Label Golden Stars
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'Aftermathematics'
Release Date 1/27/2004
Tracks 10
Label Forced Exposure
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'Version 2 Version: A Dub Transmission'
Release Date 1/1/2004
Tracks 6
Label Roir
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What The Critics Say
These days, dubwise takes a back seat to dancehall in the reggae market. Go to a CD store that sells a lot of reggae -- perhaps in Kingston, Jamaica, perhaps in the Brixton section of London -- and you'll find a lot more new dancehall recordings than new dub recordings. Nonetheless, dub still has an audience, and not everyone who is recording dub in the 21st century favors a classic '70s-type sound along the lines of King Tubby, U-Roy, I-Roy, Big Youth, or I-Jah Man. There is also the neo-dub movement, which Bill Laswell has been a vital part of. Version 2 Version: A Dub Transmission finds the veteran bassist/producer offering yet another dose of his intriguing neo-dub experimentation. Instead of giving an exact replica of grooves from dub's classic era, a 49-year-old Laswell combines dub with modern electronica and takes it to a trippy, hypnotic, atmospheric place -- a place where the reggae beat interacts with ambient club/dance grooves. Version 2 Version doesn't cater to dub purists by any means; anyone who expects this 2004 release to sound exactly like King Tubby circa 1971 is bound to be disappointed. But then, anyone who is familiar with Laswell's history knows that expecting him to offer a carbon copy of old-school dubwise would be like expecting Ornette Coleman to play "Ornithology" exactly like Charlie "Bird" Parker played it in the late '40s. In other words, Laswell is known for shaking things up, which is why his vision of dubwise is experimental rather than traditional. Although not Laswell's best or most essential dub album, Version 2 Version is definitely rewarding -- and it's nice to see him maintaining his free spirit at 49. ~ Alex Henderson, All Music Guide
What The Critics Say
Few American record labels have done more to further the cause of modern dub than New York's ROIR imprint, which has not only reissued classic dub recordings, but also actively encouraged contemporary artists to reinterpret the tradition according to their own vision. And since bassist and producer Bill Laswell is among the most prolific and original modern exponents of dub, it was inevitable that the two would find their way to each other. Laswell has recorded four albums of progressive dub under his own name for ROIR, and this retrospective collection brings together one track from each of them to make a more-or-less full-length compilation. At just over 46 minutes, the program is a bit skimpy, but it does sell at budget price, and there's certainly no arguing with the quality of the content. The first track, which comes from the least interesting of his four Dub Chamber albums, is the most ambient and the least compelling, though it is very pretty. "Thunupa" livens things up considerably by incorporating the ethereal cornet sounds of Graham Haynes, the drumming of reggae legend Style Scott, and the tabla playing of Bill Buchen. "Cybotron" is a collaboration with fellow bass master Jah Wobble, guitarist Nicky Skopelitis and others, and is simultaneously spacier and funkier. "Ethiopia/The Lower Ground," featuring vocals by the Ethiopian singer Ejigayehu "GiGi" Shibabaw, is one of the most rapturous, lovely compositions in the Laswell catalog. This album would make a fine introduction to Laswell's work for ROIR, but you really need to own all four albums (or at least the last three). ~ Rick Anderson, All Music Guide
'Book of Exit: Dub Chamber 4'
Release Date 10/29/2002
Tracks 6
Label ROIR
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What The Critics Say
One of the most prolific men in music, Bill Laswell doesn't release albums under his own name as often as he once did, which makes Book of Exit, the fourth in his "Dub Chamber" series, especially worthy of attention. While the previous "Dub Chamber" releases leaned more toward hard Jamaican-style dub music, with instruments dropping in and out and plenty of reverb and delay, this is altogether a different beat, in large part due to the vocals of Ethiopian singer Gigi. And what Laswell, Gigi, drummer/tabla player Karsh Kale, and percussionist Aiyb Dieng end up with is really ambient dub -- something lighter and more flowing because it adapts itself to the vocals. And Gigi is in excellent form, possibly better than on her own debut, whether on "Ethiopia" or the memorable, beautiful "Jerusalem," which mixes a slight R&B inflection with dub for something outstanding, beautiful, and ethereal. Laswell's light hand at the controls (even the disc's heaviest track, "The Lower Ground," is hardly the stuff of Lee "Scratch" Perry and King Tubby) works subtly -- shifts happen gradually, making for a sense of movement and focus about the pieces. And his work on guitar, bass, and keyboards is as accomplished as his colleagues. Slightly unearthly but always lovely, this dub chamber is a place worth exploring. ~ Chris Nickson, All Music Guide
What The Critics Say
Life Space Death is an exciting set of music and wisdom from Bill Laswell, Toshinori Kondo and His Holiness, the Dalai Lama. Laswell and Kondo provide the music. The Dalai Lama provides the wisdom through spoken word messages. The messages are about peace, love, serenity, compassion, kindness, acceptance, and any number of hopeful and desirable traits. Laswell and Kondo provide a gentle background with processed sounds and gentle atmospheres. Smooth rhythms accompany the Dalai Lama's words. The instrumental passages are deep and hopeful space music. The spoken messages are printed on the inlay card. This is an essential learning and meditation CD. ~ Jim Brenholts, All Music Guide
