Invisible Design – Bill Laswell (1999)
Laswell’s role: Creator, Bass
This album is my very definition of Bill Laswell’s music. The threads namesake has a lot to live up to if I am to give it such a high honour, but it certainly deserves it. This is solo Laswell, with high production values and great dubbing on an ambient platter, though not one that is ever inactive or boring. This was Laswell’s first release under John Zorn’s Tzadik Record label, and perhaps his free reign under the heavily experimental label is what brought the beast out of him.
The prominence of the songs have more to do with the amalgamation of atmosphere and design aesthetics than any specific moment of pure technical talent, Laswell able to create a graceful bliss that maintains attention rather than becoming monotonous and boring like much ambient music. The two main production elements are lightened synth and elongated smooth bass notes that carry the listener, almost spiritual in nature. That being said, it isn’t a clear cut one and done style album, there are moments of variation for those who aren’t interested in perfection. Black Aether contrasts the atmospheric soundscape for the occasional abrasive grinding sounds, that really add a ‘dark’ element whilst not swallowing the album whole. Oceans of Borrowed Money is much more upbeat than a majority of the album, with Laswell’s love of funk and its influence obvious throughout the song.
Without a doubt though, for me the stand out track is Aisha. Starting slow, the song develops a single, repetitive riff with some exquisite ambient dub moments. The cymbals add a great amount of depth for something so simple; the resultant effect is simply sublime. Thankfully the songs don’t go on too long either, saying their piece and leaving without boring the listener. There isn’t really much more to say really; this is what Laswell is all about.
A personal favourite – 9/10