Kayo Dot are returning with another full length album Hubardo and the group needs your help with the final mastering and release process to bring this record to its fullest state of life. To give the world a little glimpse into what they will help breath life into, Kayo Dot has offered an album sample of unmastered tracks for the masses to hear and the recordings are phenomenal to say the least. Instead of just asking for your money without anything in return, Kayo Dot just need your pre-order on Hubardo. If enough fans of their work come together, this will ensure that full mastering and extensive packaging are achieved and another piece of their work can be enjoyed by those who love collecting physical copies of music. Check out the statement from Kayo Dot below along with a mind blowing sampler of new content from one of New York’s best. Pre-order a copy of Hubardo by clicking here.
From Kayo Dot | http://kayodot.net/
This is a teaser trailer for the upcoming 95-minute Kayo Dot album, HUBARDO. These clips are UNMASTERED, which means that the final version of the recordings will be louder and clearer. Please listen to this mix as loud as possible and on good speakers to get all the details and low end.
We’re still running a pre-order for this album over at kayodot.bigcartel.com
We need to raise a lot more money in order to pay for mastering and manufacturing (about 200 copies), so please don’t hesitate to preorder now, and share this widget, so that we can get the album out in time for our tenth anniversary in Autumn 2013. Thanks for your support!
At one minute into Obsidian, it is apparent that Will has taken a darker and ironically clearer turn. He is still the Baths that made the incredible Cerulean but on Obsidian he has left behind a large part of his reverb and woozy, hazy dreamscapes to bring in a much larger and to some extent, more dynamic and heartbreaking sound.
Take the percussion on opening track “Worsening”. It reminds me of a tribal dance gone melancholic in the middle of a moist, warm jungle. Although these sorts of images are apparent in Cerulean (take “Rain Smell” and “Lovely Bloodflow”) the clarity of the production makes it almost visible where as in Cerulean it was more of an insinuation. His vocal work has gotten not necessarily better because his ever-shifting voice has always been beautiful, but it has definitely gotten much more pronounced and defined. The way he has approached the construction of his melodies around incredibly rhythmic drum/synth parts is remarkable and instantaneously catchy while still remaining on the odd end of pop. Who knows, maybe some of the clarity is part of Daddy Kev’s touches on the album.
After “Worsening” we go into “Miasma Sky” the single, which Will released a few months back. The production on the drums are incredibly clear and precise. Leaving behind a large portion of his attributed J Dilla MPC work and trading it in for something a little more similar to Postal Service, his beats are executed proficiently. The underbelly voices act as “strings”. He has stated that this album was intended to be played with a much more dynamic and live feel. “Miasma Sky” is a perfect example. Although immediately poppier, it is also immediately darker. The seemingly “random” glitches work incredibly well. They are heart churning. The melodies burrow themselves into your heart and pry it open.
“Ironworks” begins with a dramatic and deliciously sad set of strings that sway into a more recognizable Baths percussion pattern. On “Ironworks”, his sort of ballad, Will harmonizes in a similar fashion to Du-op or Acapella but places it inside of an anime. His voice is an angelic orb floating in a beautiful and timeless sky. It’s incredibly sweet as well as incredibly distraught. He has a way of effortlessly bending these two polar opposite emotions together.
“Ossuary” changes the channel. It has a subdued but fuzzed out bass that drives the track in a cooler direction. It decorates itself in celestial synth pads. The track seems perfect for a lonesome midnight drive. Soft-spoken guitar work guides the mood along the track as Will adds his delicate harmonies over equally delicate arrangements all basically powered by the thumping, post-punk fuzzed bass. This is definitely a very different step for Will and one that I really enjoy. It was actually the track that caught my attention the most upon first listen of Obsidian.
“I was never poetic and never kind,” he whispers with affirmation on “Incompatible”, probably the most emotional track on the album. Will seems to have gone through a number of dissolutions throughout his last couple of years… “Scared of how little I care for you,” he sings. And if you submerge yourself into “Incompatible”, a tear might leak out of impotence and self-realization. It seems that Will is coming to grips with cold and seemingly despondent feelings. “No Eyes” reminds me of Cluster. He continues his deep seeded sadness into “Phaedra” where he confesses his desire to end his life and the thoughts of mortality that are tormenting him.
In “No Past Lives” his classically trained skills come into play with abrupt changes and playful piano recitals that return to the sort of stormy song. A peaceful storm. A sense that although things are on the verge of exploding, it’s going to be okay. The changes although abrupt work incredibly well. He didn’t hold back on this record and still managed to keep it simple. His tones are near perfect and his compositions are awe-inspiring. “No Past Lives” is a good example of what Will can do and how far he can take his music while keeping it understandable and organized. His voice drops to a raspy near-scream that is gut wrenching and honest.
“Earth Death” is definitely my favorite track so far on the album. The beat is driven by a tamed industrial tone that rustles metallic leaves and suffocated vocals. It’s the darkest Will has taken us so far and definitely one of the loveliest compositions I have heard from him. The bass and strings play on a note that paints a pitch-black mountain swirling in grey clouds and haunting purple lamps. Apocalyptic chants from occult women line the top of the mountain, swaying towards the heavens chanting’s “Come kill me”. The beat is incredibly well composed and the angular screeching guitars are well mixed into the hefty composition.
Although a hedonistic Will appears throughout the album, it isn’t a Will that turns you off, but one that is relatable. Even if Will is only 24, he feels much more grown up and on Obsidian his masterful song writing and composition is what makes the album unbearably good. It will most likely chart as one of the years best releases and will definitely continue to grow on me, agreeing with the imaginary chart, as did Cerulean, an album released in 2010 and still one I listen to all the time. If Will was looking for a much more raw and honest nostalgia, he has achieved it. It is brave, honest, infectious and catchy. He has most definitely coated a pop record in Obsidian that will shine on throughout the coming years as a forefront in boundary pushing IDM/ electronics.
Order a copy from Anticon by Clicking Here
Hot new Madlib track fresh out of the kitchen. It’s running on a limited 300 copies under the new Rock Konducta white label 45, which is coming from his exclusive forthcoming Zamrock show in San Francisco coming up next month. The set will focus on South African Zambia 70’s rock. He had visited a similar style on Beat Konducta in Africa and there is talk of Mos Def and Madlib working on a collab album in Zambia.
The show is on Friday June 7th at the Folsom, get your tickets here.
The first official Boards of Canada music video off their new LP Tomorrow’s Harvest via Warp Records. Directed by Neil Krug, “Reach for the Dead” is everything we could have ever asked for and has us glued to the groups updates now. Full details and streaming YouTube player below.
From Boards of Canada
Monday 10th June 2013 (Tuesday 11th in N. America)
‘Reach For The Dead’ directed by Neil Krug
Deafheaven create some of the most gripping and emotionally complex rock music in this age, cutting between genres and themes of universal expression that can connect to any age. The addition of percussionist Daniel Tracy to their new album Sunbather is a defining addition to the bands dynamic weight and will give them even more longevity in musicianship and sonic scope. Engineering for the new record was handled by Jack Shirley, an important piece to one of our favorite hardcore bands Comadre, and the sonic quality of Sunbather is a reflection of their work with Jack. The guitars and bass are raw and huge, drums are mixed into the music with more space and dynamics and the vocals are magnificently unhinged. It’s a sound that is very tough to capture in such a beautifully raw yet concrete and powerful form like this. The guitar progressions and rhythmic diversity is moved up a notch as well, allowing for some mind bending intervals to pop out of nowhere from the driving force of each songs foundation. Backwards guitars, acoustic passages, somber break downs, the presentation of the album speaks of a much more diverse range of sounds and textures. The higher states of energy are still intact, cleverly interwoven into these states of rest and experimentation.
The title track “Sunbather” is a phenomenal feet of their harmonious hardcore with dynamic shifts and turns only the best of musicians can tap into. Over 10 minutes in length, something very ethereal and special happens within each cycle that has really moved us today. The density and emotional resonance left behind in the new Deafheaven sound is moving on every level with lyrics that go far beyond a conventional state of hooks. It’s poetic passages about idealism, perceived perfection and the mentally shattering process of traversing between both worlds in the artistic lucid states some are afforded in this life. The guitar sheets are propulsive and flaring, engulfing wave of emotions inside every strum. Sunbather is more dynamic and more thought out then their first outing, leaving an entirely new sense of possibilities in my mind for the bands future. It’s a beautiful expression that grabs you in the first measures and submerges you deep into the fabric of the rawest human emotions.
The group is scheduled to release their sophomore album Sunbather on June 11th with Deathwish Inc. and Pitchfork has offered the first public stream of the record in their ‘Pitchfork Advance’ series. The world of Deafheaven has become even more special to us at SCV with this new LP and will without a doubt be a vital addition to music released this year. Full details from Deathwish Inc. below along with the link to the stream and pre-order Sunbather.
From Deathwish Inc.
Sunbather, which was recorded and engineered by Jack Shirley (Funeral Diner, Comadre) and designed by Nick Steinhardt (Touche Amore), deals with the profound sadness found in the quest for one’s personal perfection, serving as an artistic lucid dream of warmth despite the stinging pain of life’s cruel idealism. With opener “Dream House”, George Clarke’s tortured vocals familiarly intertwine with Kerry McCoy’s hypnotic guitar work before crashing into a wash of post-everything melody. This leads to the moving instrumental “Irresistible”, a track that carries a twisted indie-like sensibility buried beneath glittery layers of guitar and piano. However, it is in the title track and beyond where the maturation and growth of Deafheaven brightly shines. On Sunbather, they explore sonic peaks and valleys created by superb percussionist Daniel Tracy (new to the band for this recording). Daniel’s inclusion brings new dynamics to light as an urgent pulse to the swirling musical chaos, pushing bleak epic “Vertigo” and the dark emotional closer “The Pecan Tree” to new, awe-inducing heights. Without question Sunbather is Deafheaven at the peak of their creative strength and vision of their young existence; a 7-song, masterfully crafted work of art that will be renowned for years to come.
The V/H/S series returns with a second installment, set to release in theaters in the second week of July. This is definitely a genre defining series and something we can’t wait to see. Full details below along with the red band trailer. Check out the green band trailer here for a slightly less graphic version.
On Demand 06/06 and In Theatres 07/12 from Magnet Releasing
From Magnet Releasing | http://www.magnetreleasing.com/
Inside a darkened house looms a column of TVs littered with VHS tapes, a pagan shrine to forgotten analog gods. The screens crackle and pop endlessly with monochrome vistas of static—white noise permeating the brain and fogging concentration. But you must fight the urge to relax: this is no mere movie night. Those obsolete spools contain more than just magnetic tape. They are imprinted with the very soul of evil.
From the demented minds that brought you last year’s V/H/S comes S-VHS, an all-new anthology of dread, madness, and gore. This follow-up ventures even further down the demented path blazed by its predecessor, discovering new and terrifying territory in the genre. This is modern horror at its most inventive, shrewdly subverting our expectations about viral videos in ways that are just as satisfying as they are sadistic. The result is the rarest of all tapes—a second generation with no loss of quality
In the name of modern music, there are few whom hold the same type of background and legacy as multi-instrumentalist, producer and visionary Bill Laswell. Since his first sessions in the late 1970s — to material he is capturing in these times; he has given the world hundreds of recordings with dozens of labels. Laswell has become synonymous with a level of greatness that has connected the world’s musical framework. Dub, jazz, funk, avant-garde, post-punk and many other genres are all fair game in the matrix of fusion that Laswell creates. He regularly performs with the most prolific artists and is given access to studio archives people can only dream of one day seeing. Laswell’s access to the Bob Marley Trojan Recordings and the Miles Davis fusion ’70s period material produced groundbreaking remix albums he made over the last decade and a half; reaching fans of fusion music from every era. Bill’s time with Alan Douglas in the ’80s almost led to the same level of collaboration existing in the archives of Jimi Hendrix, a “what if” scenario that is endless in thought. His ability to craft sound into many shapes has really separated him from the rest, allowing him to function in many, many situations.
Bill Laswell’s ability to stay active with different groups over the last 30+ years has become a strong point in his success; while building musical bonds with some of the best musicians alive whom allow the act of improvisation to coexist freely within the structured definitions of their musical vision. From Tabla Beat Science and Praxis to Last Exit and Method of Defiance, his sonic variety in all these mediums is an illumination of the human spirit in creative greatness with communicative equilibrium at the base. Every single one of the recordings he touches is a reflection of every player — guiding each other and allowing all of their signature sounds to rise to the surface. The sheer depth of Laswell’s tone is unmistakable and also a very large part of modern-day rhythm. To realize his body of work already is overwhelming and it feels like the tank is still full with his music output release flow.
When we caught up with Bill Laswell last year, he had just been featured on the Blixt record put out by Cuneiform Records. At the same time Bill was beginning to really launch materials out of his M.O.D. Technologies imprint with a regular pace. With a retrospective Celluloid Records in circulation featuring a wealth of Laswell numbers, the dots are now connecting on his career in ways that this generation will really appreciate and love. “Rockit” with Herbie Hancock to legendary sessions with PiL, his track record for going the extra mile into every pocket of sound is unparalleled. Connecting with Laswell through the Cuneiform label, we were given 30 minutes to speak with the master of fusion about Blixt, Celluloid, M.O.D. Technologies, early years in New York and many more areas of his career. Enjoy this exchange with Bill Laswell and Sound Colour Vibraton’s Pouya Asadi below while enjoying a few live clips from Laswell and his various collaborations.
Bill Laswell Interview
Conducted by Pouya G. Asadi
SCV: Blixt is one of your latest group outings with two mind blowing musicians, guitarist Raoul Björkenheim and drummer Morgan Ågren. What were the deciding factors to bringing this group together for a release under Cuneiform Records?
Bill Laswell: [laughter] It’s not my project, it’s their project and they approached me and I’ve known Raoul for a long time, and every time I do these things they’re not my band, they’re not my productions, they’re not my projects. I’m as involved as they are but it’s no ones particular vision, you know. Raoul had an idea, he knew Morgan the drummer, I was interested in him and that’s how it happened.
SCV: There’s a very raw and improvisational setting in place for Blixt, how was the feeling and energy inside of the studio for this recording?
Bill Laswell: Well, there were some sort of prepared ideas, there were some directions and then there was sort of improv based on the, in some cases, pretty loose structure or really minimal structure. There was some ideas that were brought by those two and a lot of it was improved around those kind of directions. It was pretty spontaneous and fairly energetic and precise, we didn’t waste any time. We used the time well.
SCV: For the logistic side of Blixt, what type of bass rig did you utilize in the recordings?
Bill Laswell: It’s a 1976 Fender Precision, kind of customized, there’s a lot of different pedals I used on that record probably, different things. There might have been an 8-string at one point and another 4-string. Mostly it’s the Fender with a AMPEG SVT Amplifier and a DI in the studio.
SCV: What can you say about Morgan and Raoul’s contributions to this record?
Bill Laswell: Well it already is a collaboration, but again, Raoul initiated the project and brought, I believe, the bulk of the riffs, phrases, written parts, whatever you call ‘em. And again, that was a contribution to getting the thing started then once you get up to speed and get a direction, then you improvise. So the collaboration is there from the beginning.
SCV: You had the pleasure of interacting with creative goliath Giorgio Gomelsky when you relocated to New York in the ’70s. What were some of the biggest ideas, views and perspectives Giorgio gave you?
Bill Laswell: Well, that was a long time ago, and I was just arriving in New York and just trying to get started. I sort of had ideas of what I would like to do and not like to do. Giorgio is one of the first older people that I met that had actually done something and I was not as familiar with his forays into classic-rock like Yardbirds or those kind of groups. I was more familiar with his work that he had done with progressive-rock in Europe, stuff like Magma which came from France, and that’s how I knew him. And I guess what I valued about him was his progressive-rock side, and he was aggressive and determined. I’m not sure we really collaborated, he certainly had no shortage of ideas in those days, he knew that there was a lot of things that he wanted to try to do. But at the end of the day there’s things that you want do, that you hope you get to realize them, and I’m not sure that’s the case with Giorgio.
SCV: Celluloid Records was one of your first major projects during your time in New York. What was the most challenging aspect of getting the label running and do you go back to any of the first releases for pleasure’s sake?
Bill Laswell: It’s not my label, the label was owned and financed and dictated up to a point by Jean Karakos who I met through Gomelsky. Karakos is still active, I wouldn’t use the word successful but I would say he’s done a lot and he manages to be one of the classic-rock music period record pirates that still exists. He’s one of the last. In a fun criminal kind of way, it comes from that time, but anything goes, you just take somebody’s music and put it out or you do whatever you want and you move on. It’s the classic pirate, but anyways, Karakos started Celluloid. We talked about doing projects and he gave me free reign to do whatever I wanted, so the impression people get in the market place is it looks like I’ve made a label ’cause I was contributing probably 80 to 90 percent of the catalog. And we had a fairly good arrangement for a while, he kind of let me do what I wanted, and some other things benefited the label and I also let him distribute or administer publishing, which brought money to the label. Those were the days when you didn’t know much about business, you just wanted to create things. So there’s a lot of bad business, a lot of money stolen/lost but some money earned. The only label that I can say that I’ve had, where I decided what everything was, was in agreement with Chris Blackwell who at that time had ‘Island’. In ’89 I created a label called Axiom and that was a situation where the label was owned by the corporation but it was in fact my label creatively. And until recent times, now we have a label called M.O.D. Technologies and that’s another case where we actually own the label and make all the decisions. There’s only really two situations where I can say “that’s mine”, that it’s my label with no liaisons with corporate labels.
SCV: Do you go back to any of the first releases on Celluloid for pleasure?
Bill Laswell: No, I don’t see music that way, it’s no such thing to me. Going back, I’m not big on that either.
SCV: When working with bass players on your projects — such as Bootsy or Jah Wobble — how do you decide when to wear the bass player hat as well as the producer hat?
Bill Laswell: You’re not really conscious of it. If you’re just thinking about some kind of honest collaboration or interaction with people you just sort of have to go with the moment and you don’t always have things totally planned. Everything’s not like a pop production or like making a film in Hollywood, it’s sometimes fairly spontaneous. Sometimes you record one person and you might replace them with someone else and no one even knows. So you just do it step by step with focus hopefully and a certain amount of spontaneity and you just make those decisions. Sound gets generated in all kinds of ways. Some people really call themselves producers and they take care of every detail and other people go for more of a feeling or just an overall “what’s the end result and what was your experience when you listen to this creation that we’ve just manifested?”. I don’t have a rulebook or any particular philosophy and I don’t like to designate titles that people give like producer, exec. producer, asst. engineer, etc.. It all goes into creating art, you know, and you don’t need titles, it’s not the military.
SCV: The personnel on PiL’s Album are very interesting, how did you arrive at that particular combination of players?
SCV: Well, again, it wasn’t really planned, its sort of a step by step process. Somebody makes a joke in a bar and somebody else says the wrong name to the wrong person and all of a sudden you have a list. John Lydon had said once in a magazine that he wanted to get Ginger Baker to play in PiL and everyone thought it was a joke and I actually thought it was a great idea. So the first thing that I said to him was “We should find him, I’ll find him”. It started with Ginger Baker and then I was always at that time trying to get into as much recording as possible with Tony Williams. Ginger and Tony knew each other from back in the day with Jack Bruce. Then I got Tony, then I had the foundation. And then I just started to pick people that I had worked with or heard good things about and it went step by step. We heard about Steve Vai; we had some friends who knew him. I had kinda production based people that I was using on a lot of different projects which at that time would’ve been: Nicky Skopelitis, Bernard Fowler and Bernie Worrell. I was working a lot more in Japan so I reached Ryuichi Sakamoto. Than there were people on the fringe that you would not expect to be on a rock records, like Malachi Favors from the Art Ensemble of Chicago, Jonas Hellborg, and Steve Tuure. But again it came together just piece by piece falling into place and it involved finding people that were lost and discovering new people and dealing with some legendary people, all at the same time.
SCV: With yourself having such a heavy hand in Herbie Hancock’s “Rockit,” can you describe the recording sessions that made this pivotal turning point in modern culture while accepting and loving ‘turntablism’ and the new sound Herbie was coming up with?
Bill Laswell: “Rockit” was something that was not really a plan. I had started to make connections with what was in the beginning with what would become improv so I think the initial idea was to use electronic drum programming that we were hearing coming out of the Bronx and in hip-hop records. To use the turntable as a signature sound, as an instrument and than to augment that with references that weren’t jazz related and in some cases not even accessible music, but that’s kinda how it happened. It was something that just came together, we didn’t really know what we had until everybody responded the way they did. To me it was just another experimental studio kinda thing.
Bill Laswell: Last Exit is one of the most unsettling and gripping tunes I have heard in my life. The muscular velocity of how the group communicates in the setting of improvisation goes beyond old possibilities of compositions. What comes to mind when you think about your time with Last Exit?
SCV: It was from ’86 to, I believe, ’89 and it was very physical. It was very destructive. It was loud. It generated a lot of energy which sort of had a purpose in a form of a hygiene that it was maybe stamping out some of the more complacent activity at jazz festivals in Europe during that time. Sort of what punk-rock did to rock music. But it felt like there was some power there and it’s pretty much %100 improvisation. From playing a lot together, we developed a kind of a routine, at least between the drums, bass and guitar, that sounded to people like we were sometimes playing compositions or pieces. For the most part it was developing over those years of playing a kind of a language that we could speak only amongst ourselves and not outside of that particular reading group. It had significance in that it had power and it did feature some important people that obviously come from a lot of different areas. And the response was always divided, you either loved that and you’re devoted to it or you can’t completely figure out why someone would do something like that. But over that course of time we did quite a lot of work in a lot of different places and it obviously subsided because of the death of Sonny Sharrock. ‘Cause you could never have it like it was, it would be like trying to put the Jimi Hendrix Experience back together without Jimi Hendrix.
SCV: One of my favorite groups of yours has to be Tabla Beat Science. The DVD Talamanam Sound Clash: Further Adventures in Hypercussion is something all fans of fusion music should own. How are you feeling about the work you completed with the group these days?
Bill Laswell: Yeah, I thought it was a great fusion and for once it was leaving out a lot of the obvious cliches of jazz/rock fusion. You got to hear a lot of great Indian music and you got to hear some modern sounds and technology and things being generated by laptop, by turntable, and there’s a lot of vocals with a good rhythm back line. I thought it was very timely also. Sultan Kahn has passed away and Tabla Beat is a kind of chapter that opened and a chapter that closed but I think it was well documented and we never had a bad moment and we always played very high-end type concerts. We played in India, Lebanon, Japan and all over England and the States so it was well documented. There’s at least three recordings of it, one of them being a DVD. So it’s a good clean open and shut case, you know.
SCV: Do you see another release from Tabla Beat Science on your M.O.D. Technologies imprint or is this a closed chapter?
Bill Laswell: I think it’s a closed chapter in a positive way.
SCV: M.O.D. Technologies is your new baby, serving as the successor to Axiom and the strong foundation created with that label. You released an expanded version of Profanation from your group Praxis, another of my favorite groups of yours. With a Lee Scratch Perry album released among other stellar material out, what plans do you have for this new venture in the coming years?
Bill Laswell” Well, they’re already in place, a lot of them. I’ve been working a lot in Ethiopia and there’s a young band there, somewhere between the ages of 21-25. Ethiopian musicians playing their version of a kind of rock music. It’s African music but it’s very futuristic and it even has overtones of metal so it’s gonna be very controversial for the African music fear, if there is such a thing. So that’s one. I’m also doing an Ethiopian compilation of modern new stuff and some of the legends and the older stuff which will come with a thirty minute film. Hawkman with Sly and Robbie is coming out now, like any minute, and that’s pretty much roots reggae based with overtones of electronic music and dancehall and dub and sort of accessible and commercial reggae and dance stuff. There’s a record of North African which we hope to feature Pharaoh Sanders and DJ Krush. Some kind of a project will come out of the collaborations with him that we’ve been doing in Japan with MOD. That’s about it for the most part. There’s some very interesting things that are being talked about, and there’s probably another Lee ‘Scratch’ Perry record which will feature some other artists that everyone’s heard of. Working on that at the moment. That’s about where it’s at, at the moment.
SCV: I caught wind of your Sony Creative Software series Loops and Samples. Released as a box set with stunning 24 bit sound, how has the world responded to this gift of yours and how do you feel this will shape modern music for years to come?
Bill Laswell: Oh, I had really nothing to do with that, these people showed up, they were interested in loops, and I have a storage room full of tapes. I was in Europe, a guy showed up who had some money, he paid it to an engineer who was not even one of our engineers and made his pick of things and I never even bothered to see what they had chosen. I’ve never heard it before but I’m assuming it could be useful in a kind of cheesy way like if you’re copying something to make a quick TV commercial or something. It probably has a function.
SCV: How have your decades of touring and performing in front of vastly different cultures summed up your present day music-making?
Bill Laswell: Well you know, when it really comes to recording and trying to get a good performance, or being critical or judging a performance, honestly it’s really no different. You take it all for the value of the experience of the performance and then in the studio you try and do your best work. It’s not once you’re in front of a mike, once you’re determining a result in whatever way it needs to be done, you don’t draw the line, its not that different. I’m sure for others that might be frustrating but for me it hasn’t been any different.
SCV: Do you have a love for the process of recording… being in the studio… creating music and so forth?
Bill Laswell: Yeah, to me it’s all process. Like they say ‘You’re dying every day but it’s the riot that counts’, it’s the process. Like Hitchcock would make a film and when he was done filming he felt he was done, of course no one realized his wife was an editor, but yeah, process is everything to me because there is no infinite version for me. There is no absolute final way something is. There’s no such thing as a purist when it comes to judging a record because if it’s a record that’s mixed for multiple tracks it could be done in endless different ways and so there are no real results, there’s just experiences we altered. In the future you’ll probably hear, or be able to, create your own versions of things that you’re interested in. It’s already starting a little bit, and it should be that way. And the process is the creative process which no one can take away from you, whatever you or anyone does is indivisible, is original, unless they’re copying somebody.