02 Kala – 13:06
03 Kashi – 7:19
04 Above the Earth – 11:21
Bill Laswell is a true legend in music history and known as the ‘man with the golden ears’. Since 2013, he has been involved in hundreds of recordings with many collaborators from all over the world. Bassist, composer and music producer – enough to say that he was the producer for such legendary albums like Motörhead - “Orgasmatron”, Iggy Pop’s “Instinct”, Public Image Ltd – “Album” or Swans “The Burning World” to name just a few.
In 1997, Bill Laswell released his sixth solo album “City of Light” recorded in Banaras, India, and mixed in Greenpoint, NY. For this album, he invited John Balance and Peter Christopherson from COIL. Together they recorded the 13 minutes longing, epic composition “Kála”. The album also features Japanese ambient genius Tetsu Inoue, who decorated the album with its characteristic sound and acclaimed percussionist Trilok Gurtu. Together they created an amazing conceptual album full of deep drones, tabla-rhythms, and ambient collages.
“City of Light” is about Banaras, a city older than history, tradition, and legends. It is Shiva’s land, founded at the dawn of creation. It is India’s oldest and most fabled city. The Hindus call it Kashi, the luminous… The City of Light.
The album was originally released in 1997 on Belgian label Sub Rosa and is deleted for many years. This new edition – in Digipak – comes with all new artwork and booklet.
(…) Firstly let me say that the tabla work by Trilok Gurtu on Nothing is some of the best I have heard in ages. Very dynamic and powerful playing. While this is happening, the flute weaves its magic around the drone of the tambouras. Great stuff. Ultimately what Laswell has achieved is a state of mind and this for me is the real strength of this recording. I love this and full marks to Laswell and his gang for putting it out. Even though it is a tad short.” – Hans Stoeve (Nadabrahma)
“The opening “Nothing” features a lengthy passage of tabla playing by Trilok Gurtu. The instruments slow construction and dissipation of dynamics and myriad of rhythms create a fascinating narrative of its own. The closing to “Kala” builds tension through the repetition of spring-like electronic tones that rise out of Carson’s erie, unintelligible whispering. Laswell lends his own sparse, dub-influenced bass to “Above the Earth,” playing against a buried clatter of metallic drums.” – Nathan Bush (Allmusic)