Music Banter - View Single Post - Invisible Design – A Reflection on the music of Bill Laswell

Zarko · 04-12-2010, 08:45 AM

Iron Path – Last Exit (1988)

Laswell’s role: Producer, Bass

I felt I may as well get this one out of the way as well, considering I would have talked about it sooner rather than later. Another Laswell album that influenced me far more than I felt it would when I first stumbled upon it post-Arcana. Last Exit was a predecessor of sorts to Arcana, in that the basic values remain the same. They both followed the jazz rock curve, though in a divisive variation; whilst Arcana was primarily a studio band, Last Exit’s magic was in was found in their live shows. Despite this, I have always been most fond of Iron Path, their single studio album. It is the atmosphere that becomes apparent when Laswell is given the opportunity to fiddle around with things that most attracts me, but the unrestrained ridiculousness of their live performances (Example here) is still replicated in a way.

Last Exit was a supergroup whichever way you look at it. The legendary Sonny Sharrock on lead guitar in his last group before his death in 94, Peter Brotzmann, the human machine gun on saxophone, Ronald Shannon Jackson on drums and of course, Laswell on bass. Despite being a studio album, Iron Path still bristles with energy, and is best appreciated loud. Detonator has become a stand out in this regards, raw and veracious, the plodding pace of the main groove overpowered by some truly sublime Brotzmann bursts and some maniacal Sharrock riffs. The sonic qualities of the studio are found in songs like Prayer and Fire Drum, which contain some ingenious dub/ambient moments. These are truly works of unison, which is sometimes befuddled in their live or harsher songs, as each individual is so unique and so good at what they do that aspects of their performances get lost.

A bit of information is required in regards to their live performances; the primary ones to look for being Koln and their self-titled. If you find yourself appreciating Iron Path, I really recommend finding these and at least giving them a listen. They are a lot harder to swallow than Iron Path is, but the reward justifies the experience. The live element adds another layer to the studio albums, which makes it easier to understand in the scheme of things.

Admittedly I have moved on from the overt LE adoration I used to have, but this album remains on top of most of the albums in my collection. It contains so many elements that I simply wasn’t able to find at the time period, whether it was the extreme free jazz mixed with punk-like aesthetics or an adoration of the complexities of the group combinations, I loved every bit of it.

A tough mistress, but worth every cent – 8/10

04-12-2010, 08:45 AM	#5 (permalink)
Zarko Barely Disheveled Zombie Join Date: Sep 2008 Location: Australia Posts: 1,196	Iron Path – Last Exit (1988) Laswell’s role: Producer, Bass I felt I may as well get this one out of the way as well, considering I would have talked about it sooner rather than later. Another Laswell album that influenced me far more than I felt it would when I first stumbled upon it post-Arcana. Last Exit was a predecessor of sorts to Arcana, in that the basic values remain the same. They both followed the jazz rock curve, though in a divisive variation; whilst Arcana was primarily a studio band, Last Exit’s magic was in was found in their live shows. Despite this, I have always been most fond of Iron Path, their single studio album. It is the atmosphere that becomes apparent when Laswell is given the opportunity to fiddle around with things that most attracts me, but the unrestrained ridiculousness of their live performances (Example here) is still replicated in a way. Last Exit was a supergroup whichever way you look at it. The legendary Sonny Sharrock on lead guitar in his last group before his death in 94, Peter Brotzmann, the human machine gun on saxophone, Ronald Shannon Jackson on drums and of course, Laswell on bass. Despite being a studio album, Iron Path still bristles with energy, and is best appreciated loud. Detonator has become a stand out in this regards, raw and veracious, the plodding pace of the main groove overpowered by some truly sublime Brotzmann bursts and some maniacal Sharrock riffs. The sonic qualities of the studio are found in songs like Prayer and Fire Drum, which contain some ingenious dub/ambient moments. These are truly works of unison, which is sometimes befuddled in their live or harsher songs, as each individual is so unique and so good at what they do that aspects of their performances get lost. A bit of information is required in regards to their live performances; the primary ones to look for being Koln and their self-titled. If you find yourself appreciating Iron Path, I really recommend finding these and at least giving them a listen. They are a lot harder to swallow than Iron Path is, but the reward justifies the experience. The live element adds another layer to the studio albums, which makes it easier to understand in the scheme of things. Admittedly I have moved on from the overt LE adoration I used to have, but this album remains on top of most of the albums in my collection. It contains so many elements that I simply wasn’t able to find at the time period, whether it was the extreme free jazz mixed with punk-like aesthetics or an adoration of the complexities of the group combinations, I loved every bit of it. A tough mistress, but worth every cent – 8/10