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
