Hallucination Engine is an absolutely monumental, hypnotic, and historically staggering avant-garde world-fusion masterpiece by the legendary New York collective Material, masterminded and produced by visionary bassist Bill Laswell, released in 1994 on his iconic Axiom label. Spanning over 67 minutes across eight expansive sonic dreamscapes, this high-fidelity document captures the ultimate zenith of Laswell's pan-global musical philosophy—a seamless, deeply immersive collision of ambient dub textures, heavy space-funk rhythms, acid jazz improvisations, and traditional Middle Eastern and Indian classical music architectures. The album features an unprecedented assembly of legendary musical titans: jazz saxophone giant Wayne Shorter spins haunting lines across the ether; rhythm royalty Bootsy Collins and Sly Dunbar lock down the groove; Bernie Worrell unloads cosmic organ soundscapes; and percussion masters Zakir Hussain, Trilok Gurtu, and Vikku Vinayakram weave intricate polyrhythmic layers. The session is further immortalized by a legendary spoken-word performance from literary icon William S. Burroughs on Words of Advice, alongside a transcendent, microtonal reading of John Coltrane's Naima featuring Simon Shaheen and Shankar. Moving fluidly through cinematic epics like Mantra and the jazz-funk mutation of Weather Report's Cucumber Slumber, the recording balances earth-shaking bass frequencies with beautiful, acoustic ethno-ambient stillness. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full retail artwork scans, this definitive document stands as a mandatory cornerstone and an absolute holy grail for global purists of experimental world fusion, advanced dub production, and boundary-pushing creative music history.

Temporary Music (1979-1981) is an absolutely vital, combustible, and historically monumental archival document by the legendary New York downtown avant-garde collective Material, compiled and released on CD in 1992 by Restless Records. Spanning nearly 62 minutes across 12 hyper-kinetic, razor-sharp tracks, this high-fidelity compilation gathers the band's foundational early EPs and singles—documents that fundamentally drew the blueprint for the collision of No Wave, industrial funk, mutant disco, and free improvisation. Grounded by Bill Laswell's legendary, heavy-mutated dub bass lines and Fred Maher's precise, propulsive drum architecture, the ensemble creates a fierce sonic environment that perfectly mirrors the gritty, experimental energy of late-70s and early-80s Manhattan. Backed by Michael Beinhorn's sweeping synthesizers and tape textures, alongside searing guest guitar lacerations from the iconic Robert Quine and Cliff Cultreri, the band strips away traditional rock song structures in favor of sheer rhythmic momentum and abrasive sonic collages. The tracklist highlights the pioneering punk-funk syncopation of O.A.O. and Ciquiri, the dark, brooding atmospheres of Slow Murder, and the angular, jazz-inflected free structures of Discourse and White Man. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio, this definitive retrospective stands as a mandatory cornerstone and an essential holy grail for global purists of post-punk history, advanced downtown jazz-funk, and experimental art-rock evolution.

Over the course of more than three decades, visionary bassist / producer Bill Laswell has been one of the most prolific and restlessly creative forces in contemporary music, always a few steps ahead of the curve, EVOLUTION / REVOLUTION. A new category of magical, electro / acoustic technology. Further research may shed a most revealing light on the development of sound storage in material culture. AGAINST EMPIRE, projects a hybrid activity, constantly evolving texture, crashes against smooth, unfolding rhythms built around the solid and elastic drum foundations, of four iconic drummers. Jerry Marotta (Peter Gabriel), Chad Smith (Red Hot Chili Peppers), Hideo Yamaki (Japan’s top drummer), and Satoyasu Shomura (Japanese pop phenomenon). The legendary saxophonist Pharoah Sanders, especially known for his radical collaborations with John Coltrane, versatile multi-instrumentalist Peter Apfelbaum, minimal contributions from the great Herbie Hancock on electric piano and the unmistakable touch of master percussionist Adam Rudolph.

Mount Analogue is a double‑album pilgrimage into René Daumal’s “symbolically authentic non‑Euclidean” world, conceived by Bill Laswell and P.ST as a musical counterpart to the writer’s cult novel. Daumal’s book, left incomplete at his death and breaking off mid‑sentence, follows a band of mountaineers seeking an invisible, unreachable peak on a hidden continent that can only be approached with obscure knowledge and altered perception. The record honours that premise by treating sound as a climbing route: a path that’s felt more than mapped, where every timbral shift or unexpected entrance is another ledge, another crevasse, another glimpse of an impossible summit.

Regrooved Records proudly present the ultimate reissue of Axiom Funk's legendary album, Funkcronomicon! This psychedelic and funkalicious masterpiece continues to amaze listeners with its eclectic variety, thanks to the impressive roster of artists under the name Axiom Funk. At the heart of this project is legendary producer and bassist Bill Laswell, whose artistic vision and skills seamlessly unite the album. Funkcronomicon features appearances by many (former) members of Parliament-Funkadelic, making Funkcronomicon a de facto release of this legendary band. Among the featured musicians are the p-funk legends George Clinton, Bootsy Collins, Bernie Worrell and Jerome “Bigfoot” Brailey, and it features the last studio recordings from guitarist extraordinaire Eddie Hazel. Nex to that it also features contributions from icons such as Sly Stone, Maceo Parker, Fred Wesley, Bobby Byrd, the dynamic duo Sly & Robbie and Herbie Hancock and many, many others.

Outer Dark displays Bill Laswell's penchant for working out compositional ideas at great length, breaking the 20-minute barrier on both of the album's instrumental pieces. Entirely a studio creation, the music is the result of Laswell's (sounds) collaboration with Robert Musso (engineering, treatments) at Brooklyn, NY's Greenpoint Studios. The duo attempts to shape a composition out of the dark ether on the opening "Chakra." It begins with a buzzing sitar drone (providing the Eastern flavor common in Laswell's music) and strummed guitar emerging from the murk. Disappearing and returning throughout, the elements take on a sort of dizzying paranoia at song's end through their repetition. As for the ether itself, the musical backdrop is a drift of throbbing, amorphous ambience comprised of mildly chilling keyboard washes and tube-like breezes…

The 'Outland' album series was a collaborative endeavour by the visionary US bassist-producer Bill Laswell and the late German musician Peter Namlook that pushed the boundaries of dark ambient and electronic music. Spanning five albums released over a thirteen year period from 1994, this new boxset serves as a testament to the creative synergy between the two masterminds.

There's an old saying that one is only as good as the people with whom one collaborates. Judging by the list of musical contributors to Hector Zazou's Sahara Blue, Zazou is quite good indeed. Among many others, those adding their own touch to Zazou's album include Bill Laswell, Dead Can Dance, John Cale, David Sylvian, Ryuichi Sakamoto, and Tim Simenon. Zazou devised the album as a mix of musical styles set to lyrics/vocals taken from the pen of Arthur Rimbaud. While it might appear like a pretentious undertaking on paper, the album is a cohesive slice of eclectic music-making. Jazzy spoken word songs such as "Ophelie" intermingle with throbbing dance-oriented numbers like "I'll Strangle You" and quiet, peaceful piano-based meditations such as "Harar et les Gallas." Dead Can Dance duo Brendan Perry and Lisa Gerrard work their particular magic on "Youth," exchanging vocals, and on "Black Stream," where Perry's dark, somber synth weeps around Gerrard's stunning vocals and yang chin. Zazou himself mostly stays in the background, providing production and electronic sounds, allowing the players to showcase their abilities.

Deep growling drones get this sixty two minute epic underway. It really sounds like the beast from the deep or some alien from outer space. Its dark ambient picture music of the very highest order. There's something out there to get you in every dark corner. In the ninth minute extra detail is added in the form of some faint vocal effects with a slight metallic quality to them giving a brighter edge to the sonic landscape. Ghostly wails are heard at about the fifteen minute mark making the whole proceedings seem even spookier. Around the eighteenth minute more detail starts to be added , oh so slowly. Its as if we are entering some subtly different area of space, the atmosphere is still dark but things seem sparser and maybe slightly less threatening. Each sound is used carefully and given plenty of space for full effect…

One of the most prolific men in music, Bill Laswell doesn't release albums under his own name as often as he once did, which makes Book of Exit, the fourth in his "Dub Chamber" series, especially worthy of attention. While the previous "Dub Chamber" releases leaned more toward hard Jamaican-style dub music, with instruments dropping in and out and plenty of reverb and delay, this is altogether a different beat, in large part due to the vocals of Ethiopian singer Gigi. And what Laswell, Gigi, drummer/tabla player Karsh Kale, and percussionist Aiyb Dieng end up with is really ambient dub - something lighter and more flowing because it adapts itself to the vocals. And Gigi is in excellent form, possibly better than on her own debut, whether on "Ethiopia" or the memorable, beautiful "Jerusalem," which mixes a slight R&B inflection with dub for something outstanding, beautiful, and ethereal…

Thirty-three years after their first meeting, Samsara is a spectacular reunion of three of the world's most extreme musical explorers—John Zorn, Bill Laswell, and Mick Harris. Originally formed in 1991, PainKiller is a legendary trio that forged a completely unique language blending jazz, metal, grindcore, ambient, dub, and so much more. Recording again for the first time in over a quarter century, these three master musicians have come up with an intense new musical direction. Mick Harris, performing on his trademark electronics, has created a rich tapestry of beats and sounds that have inspired Laswell and Zorn to some exciting new heights. Samsara presents three old friends exploring some bold new sounds.

Psychonavigation is a trip and a half. Pete Namlook and Bill Laswell have created a set of sonic hallucinogens that permeate the psyche. These sequences and atmospheres are full of experimental sounds, strange samples, and overt space music riffs. There is nothing earthly about this music. The atmospheres are inhuman. The evocations are metallic and robotic. The flow, however, is smooth and fluid. Namlook and Laswell are visiting the ultimate oxymoron – fluid metal. The answers are as mysterious as quicksilver itself. This is one of the best Namlook/Laswell collaborations. It will appeal to fans of Amani, Tales, and Dweller at the Threshold. It is essential space music.