Bill Laswell

如果細(xì)心分析的話，你會(huì)發(fā)現(xiàn)Bill Laswell是站立于后現(xiàn)代理論與神秘主義之間，一個(gè)當(dāng)代音樂(lè)之中極具矛盾性的人物。他所行使的，盡是屬于后現(xiàn)代的解構(gòu)、復(fù)制、循環(huán)、拼合及重組技術(shù)。取樣、回路、剪貼及電子樂(lè)器，這都是Laswell拿手的聲響改造技藝。從他處理聲響的角度來(lái)看，這是完全后現(xiàn)代化的音樂(lè)取向。由他創(chuàng)辦的音樂(lè)品牌Axiom，更旗幟鮮明地高舉著這樣的宗旨：未來(lái)只是一種意外，所謂真實(shí)并不存在，一切皆準(zhǔn)許進(jìn)行。也許世上再?zèng)]有人比他更漠視地域、民族、音樂(lè)類別的界限。然而這后現(xiàn)代式，分崩離折的并合世界中，Laswell的骨子里，卻是個(gè)著迷于古宗教神秘主義的覓道使徒，處處引述著充滿神秘宗教色彩的對(duì)終極現(xiàn)實(shí)之一體性之典故。并合性的合成音響世界，仿佛只是Laswell用于窺視神秘主義運(yùn)動(dòng)場(chǎng)域的一種冥想方式。循Laswell的思考模式進(jìn)入C.G.Jung的“無(wú)意識(shí)”界、James Hillman的“多神論”國(guó)度及Joseph Campbell的神話陳述，再通往Eco Umberto的符碼與William S. Burroughs的剪貼，神秘主義與后現(xiàn)代理論，仿佛只是神的兩個(gè)側(cè)面。
 
A longtime linchpin of the New York City underground music scene, Bill Laswell was among the most prolific artists in contemporary music; as a performer, producer, and label chief, his imprint is on literally hundreds of albums, the majority of them characterized by a signature sound fusing the energy of punk with the bone-rattling rhythms of funk. Born on February 12, 1955, in Salem, IL, he initially played guitar, but soon switched to bass; raised primarily in the Detroit area, he honed his skills in local funk outfits before relocating to New York in 1978. There Laswell formed Material, an outlet for his experimental approach toward sounds ranging from jazz to hip-hop to worldbeat; originally the backup unit for Daevid Allen, the group soon began working on its own, issuing its debut EP Temporary Music in 1979.
 
In addition to fronting Material, Laswell also mounted a solo career, issuing Baselines in 1982 on Celluloid, a label he partly owned and operated. Appearances on key recordings by the likes of David Byrne, John Zorn, Fred Frith, and the Golden Palominos established Laswell as a virtual nexus of the downtown N.Y.C. community, and in 1983 he broke into the mainstream with his production work on Herbie Hancocks smash Rockit, which he also co-wrote; the follow-up LP, Sound-System, won him a Grammy. Throughout the mid-80s Laswell was everywhere, playing bass on LPs from artists including Mick Jagger, Peter Gabriel, Yoko Ono, and Laurie Anderson; he also joined the avant group Curlew, and produced a number of African acts.
 
In 1986, Laswell joined guitarist Sonny Sharrock, drummer Ronald Shannon Jackson, and saxophonist Peter Brötzmann in the group Last Exit; a second solo LP, Hear No Evil, appeared two years later, and after a long hiatus he also resurrected Material in 1989 with Seven Souls. Another project, the hip-hop-flavored Praxis, was resumed after close to a decade of inactivity with 1992s Transmutation (Mutatis Mutandis). In 1990, Laswell formed another label, Axiom, to explore his interest in the new sounds of ambient and techno; where in the past his work rarely appeared solely under his own name, by the middle of the decade he was issuing several solo records annually in a wide range of styles from dub to jazz. He also remained among the most prolific producers in the business, collaborating with the likes of Dub Syndicate, Pete Namlook, Buckethead, and DJ Spooky.
 
In 2004, Laswell signed a multi-album label deal with the Sanctuary Records group. The deal spawned his new label, Nagual. Through Sanctuarys earlier acquisition of the seminal reggae label Trojan, Laswell now had access to the Jamaican labels sizeable back catalog. Picking some of his favorite cuts and remixing them, Laswell issued the Trojan-sourced Dub Massive: Chapter One and Chapter Two in May 2005. The Only Way to Go Is Down followed on Sublight Records in 2006.