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Imaginary Cuba

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Album Review

Bassist and producer Bill Laswell has dabbled in several varieties of African music over the long and circuitous course of his career, with uneven results. But Latin America is a region he's left largely alone, until now. Imaginary Cuba finds him taking an approach somewhat similar to the one he employed on his Off World One project — building on a foundation of field recordings, he constructs complex and often dub-inflected sound collages that sound like no one but Laswell while still maintaining respect for the music's origins. Laswell's distinctive bass style — heavy, yet almost singingly melodic — and his penchant for dubwise echo and fade techniques are what make this music recognizably his, but the raw materials that form its basis come from Cuban artists like Tata Guines, Frank Emilio, and the Septeto Nacional. Massed, trance-inducing drums, musichall piano, call-and-response vocals, and various unidentified stringed instruments are all part of the mix, and the rhythmic stew that Laswell cooks up using all of these ingredients is rich, thick, and spicy. Highly recommended.


Born: 12 February 1955 in Salem, IL

Genre: Electronic

Years Active: '70s, '80s, '90s, '00s, '10s

A longtime linchpin of the New York City underground music scene, Bill Laswell has been 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, Illinois, he initially played guitar, but soon switched to bass; raised primarily in the Detroit area, he honed...
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Imaginary Cuba, Bill Laswell
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