1/  Baron Samedi                               (Bernocchi,Harris,Laswell)    6.34
  2/  Magamat                                    (Bernocchi,Harris,Laswell)    6.22
  3/  Kurukulla                                  (Bernocchi,Harris,Laswell)    6.19
  4/  Luk Krok                                   (Bernocchi,Harris,Laswell)    6.34
  5/  Set Rising                                 (Bernocchi,Harris,Laswell)    5.25
  6/  Aether                                     (Bernocchi,Harris,Laswell)    6.39
  7/  Madre De Agua                              (Bernocchi,Harris,Laswell)    5.39
  8/  Yama                                       (Bernocchi,Harris,Laswell)    5.38
  9/  Maka                                       (Bernocchi,Harris,Laswell)    6.54

          Created at Verba Corrige Studio, Milan, Italy, Orange Music Sound Studios,
            West Orange, New Jersey and The Box, Birmingham, UK
          Engineering at Orange Music: Robert Musso
          Produced and mixed By Eraldo Bernocchi for WordSound at Verba Corrige Studio
          Mastered by Michael Fossenkemper at Turtle Tone Studio, NYC
          Material Inc.: John Brown
          Orange: Amy Hersenhoren
Eraldo Bernocchi: electronics, beats, programming, treated guitars; Bill Laswell: bass; Mick Harris: electronics, beats.

          1998 - WordSound (USA), WSLP028 (Vinyl)
          1998 - WordSound (USA), WSCD028 (CD)
Note: The Vinyl version doesn't contain tracks 2,4 or 8.


Voodoo and occult magic are the theme of choice on the second Equations of Eternity release. Once again, the trio of Laswell, Bernocchi and Harris team up to circulate an unexpected opus. While the drums are signature Mick Harris and the bass lines are completely Bill Laswell, it is the combination of the two elements from Sigillum S programmer Eraldo Bernocchi that make this album unique. His addition of treated guitars, chanted vocal samples, and murky electronics are the critical spark of black magic. This modern interpretation of classic Voudon elements is spectral and disembodied. The atmospheres ensorcel the dub and bass elements into submission with uncanny paranormal skill. "Veve" is a transcending experience via the modern day augury of technology. Baron Samedi must certainly be rolling in his grave.

Jester (courtesy of the Sonic Boom website)


Eraldo Bernocci. Bill Laswell. Mick Harris. I mean, that says a lot right there. Innovative beat work, creative bass lines and the best in spatial electronic programming. Ambient space dub, anyone?

Or something like that, anyway. The sound structures form in front of and behind the rhythm section. A constantly changing reality, moving in and around the solid base. Beautiful and alluring, sweeping in grandeur.

Best of all, there is no rush, no hurry. All things come in good time, and the Veve project exhibits masterful self-control. Nothing excessive or self indulgent, but revelatory instead. The songs just keep unfolding.

I just love the way Laswell lays down bass lines. He's able to adapt to any number of styles, and here he takes on Harris's beat constructions and fleshes them out. A most worthy endeavor.

Jon Worley (courtesy of the Aiding & Abetting website)


In yet another collaboration with fellow Painkiller Mick Harris, Bill Laswell teams up with Eraldo Bernocchi (whose musical background is entirely unknown to me, but if you're curious, try a search at www.google.com) for Veve, which is unsuprisingly a dub oriented release. The album is filled with Laswellisms in his bass playing as well as Harrisisms in the more experimental sound collages overlaying the foundation the rhythm men have set forth. The main focus of the music is a fairly steady vector of dub music with the echoing and often eerie background noises floating above and in skew lines to the music. In other words, this is Jamaica taking acid and lacking the island tropical warmth. The most notable thing about this album is that three different studios are credited in the making of the CD, suggesting the three men collaborated overseas and two continents. The result is much more even than one might think under those circumstances. The music never really makes a bee line for a structured beginning, middle and end, but does tend to encompass the listener with a stream of consciousness and flowing musical experience.

As any Laswell fan probably can guess, Veve is recommended for them and for those interested in some very solid modern electronic dub music.

John Chedsey (courtesy of the Satan Stole My Teddybear website)