js Although Bill Laswell's work can often sound phoned-in from some massive cookie cutter factory where the latest in hip-hop, world beat and ambient techno get diced and spliced into some trendy name and pre-fab packaging, that's not even remotely the case with this release in 1993 under his band name of Material. Hallucination Engine has plenty of something that is often missing from Laswell projects, memorable melodies. Unlike much of Laswell's other projects, Engine is full of powerful ancient melodies that seem to carry the emotional weight of the centuries. Likewise this album also stands apart from his usual output because it sounds like he spent a lot more time with this one. Although Laswell cuts almost always have that irresistible 'world groove' to them, on this album Bill takes the extra step and care and surrounds those grooves with excellent arrangements full of breaks, alternate melodies and texture change-ups. Side one contains four somewhat similar down tempo tunes that blend together in a deep orchestrated chill symphony that carries the somber feel of an ancient religious ceremony. Each cut favors middle-eastern tinged violin or rustic open-tuned guitar melodies framed by gorgeous electronic textures and drop-beat sections where the always present ambience takes over. The dub tune Ruins in particular has a lengthy ambient section in which beautiful cascading chord sequences drift by in a sentimental look back to the hey day of late 60s progressive rock when modulating string/choir synthesizers ruled the land. This side closes with Shadows of Paradise in which Nicky Skopelis' post-rock styled open guitar textures set the mood and intertwine with Wayne Shorter's classic tenor lines.

Side two opener, Words of Advice, breaks the reverent mood with some great spoken word from the very irreverent William Burroughs. Definitely tongue in cheek, Words has one of those classic old school gangsta grooves like The Soprano's Theme or Ice T's You Played Yourself. Burroughs is the mac daddy here and he's stepped out of the limo to lay down some grim warnings about boy/girl fights, prostitutes and 'religious SOBs' who want your money. Despite the emotional change of pace, this is my favorite cut on the album and is one of those classics that will transcend it's time if it is not forgotten. Laswell follows this changeup with more fun in the form of a Indo-ragga/hip-hop remake of Weather Report's classic Cucumber Slumber.

After this change of pace, the last two cuts on side two return to the deeply reflective and almost sentimental nature of side one to great effect. The fact that Laswell can effectively blend these last two tunes with Coltrane's classic Naima says much for how much emotional weight Bill's music is carrying. I've never heard anyone else make an effective cover of Naima before, much less have the ability to bridge it's stark emotional quality with music of their own making. Once again the ambient music surrounding his take on Naima recalls the early days of sentimental progressive rock keyboard orchestrations.

This is an incredible album and stands far above Bill Laswell's usual paint by number world dub groove whatever. Most of this album is as serious and sobering as a requiem, yet there is that one cut where William Burrough's drops in with a sly wink and some sage advice about prostitutes and flim flam artists. Excellent and very moving album, highly recommended.

FunkFreak75 Another adventurous multi-tradition fusion attempt pulled together by Bill Laswell under his Material moniker, and this one is a good one. In fact, this is one of the more successful fusions of Middle Eastern/Indian traditions with Bill's own penchant for raw urban jazz funk. Though the production is great, there are a few questionable sound engineering choices and there are some under-developed or unfinished feeling compositions, but overall this is a delightful collection of funk-infused World Music fusion from top notch musicians. 1. "Black Light" (7:33) a soprano sax-led pop jazz tune that reminds me of a funked up song from smooth jazz operators, Spiro Gyra. (8/10)

2. "Mantra" (8:44) opens with lots of spacey percussives and sound effects before developing into a Persian horn led tabla-rock song. (9/10)

3. "Ruins" (8:54) another awesome cross-mix of Middle Eastern sounds and with funky metro-pop grooves capped by the awesome violin play of Shankar. The song drags on a bit with the slow, stepped down, atmospheric middle section while retaining an edgy chord and melody structure. Could be an amazing soundtrack piece. (8.5/10)

4. "Eternal Drift" (7:35) opens with some nice atmospherics before guitar arpeggio establish a cool chord progression on which to build the song?but first more sacred/folk ethnic voicings. The actual song that settles in the third minute is faster paced, more bass- and sax-driven than anticipated, but the contributions of the myriad other musicians is awesome. The only flaw is I wished it would settle into one of the many lines and themes offered?especially the grooving ones. (9/10)

5. "Words of Advice" (3:58) William S. Burroughs speaking over a nice jazzy urban groove. Not sure of the value of William's rather cynical advice. (8/10)

6. "Cucumber Slumber" (7:30) contains a great Tony-Levin-like funky jazz bass with didgeridoo and table base. Nice rhythm guitar parts while other percussionists, Bill's bass, Wayne Shorter, and Bernie Worrell play off each other. Could almost be a modern Weather Report song. (9/10)

7. "The Hidden Garden / Naima" (13:00) orchestrated with an Indian foundation before it gets into some serious funky rock'n'roll territory. Stellar fusion! The bass stands out but the ensemble of Indian musicians here are so welcome! The final several minutes are slowed down atmospheric and gorgeous. (10/10)

8. "Shadows of Paradise" (9:45) a tabla-based jam set up to showcase Shankar's virtuosity on the 10-string electric violin. Bass, guitars, and lineup of percussionists do an awesome job in support but it's really Shankar's show (even though he's mixed a little back in the mix. (9/10)

A great urban jazz-meets-Asian/World fusion album that deserves more attention. Laswell and crew could've done better, gotten more structured "finished" compositions, but I'm not sure they could have gotten any better performances from the non-American performers.

4.5 stars; a near-masterpiece of progressive music.