Method of Defiance - The Only Way To Go Is Down (2006)

1 Internal Revolt 5:34 

2 Holiday In Guantanamo 5:54 

3 Let Your Body Take Control

Producer Guy Licata 6:11

4 Resculpted Flesh

Producer Kondo 5:21

5 The Only Way To Go Is Down

Producer Guy Licata 7:39

6 The Unfathomable Depths Where Dreams Lie

Producer Kondo 6:14

7 Torture Photos

Producer Guy Licata 6:45

8 Unforgiven 5:28 

9 Real Recognise Real

Producer Enduser 5:34

FLAC

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Various Artists - Sub Rosa : Underwood (1996)

Sub Rosa : Underwood TRACKLIST 1 Nûs - Lament 5:27  2 Bill Laswell - Faktura 6:14  3 Scanner - Flaneur Electronique 4:45  4 Seefeel - As Track 4:19  5 Silk Saw - Blood Of My Blood >Remnant Remix< 6:16  Remix - Remnant 6 Laibach - Crtomir 4:50  7 Mick Harris - Tap 8:17  8 Islamic Diggers - Burroughs Don't Play Guitar 4:21  9 Nuuk Posse - Tider 3:28  10 Mouse On Mars - Subnubus 10:19  11 David Shea - The Pure Land Of Illusions 6:33 FLAC

Pharoah Sanders - Save Our Children (1998)

There are producers who mold and shape recording sessions around the skills of the featured artist or bands. And there are producers who bring an artist onto their own landscape and mold that featured artist to their (the producers') own whims. Bill Laswell is among the latter, generally engaging a rotating cast of regular collaborators, including funk keyboard man Bernie Worrell, and the usual squad of eastern percussionists, which in this case includes the distinguished East Indians Zakir Hussain and Trilok Gurtu.

The danger in this approach is that the personality of the nominal leader of the recording date, in this case Pharoah Sanders, is often lost in the producer's vision. Such is the case with this date. From the opening bars it's clear this is more about Bill Laswell's vision than Pharoah Sanders. Isn't that kinda like the child is father to the man? Pharoah is credited with tenor and soprano saxes, double reed (which one?), percussion and voice; so I gather the title track opener confines his contributions to voice? If this track were all one were to hear, one would be hard-pressed to identify this as a Pharoah Sanders date. And with a saxophonist as distinguished of voice as Sanders, this just won't do. "Midnight in Berkeley Square," a re-working of "A Nightingale Sang in Berkeley Square," finally introduces the tenor many have come to know and love, buoyed by Alex Blake's incessant strummed bass, but even then he is awash in trappings. If you could ever imagine Pharoah Sanders on smooth jazz radio, this might be the track. Come back Pharoah, and leave Laswell to lesser lights.(jazztimes)

FLAC

Shin Terai - Unison (2001)

Bernie Worrell sets up the Shin Terai experience with a welcoming organ piece "Clue." Next the positive vibe of the record is established with "Dinner of Heaven." Bill Laswell's bass is happy and Nicky Skopelitis' rhythm guitar and sitar is nothing but a good time. 4 minutes into the song, Buckethead enters and he really pushes the song into pleasantry. In "Emotional Intelligence" the band bonds to take you to a higher level of listening pleasure. Every note, beat propels the song forward. Shin Terai's beats, loops and programming lets Laswell, Skopelitis and Buckethead shine.

"Dusk" gets down with a nasty beat and Skopelitis hypnotic rhythm guitar. Damn, Laswell can groove the hell out of that bass. The soft guitar touches by Skopelitis and Buckethead are pure magic. Just when you thought you were safe from the groove, the band lays it on you again with the next song "Tag of War." Huge, deep foundation will pull you down into its core. Shin Terai's beat and Laswell's effects are staggering. The little funky sounds infect the song with musical pixie dust. Buckethead's lead guitar is out of this world. The keys at the end of the song are awesome.

Skopelitis rhythm in "Dream Catcher" mesmerizes me and then Bucket slices his electric guitar in like a machete. Worrell's organ synthesizer or clavinet makes some unusual pretty sounds in this track. Four and a half minutes in Buckethead blasts off into the heavens with astonishing lead playing. "From Texas" is funky, with Worrell's organ dominating the sound. (fearsmag)

TRACKLIST

1 Clue 1:59 

2 Dinner Of Heaven 7:46 

3 Emotional Intelligence 7:25 

4 Dusk 7:18 

5 Tug Of War 8:15 

6 Dream Catcher 7:52 

7 From Texas 8:10

FLAC

Bill Laswell - Lo.Def Pressure (2000)

Lo. Def Pressure consists of two extended compositions (both over 20 minutes) from genre-expanding musician/composer/producer Bill Laswell. Featuring a group of percussionists (including the exceptional tabla player Zakir Hussain) and sound generators, the results are texture-heavy excursions into rhythm that combine ancient musical traditions with modern beat science. It's a meeting of old and new, East and West that has taken place on Laswell's recordings ever since talking drums and tablas met drifting new age ambience on 1988's Hear No Evil. With Lo. Def Pressure, however, he has proven that the same preoccupations can make for captivating music over two decades into his career. "Shyvamythscience" (the composition that forms the first half of the album) begins with the sound of Hussain's busy tabla bubbling up from the music's dark, amorphous waters. Laswell and company proceed through a series of bass heavy, restless rhythmic backings, broken by interludes of morphing tabla and interplanetary drift. The song ends, retreating into the same black sea from which it emerged. On "Black Ice," skittish techno beats lock in with chattering percussion for shape-shifting, syncopated rhythms that dance across the dense, fluctuating textures. The muscle of the album (and its cold heartbeat) is Laswell's bottomless bass. Improvising within a limited range, it acts as a stark, heavy anchor for these icy, deep space explorations. Lo. Def Pressure assimilates elements of dub, techno, hip-hop, and Eastern traditions into a mix that defies any of these categories. (allmusic)

TRACKLIST

Shyvamythscience 23:36 

Black Ice 24:37

• Bass, Keyboards, Electronics [Beats], Composed By [Created By] – Bill Laswell
• Engineer – Robert Musso
• Mastered By – Michael Fossenkemper
• Percussion [Tabla Matrix, Rhythm Elements] – Badal Roy, Zakir Hussain
• Performer [Additional Music, Elements And Sounds] – Arif Singh, Hassan Akber Ali, Kadri Sriram
• 
  

FLAC

Gigi - Illuminated Audio (2003)

When Gigi and Bill Laswell collaborated on her self-titled debut album in 2001, the results were a completely unique melding of traditional African sounds with modern electronic music. A modern Ethiopian artist had never sounded so progressive while keeping her music firmly rooted in its original culture. “Gigi’s modal melodies and urgently questioning voice rise out of grooves that swirl jazz and funk into the complexities of Ethiopian pop,” said Jon Pareles in the New York Times, “broadening the music without Americanizing it.” Now comes Illuminated Audio, a complete reconstruction of Gigi’s debut as an ambient epic by producer and dubmaster Bill Laswell. In the same spirit as his noted interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell went back to the original multi-track masters and re-imagined new versions and perspectives to highlight Gigi’s singular vocals.

“It works perfectly,” says Gigi of Illuminated Audio. “We wanted to capture the whole spirit of each track, and Bill’s remixes translate the original melodies and create a different music language that really put you in a pleasant place.” Laswell’s reconstructions are long and patient, taking the essence of the original songs and building towers of dub around them. The floating vocals of “Abay” are reminiscent of the Cocteau Twins at their peak, while the deep basslines of “Sew Argen” and “Mengedegna” build on the groundbreaking studio stylings of Lee “Scratch” Perry and The Orb’s Alex Patterson. “I really love what Bill does in the studio,” says Gigi. “He plays me the tracks and we discuss them – but I trust him completely. When it comes to remixes you can’t touch Bill.”

As different and unique as Illuminated Audio sounds, no new music or overdubs were employed in its creation. The master musicians who perform on both albums include saxophonists Wayne Shorter, Henry Threadgill, and Pharoah Sanders; guitarist Nicky Skopelitis; percussionists Aiyb Dieng and Karsh Kale; and Laswell himself on bass. After the excellent response to the original album’s release, Palm founder Chris Blackwell suggested that Laswell and Gigi go back to the studio and “re-think” the entire album. The result is Illuminated Audio, a swirling and mystical ambient reinterpretation – an exciting and radical transformation of the original music that, like Gigi’s own voice, stands entirely on its own.

Twenty-nine-year-old Ejigayehu “Gigi” Shibabaw was raised in a distant coffee-farming area of northern Ethiopia. A natural multi-octave vocalist who defies the rigid Ethiopian scales, Gigi grew up singing in the Ethiopian Church and at family gatherings. Leaving home after her father initially forbade her to work as an entertainer, Gigi settled first in Nairobi, Kenya and then Ethipoia’s capital, Addis Ababa, where she soon established herself as one of the city’s leading singers. Cast in an all-Ethiopian theater production, Gigi toured East and South Africa, and eventually France, where she was invited to perform at a Paris world music festival. Later, she resettled in San Francisco, and soon caught the attention of Chris Blackwell, who signed her to Palm. Her debut, self-titled album was released in 2001.Gigi is currently at work in Axiom’s Orange Music Sound Studio on her second album of original material. Gigi is once again working with producer Bill Laswell and long-time collaborator Karsh Kale. With 10 new songs written and six near completion, the new material focuses heavily on a unique mix of traditional Ethiopian and Western stringed instruments. In addition, Gigi will be performing a series of live dates with Laswell’s celebrated live project Tabla Beat Science in March 2003. (rockpaperscissors)

01 Abay 8:42

02 Tew Ante Sew 6:23
03 Mengedegna 5:34
04 Kahn 7:02
05 Sew Argen 9:15
06 Nafekeñ 8:32
07 Abet Wubet 6:39
08 Guramayle 5:10
09 Gud Fella 5:27
10 Guramayle (Slight Return) 2:39

FLAC

Bill Laswell - AFTERMATHematics instruMENTAL : Rhythm and Recurrence (2003) (FLAC/320)

The opening of “4d,” the first track on uber-producer Bill Laswell’s latest sonic experiment is a bit of a history lesson. Grandmixer DXT throws down a scratch that takes us all the way back to Herbie Hancock’s “Rockit” (which Laswell produced and for which DXT provided the scratch heard ’round the world) while Middle Eastern rhythms — echoing numerous Laswell-helmed ambient projects during the late 1990′s — coalesce around the abrupt patter of DXT’s handiwork. This is AFTERMATHematics and the record is called instruMENTAL: Rhythm and Recurrence. It is, like a lot of Laswell’s work, a strong stratum added to an already impressive bedrock of work and a progressive amalgamation of dub, turntablism, and world rhythms.

A voice at the end of “Cut Virus” spouts off a quick story, ending with a punch line of: “Fine. We’ll go to Cuba.” There are sly nods throughout instruMENTAL to Laswell’s oeuvre, acknowledgement to the recurrence of themes and leitmotifs which persist through an artist’s life. And, while aspects of instruMENTAL are reminiscent of the Valis compilations, it is testament to Laswell’s continuing endurance that he never recycles, but rather reinterprets. Much like his efforts with Miles Davis, Bob Marley and, more recently, Ethiopian singer Gigi, Laswell continues to find new texture and sound in previously mined musical territories.

“It’s very strange,” a voice chatters during “Scratch Code” as DXT goes all Burroughs-style cut-up on his record. “Your technique,” the voice says, “it’s very strange.” An Indian raga swirl into the mix, the oddly flanged notes bending and warping against the distressed scratch work. While instruMENTAL is very definitely a Laswell project — his liquid bass flows throughout the record — it is equally the effort of Grandmixer DXT and his nimble fingers against the vinyl. Long time collaborator Robert Musso provides beat construction and engineers the work, and Wordsound artist Spectre offers beats on four tracks. “Black Dust” is heavy with Laswell’s throb, anchored by that cavernous sound. While a drum machine drives the bass along, a guitar — the type which could very well be labeled as “squelch guitar provided by Knox Chandler” — flexes alongside horn stabs. It’s all slathered with ambient atmospherics that seem to simultaneously be bird song and water music.

It’s the sort of effortless sounding work that you can imagine these consummate musicians putting together in an afternoon or two. Just an empty hard drive, several hundred miles of tape containing every imaginable type of source material, a well-stocked bar and buffet, and no agenda other than pressing “record” and seeing what happens. These guys groove together — that much is clear from every second of this record — and what keeps their sound invigorating and exciting is that you can tell they are still experimenting, they are still pushing the possibilities of sound and rhythm. Source review

01__________4D Featuring: DXT, Robert Musso
02__________Cut virus Featuring: DXT, Robert Musso
03__________Scratch code Featuring: DXT, Spectre
04__________Ghost dub Featuring: DXT
05__________Subcut Featuring: DXT, Robert Musso
06__________Black dust Featuring: DXT, Robert Musso
07__________Lo-tek Featuring: DXT, Spectre
08__________Phase draft Featuring: DXT, Robert Musso
09__________Posthuman Featuring: DXT, Spectre
10__________Dark black Featuring: DXT, Spectre

Created at Orange Music, West Orange, New Jersey
Engineered by Robert Musso
Assistant Engineer: James Dellatacoma
Artwork: Blast
Design: John Brown
Produced and arranged by Bill Laswell
Mastered by Michael Fossenkemper at Turtle Tone Studios, New York
Bill Laswell: Instruments
GrandMixer DXT: Turntable, percussion, keyboards, sounds
James Dellatacoma (tracks 5 and 8) : Guitar
Skiz Fernando (tracks 3, 7, 9 and 10) : Beat construction
Robert Musso (tracks 1, 2, 5, 6 and 8) : Beat construction


FLAC // 320

Equations of Eternity - Equations of Eternity (1996) (FLAC)

A collaboration between Bill Laswell, Scorn's Mick Harris and the Italian Eraldo Bernocchi, Equations of Eternity is a much more exciting prospect than much of Laswell's earlier material on Axiom Records. The combination of slowly progressing bass and abrasive drum programming -- each done with ponderous care -- puts the album over the top, and though it's difficult to pinpoint each member's contributions, it hardly matters on an album this enjoyable. 

TRACKLIST

1 The Collector 6:48 

2 Eons Geography 5:51
3 5th Element 5:35
4 Loa 6:31
5 Stream 5:52
6 Shadow Sewer 7:43
7 Fifty Gates 4:34
8 Descent 5:47
9 Slow Bleed 5:52

Bill Laswell vs. Submerged – Brutal Calling (2004)

TRACKLIST

1 Mass Graves 5:55
2 Tunnel 110 7:18
3 Doctored Intelligence 6:19
4 Not Tomorrow Or Never 6:28
5 Decapitation Strike 6:28
6 Whistleblower Body 7:09
7 Lockdown On Bridges And Tunnels 5:39
8 UXO 6:10

FLAC

Roots Tonic Meets Bill Laswell - Roots Tonic Meets Bill Laswell (2006)

Few developments in the pop music world came as quite as big a surprise as the orthodox Jewish reggae singer Matisyahu's chart hit "King Without a Crown" in early 2006. The unlikely sight of a fully bearded, overcoated, and behatted Hasid beatboxing and toasting on-stage with an electric reggae band was visually startling, but it wasn't strange enough to complete distract from the man's heartfelt lyrics of spiritual yearning and finger-wagging declamation, or from his band's powerful, sinuous grooves. That band is called Roots Tonic(there's an in-joke for music theory geeks in there), and Roots Tonic Meets Bill Laswell is the trio's chance to shine on its own, under the loving care of famous bassist and producerBill Laswell (with whom they worked previously when he produced Matisyahu's major-label debut). If you're looking for innovative electro-dub or Jewish-reggae fusion of the Adonai & I variety, you'll need to look elsewhere; this disc is nothing but rock-solid, meat-and-potatoes instrumental roots reggae with a deep, dark production style and a pervasive dubwise ambience of the type familiar to Laswell fans everywhere. Highlight tracks include the slowly rocking "Road to Axum," a loping one-drop number titled "Employees Must Wash Their Hands," and the generically titled but supremely heavyweight "Healing of the Nations." Very highly recommended to all fans of modern roots reggae. (AllMusic/Review)

Meets The FLAC

The Cold Room (Compilation) (2011)

Cover Art by Vova Panaef

Compiled by Phlashback

TRACKLIST

Philadelphia Bluntz - The Blunt Chronicles (Intro)

DJ Krush - Only The Strong Survive (Two Parts Mix, by Forme)

Breakage - Vial (Feat. Burial)

A Guy Called Gerald - Hurry To Go Easy (Featuring Lady Kier)

Tricky - Makes Me Wanna Die (The Weekend Mix - Stereo MCs)

Bomb The Bass - One To One Religion

The RZA - Gangsters Theme

Tekitha - Walking Through The Darkness

Ólafur Arnalds – 3326 / Til Enda

Cannibal Ox - Vein

Shut Up And Dance - Bastards

La Funk Mob - Motor Bass Get Phunked Up (Ritchie Hawtin Electrophunk Remix)

LD - Oh Yeah

Interlope - Message In A Bottle

Shabazz Palaces - Find Out "Belhaven Meridian"

The Disposable Heroes Of Hiphoprisy - Language of Violence (Instrumental)

Kode9 + The Spacescape - Nine

Fanu & Bill Laswell - Shroud

Westside Chemical - 5 Finger Johnny

FLAC

320

Thanks to Vova Panaef for the cover

Check his photos HERE

Sacred System - Chapter One Book Of Entrance (1996)

Arranged By, Producer - Bill Laswell

Artwork By - Sneak Attack

Engineer, Programmed By, Producer [Pre-production] - Robert Musso

Other [Material, Inc.] - John Brown

Other [Roots Control] - Skiz

Other [Studio Support] - Anton Fier

Created at Greenpoint Studio, Brooklyn, NY.

TRACKLIST

Babylon Ghost 6:00

Dread Internal 9:19

Cyborg Assault 5:37

Galactic Zone 9:31

Sub Terrain 16:12

FLAC

Bernocchi, Kondo, Laswell, Drake, Disk, Dieng - Charged Live (2002) APE

01 Shintotech Iridescence
02 Fathoms
03 Death Tools
04 Dueling Sufis
05 Subterrania
06 Overloaded Lila

[ Livin' FLAC ]

Recorded live from 1999-2001 in Japan, Germany and Holland.

    Drums – Hamid Drake
    Guitar, Electronics, Edited By – Eraldo Bernocchi
    Producer [Realization], Bass – Bill Laswell
    Percussion – Aiyb Dieng
    Trumpet [Electric] – Toshinori Kondo
    Turntables, Scratches – DJ Disk
    Engineer – Oz Fritz
    Mastered By – Michael Fossenkemper
    Photography By, Design – Petulia Mattioli

Шοяδ Ѕουиδ - Τнε Мiхταрε (2011) (Bootleg)

TRACKLIST 

WordSound - Chicken Walk`97 (Splice Rmx) 

Roots Control - The Dub Posse Rides Again 

Prince Paul - Beautiful Night 

Scarab - Telesp 

Ebn E Sync - Drunken Monkey 

The Bug - Bug Party 

Bill Laswell & Style Scott - Aeon 

Sensational - Where It Started At 

Prince Paul - J.O.B. (Das What Dey Is!) (Eraldo Bernocchi Rmx) 

Scarab - Medley (Scotty Hard Rmx) 

Spectre - Dubs Of Smoke 

Dubadelic - Sallin' On 

Qaballah Steppers - Brooklyn Rumba 

Sada - Blink Feat. Melissa Be 

Spectre - Sunken Piano  // Organized Konfusion / Fudge Pudge (Acapella)

FLAC