http://en.wikipedia.org/wiki/Muslimgauze
(http://en.wikipedia.org/wiki/Muslimgauze)
I rarely see this guy's work mentioned in the current "noise underground" discussion forums, etc. and I can't help wondering why. Emphasis on looped rhythms and allusions to traditional cultures don't seem to have gotten Z'ev blacklisted, for example.
He made so many releases: anyone got a word to say as to the general quality? Are there any particular stand-out discs?
Ouch...too great a task to go through his whole career... I can name but a few which I consider very good - will be back soon!
I'm a huge fan, myself. Let's see... Essentials that are easy enough to find right now:
Muslimgauze - Chapter Of Purity CD
Muslimgauze - Jaal Ab Dullah CD
Muslimgauze - Sufiq CD EP
Muslimgauze - Mazar-I-Sharif CD
The early- to mid- 80s stuff is amazing, but out of my league with the collectors prices in the $80-200 range.
-Ben
Iran is just now being reissued by Soleilmoon. Not upper echelon, but close to it.
"Abu Nidal/Coup d'Etat CD, though truncated, remains my favorite CD. Everything about those two 12"s hits on all cylinders. Those early Limited Editions LPs (7) were particularly visceral. Talk about a welcomed, needed reissue box set on CD. It's not necessarily my favorite period, but it is the period that resonates best with various moods. The Iran CD is a relaxing Sunday morning kind of album. I really enjoy Zul'm and United States of Islam (I hope it isn't Intifaxa that I'm thinking of as the 2nd Extreme album I recommend). That digital recording with the field work is thick with particulates and atmosphere. Played loud on a good system can both feel open-windowed and dense to the point of near-suffocation. Beyond that, I only remember Drug Sherpa and Zealot making a lasting impression, but there's no doubt that if I'd heard others, I would've been enthusiastic about a good percentage of them."
Quote from: Zeno Marx on June 09, 2010, 08:21:04 PM
"Abu Nidal/Coup d'Etat CD, though truncated, remains my favorite CD.
Yeah, that's a good one. I wish it was a complete reissue on 2 CDs, though.
I don't know how I forgot about "Armsbazzar" CD! That has some amazing design work - amazing presentation of one of my favorite album covers of all time, and the disc is great, too.
Sufiq seconded.
I also find Lo-Fi India Abuse appealing as well. It seems like a rarity that I find a Muslimgauze album that I can't get into in some way or another. You're right though, I don't hear much about him. Shame too.
Quote from: WATERPOWER on June 10, 2010, 05:54:38 AMYou're right though, I don't hear much about him. Shame too.
If you think about it, as cliche as it sounds (though true to my watch), with noise being this generation's punk rock, and now being about touring (maybe less so very lately), and with what seems like a general indifference towards studio skills, it makes a lot of sense that Muslimgauze would fade into the backdrop.
Quote from: Zeno Marx on June 10, 2010, 06:16:27 AM
If you think about it, as cliche as it sounds (though true to my watch), with noise being this generation's punk rock, and now being about touring (maybe less so very lately), and with what seems like a general indifference towards studio skills, it makes a lot of sense that Muslimgauze would fade into the backdrop.
Being dead for over ten years doesn't help much when touring is the thing. Did he ever play live in the first place?
Staalplaat have sold a lot over Muslimgauze records over the years so maybe we are just not talking to the right people.
Quote from: Strömkarlen on June 10, 2010, 10:03:51 AM
Did he ever play live in the first place?
He played on the Stubnitz boat in Stockholm, (what year was it now? 97-98?) but that was the day after the "drugs"-fiasco and he had to play below deck with audience out of sight only watching on monitors, to prevent from dancing or something equally ridiculous.
I also really enjoy much of his stuff, both sounds, estethics, topic etc. but i guess he was a little overproductive...never really been into the early lps though, to my ears it took him some years of practice to get the hang of it all.
Quote from: SILVUM on June 10, 2010, 02:00:38 PM
Would be nice if someone would clearly list which releases fall into what category, since it's a chore digging through all the hyperbolic write ups by Staalplaat and Soleilmoon to find out what they are releasing is bottom of the barrel sets of like remixes of Vampire Of Tehran material.
I must say I've more than once thought the thought "Wonder who does the Muslimgauze recordings these days?"
Some of my favourites :
HAND OF FATIMA (my personal favourite)
SILKNOOSE
SUFIQ (definitely agree it is a good introduction - short and has variety of his styles)
ARAB QUARTER (especially second disc)
JEBEL TARIQ
FAROUK ENJINEER
I'm only really into Muslimgauze from about '94 onwards.
Quote from: Strömkarlen on June 10, 2010, 03:32:28 PMI must say I've more than once thought the thought "Wonder who does the Muslimgauze recordings these days?"
Soleilmoon has always maintained that they have an insane number of unissued hours of his work. 200 hours? 250 hours? Something crazy like that. There's really no need for it to ever be released, though. They have a decade or two worth of reissues. They could almost have an archivist solely dedicated to his work, sort of like how the Grateful Dead do. I find that comical, but in a positive way.
If they where smart, they'd have an online archive. If they wanted, they could charge for downloads. But hard copy releases of everything just seems too Merzbow to me.
A good compromise would be good decision making; releasing the quality material with the best packaging and promotion and saving the rest for downloads or, perhaps, cheaper cdr re-releases, for the hardcore punters. I have no issue with fan getting their hands on as much as they want of their favourite artists, but a bit of quality control is absolutely necessary and, in this case, simple respect to the artist's memory.
Quote from: Zeno Marx on June 11, 2010, 04:41:38 AM
Quote from: Strömkarlen on June 10, 2010, 03:32:28 PMI must say I've more than once thought the thought "Wonder who does the Muslimgauze recordings these days?"
Soleilmoon has always maintained that they have an insane number of unissued hours of his work. 200 hours? 250 hours? Something crazy like that. There's really no need for it to ever be released, though. They have a decade or two worth of reissues. They could almost have an archivist solely dedicated to his work, sort of like how the Grateful Dead do. I find that comical, but in a positive way.
Yeah, I've been told the same by Staalplaat. Do anyone know what happened to that Muslimgauze book that SAF was suppose to release? Did the author make a free download of it in the end?
I had a dream about listening to Zul'm. Now listening to Azzazin for the first time. What are the more percussive albums? Is there such a thing as a percussive-dense Muslimgauze album that stays clear of dub? Not so much staying away from digital, because I like how Zul'm sounds. Dancy is even fine if it is closer to traditional rhythms and not so much something you would imagine being in a club (not interested in the glitchy, either). I almost want a Zakir Hussain album filtered through Muslimgauze. As I think I said earlier in the thread, I really like the Extreme releases, but would hope to find something even more traditional in vibe. Any ideas?
*Zul'm is a an all digital recorded album (DDD). Are there any others like this pre-2000?
Quote from: Zeno Marx on January 29, 2014, 09:58:58 PM
I had a dream about listening to Zul'm. Now listening to Azzazin for the first time. What are the more percussive albums? Is there such a thing as a percussive-dense Muslimgauze album that stays clear of dub? Not so much staying away from digital, because I like how Zul'm sounds. Dancy is even fine if it is closer to traditional rhythms and not so much something you would imagine being in a club (not interested in the glitchy, either). I almost want a Zakir Hussain album filtered through Muslimgauze. As I think I said earlier in the thread, I really like the Extreme releases, but would hope to find something even more traditional in vibe. Any ideas?
Some recommendations:
Narcotic (1997) - one of the most fully fleshed-out records he produced during his lifetime, tangentially related to 'Gulf Between Us', 'Drugsherpa', etc but more emphasis on straight-up Arab rhythms and textures.
Al-Zulfiquar Shaheed (1994) - generally long, pieces, flowing percussion + field recordings, sort of a precursor to a sound that would become more fleshed out circa 'Arab Quarter', 'Narcotic', 'Sandtrafikar', etc.
and the following three are based on really heavy Bedouin-style polyrhythmic hand-drumming (the dub references are still there in the form of very deep sub-basslines, but no reggae references a la Syrinjia or Baghdad if that's what you're trying to avoid) with very minimal traditional instruments and voices, no jarring cut-ups or obvious electronic beats most of the time though everything is still pushed into the red quite often:
Observe With Sadiq Bey (1999)
Hand of Fatima (1999)
Jebel Tariq (2000)
Someone really needs to do some sort of Muslimgauze flowchart that maps out the development of the individual, and at times very separate, stylistic threads of his music. As it is, reviews and writings about Muslimgauze are almost always misleading on some level, at least when it comes to straightforward descriptions of the music.
Thank you. very helpful. I found a track off Narcotic, "Effendi", and I didn't care for the effects. I then found 3/4 tracks from Al-Zulfiquar Shaheed, and I liked those. They felt like tangential material to United States of Islam. I'm looking forward to the other three you noted.
Hand Of Fatima m-i-g-h-t be my favorite work by Jones. It might occasionally rely on dub-style bass a bit more than you'd like Zeno, but coming from someone who doesn't care for reggae-anything, I'd say this is forgivable if only for the fact that the album flawlessly creates a scene. You can sense the footsteps all around, the smell of food, overbearing talk, the racket of state television and radio. Death's gaze hidden behind more than one window.
The packaging doesn't really mesh with my experience of the album, but perhaps you'd be more assuaged by the gruesome portrayal of infant death and old age. Not in a glorifying way at all; very human still.
On a different note, I think Wish Of The Flayed gets the most repeats. Never figured out why...just a lot of addictive, blown-out tracks, I guess.
-Hand of Fatima (1999) - "Youseff My Medina" has that stutter that he overuses and really turns me off - "Hand of Fatima" is a good track and close to what I'm hoping to find - "Mint Tea with Gadaffi" has good tabla work, but I didn't like the bass line - I couldn't find the other tracks to preview.
-Observe With Sadiq Bey (1999) - found maybe 1/3 of the tracks - eh; too much of that stutter repetition and some unappealing bass lines.
A set of flow charts would be amazing. Break them down into effects, field recordings/sampling, percussion, style, habit/tendency.
Anyone care to comment on Box of Silk and Dogs? Favorite disc? Which to avoid? Avoid the whole thing? General overview of style(s)? I don't see anyone talking about it or recommending it, but maybe that is because it was too much to ever absorb; or more like a novelty collectible than something people buy and actually play.
Had he lived long enough to see 09-11 and then into the present, I'm almost afraid to imagine where he'd be politically. On no-fly lists. Probably kicking out material at a clip that would make Soleilmoon spin. And would Soleilmoon have stuck with him if he'd become even more radical, more confrontational, and better known? It's difficult for me to believe they would have. He could have been a really difficult presence to handle in terms of marketing, publicity, and all the things that could have sucked all his associates into a cauldron. Has anyone written about this? Or discussions on a yahoo group or dedicated forum somewhere?
Listened to Salaam Alekum, Bastard (1995) today. A couple things: 1) a strange opening to this album. I thought he was quickly headed towards some awful techno structures, but he stuck with that rhythm in a way that pulls it out of the techno style and into a quasi-meditative, smartly repetitive lulling vibe. It surprised me that by going nowhere, he went somewhere interesting.* It's not a great track, but it is a good idea, which was sort of his MO and biggest problem (for me) as he left the early 90s sounds and styles; decent ideas and bad execution, and fewer good ideas and worsening execution moving forward. 2) I'm sure he used Indian source material more than I realize and recognize, but it really stands out on one of the early tracks, particularly apparent in the vocalizations. It's when the vocals almost mimic the tabla.
edit* not that this is anything new in art of any sort, but it isn't something that he does well or often. Muslimgauze is rather busy music. He definitely has his moments of repetition, but I don't remember many of them occurring just as he's building momentum or coming out of the gate.
Quote from: Zeno Marx on January 10, 2015, 06:18:53 AM
Had he lived long enough to see 09-11 and then into the present, I'm almost afraid to imagine where he'd be politically. On no-fly lists. Probably kicking out material at a clip that would make Soleilmoon spin. And would Soleilmoon have stuck with him if he'd become even more radical, more confrontational, and better known? It's difficult for me to believe they would have. He could have been a really difficult presence to handle in terms of marketing, publicity, and all the things that could have sucked all his associates into a cauldron. Has anyone written about this? Or discussions on a yahoo group or dedicated forum somewhere?
i thought about this a lot. in a way, i'm thankful he wasn't around for the post-9/11 bloom of awareness in 'the west' about arab cultures and islam. always appreciated him letting the music speak, as so often people passionate about politics get wordy and long-winded.
been also seeking out the funkiest 'gauze albums. while i appreciate the 'noise'-oriented efforts like 'Azzazzin' i think i prefer his style with heavy beats and bumpin basslines like 'Hussein Mahmood Jeeb Tehar Gass.'
the list finalized.
1st tier:
Abu Nidal LP 1987
Coup d'Etat LP 1987
Coup d'Etat/Abu Nidal CD 1992 (incomplete reissue)
Bhutto CD-single 1991
United States of Islam CD 1991
Zul'm CD 1992
2nd tier:
Iran CD 1988
Intifaxa CD 1990
Satyajit Eye DAT 1993
Hamas Arc CD 1993
Drugsherpa 3"CD 1994
Drugsherpa reissue (Archive series; with the other tracks on the master submitted at that time)
Hebron Massacre CDEP 1994
Al-Zulfiquar Shaheed CD 1994
Nadir of Purdah CD 1994-1995
Minaret Speaker CD 2015 (Archive series; 2 tracks originally released on the Minaret Speaker 7" in 1996; *one of the bigger surprises from this organization process)
"Hand of Fatima" track 1999
The Unfinished Mosque 12" side A only 2000 (Archive series; from Drugsherpa 1994 master)
3rd tier:
Jazirat-Ul-Arab LP 1987
The Rape Of Palestine LP 1988
Betrayal CD 1993
Vote Hezbollah CD 1993
Veiled Sisters 2CD 1993
Citadel CD 1994
Blue Mosque 2CD 1994
Zealot 2CD 1994
Sycophant of Purdah 1994 (Archive series; ONLY "For Muntaz" because the Gary Numan-esque synths)
Silknoose CD 1995
Un-used Remix's 1994-1995 (Archive series; unfinished and untitled material)
I still prefer his early recordings put out by Recloose : "Buddhist On Fire" and the 12" "Hunting Out With An Aerial Eye". Didn't really give my ear to the "Eastern" influenced stuff ... Vinyl On Demand recently re-issued a nice double LP of E.g. Oblique Graph.
Quote from: Zeno Marx on January 10, 2015, 06:18:53 AM
Had he lived long enough to see 09-11 and then into the present, I'm almost afraid to imagine where he'd be politically. On no-fly lists. Probably kicking out material at a clip that would make Soleilmoon spin. And would Soleilmoon have stuck with him if he'd become even more radical, more confrontational, and better known? It's difficult for me to believe they would have.
Actualy, as i heard, he never was a Fanatic or really deep into politics and Religion, so i twould say, he wouldn't change too much about it. And Soleilmoon took Death in June into their Rooster after the Publicity, so see no Reason to drop Muslimgauze in any way.
My Favorites:
UZI
Coup d Etat
Vampire of Tehran
Hebron Massacre
i don't like the hip-hop stuff, nor the dub, nor overly distorted. nor do i need album after album of the same... so here's a list of my top favorite muslimgauze....
1987 - coup d'etat/abu nidal
1992 - bhutto
1993 - satyajit eye
1994 - al-zulfiquar shaheed
1994 - citadel
1994 - drugsherpa
1994 - hebron massacre
1995 - nadir of purdah
1996 - arab quarter
1996 - return of black september
1997 - sandtrafikar
1998 - lahore & marseille
1998 - mazr-i-sharif
1999 - hand of fatima
1999 - observe with sadiq bey
2000 - ayatollah dollar
2000 - baghdad
2000 - jabel tariq
2008 - wish of the flayed
From the Eskhatos interview, where he also goes on about how there will always be "legitmate targets" (i.e. Israeli citizens I guess)...
QuoteDo you have complete animosity toward the state of Israel and its people or would you exempt certain Israelis that you might consider good people?
No, I wouldn't. No, I wouldn't talk to any of them, the whole people are disgusting so no, I wouldn't. Just look at the record of what they've done, it's incredible. So I would not tolerate anything to do with Israel. I mean, it's my opinion, a Manchester musician's point of view. I know other people will probably say I'm wrong and they won't support me but it's just what influences my music.
What a fucking tool.
Racism and nationalism are two very different animals. Racism is tolerated in the USA, as well as encouraged and sanctioned in certain regions. Xenophobia is widespread, and I would go as far as to label it an American value. Considering a national identity, and then with the additive of terrorism + national threat + cultural threat, you have the makings of something far more sensitive and pervasive than racism. This is obviously all speculation, but comparing a group like Death in June with something of the makeup of Muslimgauze is like comparing a couple of scout ants to a giant termite mound. A small percentage of the population will take real issue with the likes of DiJ, whereas nearly every single US citizen could find a reason to take offense with the likes of Muslimgauze. 24/7 news cycles love potential shitstorms like Jones. I think it is reasonable to assume he would have gained spotlight at some point, so he would have the recognition necessary to be a far bigger beast than DiJ.
Every time I see this name I think "Is there an actual Eastern person making music like this?"
I came upon Muslimgauze after wading through a fair amount of poorly made anglo-quasi-electro/ethnic bongo music; surely some of it was made with the intention to ride this man's coattails. don't have much of a threshold for it. I do have a resounding respect for Muslimgauze despite being mostly nonplussed by it so far, because I know there's that one great album out there that I can't find.
If anyone wants to recommend exceptional ambient work by this artist, I'll try to check it out.
I've listened to Baghdad and Drugsherpa today. I like the latter more, but it leaves something to be desired.
Quote from: NO PART OF IT on October 20, 2015, 03:49:21 AM
If anyone wants to recommend exceptional ambient work by this artist, I'll try to check it out.
Maybe try Iran. That's about as close to ambient as I remember him getting.
Thank you.
I agree with a good number of those already posted and appreciate the lists courtesy Zeno Marx and collapsedhole (among others). For me there are a good 50 albums that would be worthy of repeat play.
One I haven't seen mentioned- Unfinished Mosque. Possibly ignored on account of the title and/or brevity. The killer is the track "Tel Aviv Nailbomb", chief elements of which appear in the percussion-heavy "Jeruselum Knife" (from Hamas Arc, also Speaking With Hamas). But in "Tel Aviv" the manic percussion is significantly reduced, employed principally as texturizing agent- and the net feel is rather ominous, even lustmordian. This sadly clocks in at a mere 6min. A shorter track very much resembles one of the more ambient efforts on Satyajit Eye.
Also I believe unmentioned- Re-mixs. (Yes, that's the correct spelling.) Three sprawling studies in abstraction, perhaps a bit aimless for some, and not to be ranked at the top. I would easily take Re-mixs well before, say, the relative boredom of Veiled Sisters. This may be a point of contention; what one calls "focus" I call "bored out of my tree". But my favorites do tend toward meandering sprawl, collecting diverse elements at irregular junctures while maintaining a steady, sustained, atmosphere.
It is again the more abstract, if not at all sprawling, pieces that I prefer from early efforts like Flagelata, Abu-Nidal and Jazura-Ul-Arab. The latter two in particular got a huge amount of play on college radio, in Toronto, in the late 80s. I still associate this sound- to qualify: the more abstract recordings from these records- with 80s college radio, along with NWW, Illusion of Safety and Zoviet France... and now that I mention it, more than a good share of early-mid Muslimgauze does not sound dissimilar to earlier Rapoon. Tempted now to pull out a big batch of Rapoon to supplement my Muslimgauze reminiscence. Am also reminded, perhaps in production and general effects, of SPK Zamia Lehmanni... all of which is to say that while I do very much appreciate the early Muslimgauze I don't think he'd developed a particularly distinct voice to that stage. It's ironic that only later, when dipping more readily in the more generic "world music" sound that he really found his peculiar niche. This is probably a tough sell so I'll leave it at that.
One direction that I'm the verge of getting (but not quite) is that of the looping brevity, the pure rhythm studies; Blue Mosque being a notable example. I'm getting there slowly via-
Azad, Sycophant of Purdah, Silknoose, and to a lesser extent Hand of Fatimah.
Sufiq might also squeak through.
-But I've been "getting there" for a number of years and no closer so... I will say that "Cairo Mercedes", from Sycophant of Purdah, has the distinction of being the sole hip-hop beat track, of all the hundreds and thousands of hip hop beat tracks, that I actually kinda dig. Reminds me of an angsty Boris Mikulic. Something to bump in the ride.
anyone care to share thoughts on the book (which also came with a compilation CD) "chasing the shadow of bryn jones"? i sometimes feel compelled to buy it off of discogs - listed under the title of "a putrid oasis" - but know to little about it to ever pull the trigger...
beyond that it is a biography, what else is there? interviews, notes on recordings, etc?
I haven't looked into that Archive series enough. The Satyajit Eye DAT reissue should have piqued my interest. I have to agree about Veiled Sisters. It's maybe Jones at his most focused, and I both desired such a focus and found that he was boring me half way through the first disc. Here's the cake, and then I want to spit it out.
maybe the overall length of 'veiled sisters' turns people off? i can't believe i didn't put it on my list of favorites earlier since i feel he really hits the mark on that album... but for some reason it seems to fade into the background - both in daily listening and overall, perhaps it's often overshadowed by his more engaging albums? though i bet if a tally was kept, it would show i play it almost more than any other...
d/l`d 'unfinished mosque' today - now that one really is all over the place! proving i like my muslimgauze albums coherent... first and second tracks are fast percussion with droning background, spoken samples... 3rd more on the dub side, 4th purely ambient, 5th back to the fast stuff. this one falls into the 'nothing special' category for me... many superior choices that focus upon said styles but with better execution.
also went through 'box of silk and dogs' - for anyone curious as to the style - this one is like 'ayatollah dollar' or 'baghdad'. simply impossible for me to judge one better than the other - merely a matter of preference at this stage of his game.
Quote from: collapsedhole on October 21, 2015, 01:13:02 AM
d/l`d 'unfinished mosque' today - now that one really is all over the place! proving i like my muslimgauze albums coherent... first and second tracks are fast percussion with droning background, spoken samples... 3rd more on the dub side, 4th purely ambient, 5th back to the fast stuff. this one falls into the 'nothing special' category for me... many superior choices that focus upon said styles but with better execution.
They're definitely inconsistent in making the collection releases consistent in style. Some are. Most aren't. It's more like they're samplers than anything. I find it rather unfortunate, like they're hurried along and haphazardly compiled rather than given some consideration. I can imagine how overwhelming it could be. An archivist could be dedicated to Muslimgauze alone, but if you're a fan, you'd like to think some thought would go into them.
Quote from: collapsedhole on October 21, 2015, 01:13:02 AMd/l`d 'unfinished mosque' today - now that one really is all over the place! proving i like my muslimgauze albums coherent... first and second tracks are fast percussion with droning background, spoken samples... 3rd more on the dub side, 4th purely ambient, 5th back to the fast stuff. this one falls into the 'nothing special' category for me... many superior choices that focus upon said styles but with better execution.
Heh, sorry if you wasted your d/l energies there. There was really just that one standout track (which the phrase "fast percussion" does not imo do justice). But I suppose I'm to the point where just a couple standouts are sufficient; I'm happy to just skip the unwanted, or to simply accept the quirks in the best spirit of wtf. (This latter read suits the punchy persona projected in later interviews rather well. Like I'm not going to raise an eyebrow at them fightin words but get all bent out of shape over some ill-placed dub.) In the case of Unfinished Mosque, blip over the middling dubber and you are left with percussive build into concussed ambient-drone sandwich- an especially tasty one at that. A perfect snapshot of a preferred atmosphere.
Quotemaybe the overall length of 'veiled sisters' turns people off?
Good point. Here I am going on about a 6min piece of brilliance...
Quote from: Zeno Marx on October 19, 2015, 01:36:10 AM
Racism and nationalism are two very different animals. Racism is tolerated in the USA, as well as encouraged and sanctioned in certain regions. Xenophobia is widespread, and I would go as far as to label it an American value. Considering a national identity, and then with the additive of terrorism + national threat + cultural threat, you have the makings of something far more sensitive and pervasive than racism. This is obviously all speculation, but comparing a group like Death in June with something of the makeup of Muslimgauze is like comparing a couple of scout ants to a giant termite mound. A small percentage of the population will take real issue with the likes of DiJ, whereas nearly every single US citizen could find a reason to take offense with the likes of Muslimgauze. 24/7 news cycles love potential shitstorms like Jones. I think it is reasonable to assume he would have gained spotlight at some point, so he would have the recognition necessary to be a far bigger beast than DiJ.
Neither Muslimgauze or DI6 Propagate Racism or Nationalism in the American View of Live and the People who mock on Musicians doesn't care too much about Ethic Differences in the Music, Ideology or Aesthetic of the Musician. And it is a Matter of Trend Issue. Some Years Ago Marilyn Manson was THE Antichrist in the USA and now?
But Fact is Soleilmoon sells not only in the USA and DI6 have already a nice Provocative Past with Reactions from Insane People. Don't remember something like that hearing about Muslimgauze.
Side A of The Unfinished Mosque is a solid pair of tracks. I liked them both quite a bit. I just listened to Zealot, so I was a bit worn out for that sound the feel on side B. Overall, a decent 12". I'll be listening to it again.
Muslimgauze - For Muntaz (Sycophant of Purdah) https://youtu.be/dk8Vnw9sEW8
This is an interesting track. The buried synth layer reminds me of Gary Numan. If there are others, I'm interested in hearing more like it.
Not that I'm out digging for anyone doing stuff like Muslimgauze, but Siamgda is the first I've heard that struck me with such an obvious Jones' influence. In a way, it's what I would have expected from Muslimgauze had I not known where he went, but at the same time, it's because of where he went that Siamgda sounds like they do. Without a lot of experience yet, I might even say I like Siamgda's direction more than I do Muslimgauze post-mid-90s or so. Tribal Gathering is a good place to start.
http://siamgda.bandcamp.com/album/tribal-gathering-remastered
http://ant-zen.bandcamp.com/album/re-born
http://ant-zen.bandcamp.com/album/oppression
just briefly looking at this thread, seems like lots of people are in ignorance of muzlimgauze.
this project was started by one Bryn Jones and initially had an anti polish communist aesthetic.
the Arabic aesthetic came later.
buy n Jones died, I believe , of cancer.
there were loads of recordings, released by various labels as memory requires.
quality at the time seemed varied, despite those who saw Bryn in a 'holy' light.
would like to say that as sill here after years in the wilderness he deserves all.
as he haw been dead for years, don't know who deserves thelaudits, and cash.
Mullah Said is one of my favorite album from Muslimgauze
Quote from: collapsedhole on October 20, 2015, 09:18:38 PM
anyone care to share thoughts on the book (which also came with a compilation CD) "chasing the shadow of bryn jones"? i sometimes feel compelled to buy it off of discogs - listed under the title of "a putrid oasis" - but know to little about it to ever pull the trigger...
beyond that it is a biography, what else is there? interviews, notes on recordings, etc?
The book is essential to anyone interested in Bryn's work and life. There's very few interview snippets from the man himself, it seems like he wasn't very talkative person in a first place, but Ibrahim manages to interview a lot of people who have actually met and worked with Bryn along the years. The author even visits his past home where his dad still lives (or lived at the moment of writing the book) and manages to take a quick look into his room and interview Bryn's family members. All kind of topics are covered here: his techniques of recording, analysis on music, his mental state with various ups & downs, childhood memories, gigs and travels etc. The only disappointments are that I wished there was much more pictures of the cover art, inserts etc. and a detailed analysis on his vast back catalogue. Otherwise a great book. I own the big box of records and a book and accompanying compilation cd. Somehow I feel like the LP's on the box set does not represent the best of his catalogue but maybe that's just my vague first impression... seriously gotta take another listen. Still I don't regret bying the whole package (especially because as a bonus gift I got the Hussein Mahmood... promo LP for free along with the purchase).
Quote from: Zeno Marx on October 18, 2015, 03:09:11 AM
the list finalized.
1st tier:
Abu Nidal LP 1987
Coup d'Etat LP 1987
Coup d'Etat/Abu Nidal CD 1992 (incomplete reissue)
Bhutto CD-single 1991
United States of Islam CD 1991
Zul'm CD 1992
2nd tier:
Iran CD 1988
Intifaxa CD 1990
Satyajit Eye DAT 1993
Hamas Arc CD 1993
Drugsherpa 3"CD 1994
Drugsherpa reissue (Archive series; with the other tracks on the master submitted at that time)
Hebron Massacre CDEP 1994
Al-Zulfiquar Shaheed CD 1994
Nadir of Purdah CD 1994-1995
Minaret Speaker CD 2015 (Archive series; 2 tracks originally released on the Minaret Speaker 7" in 1996; *one of the bigger surprises from this organization process)
"Hand of Fatima" track 1999
The Unfinished Mosque 12" side A only 2000 (Archive series; from Drugsherpa 1994 master)
3rd tier:
Jazirat-Ul-Arab LP 1987
The Rape Of Palestine LP 1988
Betrayal CD 1993
Vote Hezbollah CD 1993
Veiled Sisters 2CD 1993
Citadel CD 1994
Blue Mosque 2CD 1994
Zealot 2CD 1994
Sycophant of Purdah 1994 (Archive series; ONLY "For Muntaz" because the Gary Numan-esque synths)
Silknoose CD 1995
Un-used Remix's 1994-1995 (Archive series; unfinished and untitled material)
this list has been a huge help for me getting into one of my now favorite acts. the "top tier" is some of my most spun as of late. thanks to ZenoMarx & all others for the help.
How many new releases are actually John Delf using Muslimgauze as a source? What the hell does "post production" mean? I'm sorry I keep coming back to this. I don't care to be so skeptical, crossing the line into cynicism at times, but some of this story feels opaque. On the positive side, if someone is booking 4-6 hours of studio time and walking into said time prepared and ready to go, I can believe there is a lot of unheard material collecting dust. A lot of unfinished material, which is where John Delf could be tempted, or enticed, into a heavy hand.
Listening to In Search of the Abraham Mosque 2011 the past couple days. While not focused and falling off the rails here and there, it is satisfying. The dub and digital pop that I didn't care to hear from him, but also solid percussion and smart field recordings with lively ambiance. Parts of it I don't care if I hear again, which almost don't feel like Muslimgauze, but rather an emulation; but also segments that would be at home in my 2nd tier or 3rd tier. I don't know if it is me or what.
https://www.discogs.com/Muslimgauze-In-Search-Of-The-Abraham-Mosque/release/3057839
Quote from: Marko-V on December 15, 2016, 05:49:51 PM
Quote from: collapsedhole on October 20, 2015, 09:18:38 PM
anyone care to share thoughts on the book (which also came with a compilation CD) "chasing the shadow of bryn jones"? i sometimes feel compelled to buy it off of discogs - listed under the title of "a putrid oasis" - but know to little about it to ever pull the trigger...
beyond that it is a biography, what else is there? interviews, notes on recordings, etc?
The book is essential to anyone interested in Bryn's work and life. There's very few interview snippets from the man himself, it seems like he wasn't very talkative person in a first place, but Ibrahim manages to interview a lot of people who have actually met and worked with Bryn along the years. The author even visits his past home where his dad still lives (or lived at the moment of writing the book) and manages to take a quick look into his room and interview Bryn's family members. All kind of topics are covered here: his techniques of recording, analysis on music, his mental state with various ups & downs, childhood memories, gigs and travels etc. The only disappointments are that I wished there was much more pictures of the cover art, inserts etc. and a detailed analysis on his vast back catalogue. Otherwise a great book. I own the big box of records and a book and accompanying compilation cd. Somehow I feel like the LP's on the box set does not represent the best of his catalogue but maybe that's just my vague first impression... seriously gotta take another listen. Still I don't regret bying the whole package (especially because as a bonus gift I got the Hussein Mahmood... promo LP for free along with the purchase).
does anyone know if it's available digitally? i'm very much a fan, he had a very singular aesthetic that i admire greatly.
There's supposedly going to be a CD-version of the VOD box. Fingers crossed that it's available with a book also.
Quote from: Decrepitude on December 27, 2019, 10:46:02 AM
There's supposedly going to be a CD-version of the VOD box. Fingers crossed that it's available with a book also.
Where did you get the info on the CD box?
Quote from: PeekingRat on January 09, 2020, 04:35:52 PM
Quote from: Decrepitude on December 27, 2019, 10:46:02 AM
There's supposedly going to be a CD-version of the VOD box. Fingers crossed that it's available with a book also.
Where did you get the info on the CD box?
From VOD Facebook group: "VOD-Designer Sandro Schleier has already finished his design works for the Muslimgauze 11 CD Box-Set reissue of "Chasing the Shadow of Bryn Jones" to be released Mid 2020"
https://www.facebook.com/vinylondemandrecords/posts/2033398013464103
Quote from: absurdexposition on January 09, 2020, 05:52:57 PM
Quote from: PeekingRat on January 09, 2020, 04:35:52 PM
Quote from: Decrepitude on December 27, 2019, 10:46:02 AM
There's supposedly going to be a CD-version of the VOD box. Fingers crossed that it's available with a book also.
Where did you get the info on the CD box?
From VOD Facebook group: "VOD-Designer Sandro Schleier has already finished his design works for the Muslimgauze 11 CD Box-Set reissue of "Chasing the Shadow of Bryn Jones" to be released Mid 2020"
https://www.facebook.com/vinylondemandrecords/posts/2033398013464103
Thanks. I'll definitely be grabbing a copy when it comes out.
A very short interview. I would guess this is in the book, but if not...
http://1000flights.blogspot.com/2019/08/va-impulse-n2-impulse-fanzinec60-uk-1992.html
Would Muslimgauze be embraced by 2000s industrial culture like it was in the late 80s and 90s? Maybe part of the Ant-Zen stable rather than Staalplaat/Soleilmoon? Or with some type of political world music situation totally removed? Compilation/tape culture and being distributed by Red Rhino helped guide the experimental audience to him. Tastes are so focused now. His dub and hip-hop direction notwithstanding, even his earliest work with some industrial sounds is so far removed from anything going on here today.
I'm surprised Iran hasn't been reissued on LP.
I've been re-listening to his very earliest work from '83'-86', Observe With Sadiq Bey 1999, and Tandoori Dog 1998 (reissued as separate CDs with bonus tracks). My opinions of the latter two have changed a bit, but I could also just be fiending. I still feel like nearly every track on Observe could be much shorter, as if it is an album of ideas and demos that he never went back to edit. So much repetition, but if you're in the mood for him and the tabla, there it is. I don't know what tabla rolls are called (maybe just rolls?), but lots of quick finger work. It can get tedious, but it's very satisfying if you're in the mood. Tandoori Dog strikes me as transitional work. He's experimenting with tones and style that aren't all-out dub yet, though a fair bit of Jaagheed Zarb is based on beats and ideas that could be mistaken for Beastie Boys segments circa '92-'94 (no slight...I like the BB). More funk than dub or hip-hop. He still has my full attention with almost all of this 4LP set (still digesting the bonus tracks). Hammer & Sickle 1983 hit me square and hard. If you want to hear him not sounding like what we associate with Muslimgauze, try "Dissidents In Exile" from a 1984 comp; a pretty great electronic track. All of this caused me to create a 4th tier on my list, but I'm still organizing it.
Also, yet still new-to-me archival releases, like Damascus and Dome of the Rock (recorded in 1993). And Deceiver 1996 is cued.
Good and interesting points. Confident here, but self-doubt there. Clearly nerdy. "Are any of these good?"
and "political desert cyberpunk ambient". Right on.
I have to admit I've never thought of associating Cabaret Voltaire. I look forward to going there.
EDIT: anyone honed in on his art and graphic design? Did he do it all himself? Or did he leave it up to the labels? Thoughts? Opinions?
Quote from: SILVUM on May 24, 2020, 10:33:15 PMI approach each "release" as something where I have the expectation of one enjoyable piece of music, most albums are total garbage save 1 or 2 tracks where he finally hits the mark that he keeps banging his head against, or you get the outlier oddity tracks where he just fucking tries something different, and those are why I listen (besides all the 80s stuff which is far more edited and considered more patiently).
This punishing truth makes it difficult for someone who prefers the album over the single or EP.
Quote from: SILVUM on May 24, 2020, 11:27:57 PMHe was trained as a graphic designer, it's almost like once he stops worrying about how it looks he just implodes and becomes unable to frame his own work, leaves it in the hands of others and they don't really reduce flow.
An hour or two later, this explanation sank in and hit. Man. Thanks for the perspective.
Here's a list I put together quite a while back but don't think I ever posted. Just basically whittled down to the ones that still for me retain some redeeming value, sometimes on the basis of a handful of tracks. No insights orders tiers rhymes or reasons, just fun on occasion to blindly grab from the select pile and remind myself that yes I still dig the shiz-
Return Of Black September
Salaam Alekum, Bastard
Observe with Sadiq Bey
Speaking With Hamas
United States of Islam
Al-Zulfiquar Shaheed
Sycophant Of Purdah
Gun Aramaic 1 & 2
Unfinished Mosque
Chapter Of Purity
Kashmiri Queens
Farouk Enjineer
Jazirat-Ul-Arab
Hand of Fatima
Vote Hezbollah
Fatah Guerrilla
Jaal Ab Dullah
Azzazin 1 & 2
Coup D'Etat
Mullah Said
Sandtrafikar
Armsbazzar
Satyajit Eye
Drugsherpa
Hamas Arc
Jebel Tariq
Fakir Sind
Abu Nidal
Silknoose
Re-mixs
Narcotic
Flajelata
Maroon
Intifaxa
Citadel
Bhutto
Infidel
Zul'm
Sufiq
Azad
Hajj
Iran
Uzi
A few- Kashmiri Queens, Farouk Enjineer, Jaal Ab Dullah, Infidel- squeak in literally via one or two tracks I can't quite part with. Never say never.
Thinking i'd start from the beginning i picked up Kabul close to two decades ago. Never liked it much. I can't remember which i picked after that, it was either Uzi or United States of Islam. I've played Uzi a couple of times the last two months. And I just can't stand the drums/ryhthmic side of Uzi. The percussion underneath is alright i guess. Curious to hear what others actually appreciate about this record?
I haven't listened to United States in over a decade. But i remember a very monotone 'beat' (4x4?) throughout the entire record which did not please me. I'll give it another spin soon. I picked up Sandtrafikar for cheap some years ago as i had heard good things about it. I haven't played it yet.
Having heard Kabul, Uzi & United States, and feeling no desire to try another one like those, are there other sides of Muslimgauze - completely different from those mentioned in my post? Preferably released prior his passing.
Quote from: accidental on June 30, 2020, 08:10:19 PM
Thinking i'd start from the beginning i picked up Kabul close to two decades ago. Never liked it much. I can't remember which i picked after that, it was either Uzi or United States of Islam. I've played Uzi a couple of times the last two months. And I just can't stand the drums/ryhthmic side of Uzi. The percussion underneath is alright i guess. Curious to hear what others actually appreciate about this record?
Quote from: SILVUM on July 01, 2020, 02:24:00 AM
Uzi is pretty mediocre to my ears also, and agreed, the drum machine is what ruins it. It has 4 decent tracks where the elements work for the goal of like, tension cinematics. If it was just a 7" of these more atmospheric tracks it would be cool.
Interesting criticisms of Uzi and I'd agree, though it's plainly there at the bottom of the list I posted. The first thing I ever bought from Muslimgauze was Abu Nidal, at the recommendation of the the guy at the record shop (who also ran Freedom In A Vacuum - that is to say for me at that time a trusted source). I took it home, played it, hated it, for similar reasons to those outlined above. However, it gradually grew on me...long long after I'd properly got into the project. I dusted it off and the first (title) track I played just hit. So I think for me a good part of the appeal is that it is an important piece of the early puzzle. I'd call Uzi a more abstract rendition of Abu Nidal (and complement to Coup d'Etat). edit but on review yes some of the hard panned percussion on Uzi can distract / cheapen the experience.
One thing about the project- it's hard not to hear bits of everything in everything else. And recordings issued in close proximity tend to have more relative um everything in them than others.
Still I had to laugh reading this
Quote from: SILVUM on July 01, 2020, 02:24:00 AM
Uzi is pretty mediocre to my ears also, and agreed, the drum machine is what ruins it. It has 4 decent tracks
Four whole decent tracks on a single Muslimgauze album is pretty much automatic contender for indefinite replay value in my book. This may also overlap with what SILVUM said about individual tracks often beating out whole albums. I generally take a traditional albums sort of listening approach but if ever there were a project that should challenge that approach...
S and BS got you better than I think I could. I'd recommend pretty much anything '87-'94, but I'm mostly a half-full listener with him. I like everything prior to '87, and a little after '94, but it gets more iffy for the casual or curious listener once you exit that sweet spot.
I'd have to give this some more thought, but I consider Zul'm to be one of the more cohesive albums. It sounds like an actual album with a concept and direction; starts one place and arrives at a destination. Maybe that's why I really think it stands out and surprises me that it doesn't make it on more lists. I also think the tracks are really good, but it speaks to me in a traditional music way, as an album listener over a track listener. Not even the early records strike me like this to any great degree, which also might be why it doesn't bother me as much as it usually does that the Coup D'Etat / Abu Nidal CD isn't a complete reissue. They edited those 12"s down in a smart way, trimming the fat and giving the CD a cohesive feel.
Along with the rest of our conversation about throwing ideas, edits, and demos at a wall, not paying much attention to what sticks and what does not, and putting them together as albums anyway, you get general favorites, like the original Drug Sherpa 3"CD, that skirt all this mess and necessary devotion.
*maybe Extreme gave him some direction, whereas others did not. I mean beyond looking for a specific style.
Quote from: SILVUM on July 02, 2020, 01:41:27 AM
Also, as a note, even though a huge amount of his work is rhythmic and has beats and is percussion based, I view Muslimgauze as atmospheric political INDUSTRIAL music (see GRIM vs Vasilisk, the world of Martial music), NOT "ethnic" beat music or "world music", which is how I think it's heard and categorized. This is reliant on what I percieve as his original intention - in creating atmosphere - attempting a shattered document political space approach vs making "dance tracks" - a fascinating window into a time and a level of availability of info on sections of the world. Obviously there are still "beats" and you could dance, but you can like dance to Skinny Puppy etc, and it's not "dance" music as its primary intent. Just a vague observation, mainly because as someone who listens to lots of dance music, the beats are not that great for dancing in Muslimgauze, you can tell if someone understands the flow of rhythms for body movement, lots of modern "dance" or rhythmic electronic music is clearly made by people who have drum machines (or really you all have those programs that even when they match up your beats you get it wrong) but don't understand dancing, and that disconnect is there.
Had to edit this cus it didn;t make much sense, and I'm not sure how clear the point is now, might edit later hah.
Yes I totally agree, Muslimgauze had a lot of positive feedback in the "danceable music" closest to the industrial scene (like EBM for example) - maybe because of more "groovy" releases like Mullah Said - although I think (and it´s in my opinion pretty evident) he never had the intention to let people dance, rather to put some rhythmic elements in his music. And yes, it´s industrial music at his finest! I don´t own any Muslimgauze album so far but I´m planning to buy the first works, which I like a lot (especially "Buddhist on fire"), and "Mullah Said" if I find a copy for decent prices. I would be very curious to know how he worked on his samples during mixes and manipulation, love the weird "collage" way they sound.
Quote from: SILVUM on July 02, 2020, 01:41:27 AM
Had to edit this cus it didn;t make much sense, and I'm not sure how clear the point is now, might edit later hah.
Oh goddamnit, I liked the original a lot. Now I'm mad. Gotta remember to c-p the next S throwdown to that select file, heh.
Not to swerve this great thread, but Silvum's post stuck. Thinking about industrial vs world music or ethno-X and why Muslimgauze is such. Wandered to the likes of potentially related with Jorge Reyes, Tuu, Esplendor Geometrico, and traditional Arabic and Indian music. Not so much the latter, but how can you not a little? Political or traditional sounds and instruments or electronics... Muslimgauze should have his own section in stores and personal music collections. Unto himself, but then I was thinking of albums like Sheikh Aljama. I've never gotten obsessed with Esplendor Geometrico, but I've tried many times. Sheikh Aljama is my favorite EG, but I don't think I've ever went from Muslimgauze to that album or vice versa. Why? Could we guess that EG was listening to Muslimgauze, but not that Bryn was listening to EG? They had to be familiar with each other, but did one influence the other more?
from EG's bandcamp:
SHEIKH ALJAMA, originally published only in CD by Daft Records (Belgium 1991). Recorded between 1987 and 1989 and remastered in 2014 (this version) from the original reel to reel tapes. An especially interesting period where the unique and characteristic rhytmic-industrial E.G. style, developed along the eighties, turns more minimalistic, schematic, cold and rough, with sporadic influences of arabic musics and rhythms.
SHEIKH ALJAMA is a Esplendor Geométrico classic and one of the best albums of their whole career, including their hit Sinaya. Sheikh Aljama stands out for the incorporation of sonorities, voices and percusions of arabic influence, due in great measure to Gabriel Riaza, who a few years later would leave E.G. and convert to Islam.
Quote from: SILVUM on July 01, 2020, 02:24:00 AM
Uzi is pretty mediocre to my ears also, and agreed, the drum machine is what ruins it. It has 4 decent tracks where the elements work for the goal of like, tension cinematics. If it was just a 7" of these more atmospheric tracks it would be cool.
Shroud Of Khoumeni Pt. 1
For Abu Jihad Pt. 2
La Palestina Pt. 2
Obeid Pt. 1
U.S.O.I. does have basic 4/4, all the Extreme stuff feels like the dude was trying to get dancier stuff from Bryn. I only like the Pt.1 and Pt. 2 of the title track, the rest I don't need. Shoulda been a 12" of those tracks only. Good sense of depth / element balance, if you're into Basic Channel or pulsing stuff like I am.
There are a few other sides of his work than are represented in those 3 albums, yes. Roll the dice.
I think Sandtrafikar is great, see if you like that, if it doesn't click, I would stop wasting time. It's beat focused on the title tracks, basically an extension stylistically of the two good tracks on USOI, so you prob wont like those. Lots of human voice samples. The Baku Oil Field tracks are a gritty version of Gun Aramaic style cinematic momentum collage atmosphere stuff, really love these, and one has fast pulsing beats. And a few of the interlude tracks are great, just sample loops.
I couldnt get much from a single track on it. Long time since i played Kabul but i thought that was less bad. The drums was not as bad on it i seem to remember. I've concluded 80's Muslimgauze is not for me. As you said, Sandtrafikar will be the last chance. I listened to 30 secs of Sandtrafikar you youtube before i bought it. Just to avoid getting another weapon. And i liked what i heard.
As far as industrial, I'm essentially repeating myself from page 3 of this topic in suggesting that the earlier Muslimgauze is somewhat less distinctly of its own category to that point. Look to SPK Zamia Lehmanni. And a good chunk of Zoviet France straight up to appearance of Rapoon, and then to early Rapoon and maybe some DVOA. I'd put down some of the (80s) overlap to the technology of the time. And that there are quite a number of others along similar lines...Cranioclast...whom I'd tend to associate with the anything goes experimental/industrial/academic/whatever 80s college radio (since that's mostly how I heard it all).
@accidental, I'm not going to waste your time in trying to sell the early stuff, but I'm rather partial to Flajelata which for me is a pretty solid "cinematic" listen from the second track on through (https://www.youtube.com/watch?v=gS_bgGjO_n4&t=324s).
edit
-> dedication on the flip-side "to all dissidents from the Soviet Union"
Quote from: Into_The_Void on July 02, 2020, 09:15:14 PMYes I totally agree, Muslimgauze had a lot of positive feedback in the "danceable music" closest to the industrial scene (like EBM for example) - maybe because of more "groovy" releases like Mullah Said - although I think (and it´s in my opinion pretty evident) he never had the intention to let people dance, rather to put some rhythmic elements in his music. And yes, it´s industrial music at his finest! I don´t own any Muslimgauze album so far but I´m planning to buy the first works, which I like a lot (especially "Buddhist on fire"), and "Mullah Said" if I find a copy for decent prices. I would be very curious to know how he worked on his samples during mixes and manipulation, love the weird "collage" way they sound.
I listened to Mullah Said the other day, and I've been thinking about it ever since. The title track is up there with "Khan Younis" (Hamas Arc album version) in favorite songs from him, and I purposely call them songs. They're catchy. They feel like they're layered and mixed like traditional songs are. The album has a groove and a heightened accessibility. It flies against Silvum's industrial categorization, which is why I think it stands out for me, especially with his latter work.
Quote from: Bloated Slutbag on October 20, 2015, 07:03:20 PM
One direction that I'm the verge of getting (but not quite) is that of the looping brevity, the pure rhythm studies; Blue Mosque being a notable example.
At times, like lately, I find Blue Mosque maybe the most meditative of all his work. It truly is a rhythmic study. For those who are drawn to industrial field recordings for their repetitive, reflective atmosphere, this might be an album for you.
I found a copy of Madrass Sitar Burning in a local store and I agree with Silvum, there´s a strong "intellectual" intent below almost all the Muslimgauze releases, in the sense of making "uncomfortable" music also when it comes only to loop ethnic music patterns. He has simply thrown all his political and musical obsessions into the project with the precise intent of letting the people think about the message and probably go deeper in the topic. Which probably partially also explains the extremely high amount of releases he released over the years.
https://forums.hipinion.com/viewtopic.php?f=1&t=125474
Some good excepts from the book there. Can't believe it hasn't been published by itself and in a sizeable amount. It's probably something you could keep in print for a long time and with steady sales.
I love Muslimgauze, but can only trudge through his discography in sporadic bursts. The lack of quality control combined with the usual self-remixing within his massive output exhausts me sometimes but man, when I'm in the mood for some digging at least I know I'll be blown away one way or another.
I'm pretty sure I heard Gun Aramaic (either part 1 or 2) before anything else of Bryn's, and was probably obsessing over Aphex Twin's SAW 2 at the time anyway, so the kinda harsher textures laid over the ambience and hypnotic rhythms sounded absolutely lush to my ears. I remember being initially exposed to his works from 1993-1996, this time period for Muslimgauze releases still holds my favorites of his. I didn't really care for any of his output on Extreme. Still need to do some intensive listening to his releases post-'96.
I always got a sense of underlying eeriness from his music, even in his rhythm-heavy "danceable" tracks, whether slick or rough around the edges. Maybe this was partly due to aesthetic/themes-whatever, I just think his sonic output screams industrial attitude. Then again when I first heard Muslimgauze I didn't really have much of a reference point for industrial music. Just wanted to hear any weird "ambient-electronic/field recording" stuff I could find.
As for his works 1993-1996, love the off-kilter mixing paired with good production that you can't really place your finger on. Love his rhythmic loops (whether abrasive or laid back), sometimes spastic sampling (Bryn denied any sampler usage in interviews, heh...), effects usage, great melodic taste...overall I think if you're texture-obsessed then Muslimgauze music is great to dive into. The variance is there, it just takes some time to sift through a lot of filler imo.
My favorites from the 'gauze CDs I own:
Veiled Sisters (1993)
Blue Mosque (1994)
Zealot (1994) (anybody else love this release as much as I do?)
Izlamaphobia (1995)
Silknoose (1995)
Return of Black September (1996)
Gun Aramaic 1 & 2 (1996)
I'm glad to see a Muslimgauze topic on here.
As many others have already put forward, Abu Nidal/Coup d'Etat is the one that has stuck with me.
Never really dug through the whole discography because of the sheer amount and fluctuating quality.
Funny that :Zoviet*France: was mentioned earlier. I discovered both of them close to each other so sometimes I confuse the two when trying to find a song in my head.
Glad to pick up the tip about "Arab and Dog Curfew Tel Aviv". Good song. Many good tips in this thread, should do a deeper dive with this a reference.
My friend turned me onto El Mahdy Jr last week, great stuff, newer material very much in the vein of the more "cinematic" and collage based Muslimgauze material by a young Algerian dude. https://discrepant.bandcamp.com/album/ghost-tapes
"Mullah Said" has been repressed onto vinyl by Staalplaat. Black vinyl still available, Bandcamp only distribution. The packaging is very good, I think is the same as the previous edition.
EDIT: the shipping rates are correct: 6 euro. The rest 5.42 euro are taxes, so basically the record price is almost 35 eur, which is definitely ok.
For those interested: https://muslimgauze.bandcamp.com/album/mullah-said
Quote from: Into_The_Void on July 20, 2021, 11:05:00 PM
"Mullah Said" has been repressed onto vinyl by Staalplaat. Black vinyl still available, Bandcamp only distribution. The packaging is very good, I think is the same as the previous edition.
EDIT: the shipping rates are correct: 6 euro. The rest 5.42 euro are taxes, so basically the record price is almost 35 eur, which is definitely ok.
For those interested: https://muslimgauze.bandcamp.com/album/mullah-said
Thank you very very much for this information! I had no idea it was repressed on vinyl and I always dreamt about getting it in this format! Thanks!
Maybe reaching, but maybe not. Doesn't seem all that improbable. Could the base riff of "Khan Younis" be a nod to New Model Army's "Christian Militia"?
https://youtu.be/_cbSwtubuN8
https://youtu.be/GOzY0k0g3c8 (first track)
I raise this topic because I have a big doubt about the authenticity of (some of) the latest Muslimgauze releases.
I premise that I don´t really know most of the latest (almost all of the posthumous) releases, but I stumbled here and there in some of the newer tracks and they really sound too clean and "new", in terms of sound and production, for being recorded before 1999, and I don´t think it´s just a matter of mastering or post-editing. Someone has got the same impression? I ask because I am listening now to "Shekel of Israeli Occupation" and I have got this impression. The record is very good tho.
The Extreme (Australia) CDs are getting issued in a vinyl box set and almost each album alone as well. Possibly my favorite string a records from him. If not, it's close. I think mailorder only and one of the albums is only available in the box set. unfortunately, the artwork has been changed.
https://www.kontaktaudio.com/shop/muslimgauze-the-extreme-years-1990-1994-deluxe-boxset/
Quote from: Zeno Marx on July 04, 2020, 06:07:54 PMSheikh Aljama is my favorite EG, but I don't think I've ever went from Muslimgauze to that album or vice versa. Why? Could we guess that EG was listening to Muslimgauze, but not that Bryn was listening to EG? They had to be familiar with each other, but did one influence the other more?
I think Muslimgauze contributed a track to the EG remix/tribute album "EN-CO-D-eSPLENDOR" (along with Coil and others paying their respects)
Quote from: Thermophile on November 25, 2023, 04:32:55 PMQuote from: Zeno Marx on July 04, 2020, 06:07:54 PMSheikh Aljama is my favorite EG, but I don't think I've ever went from Muslimgauze to that album or vice versa. Why? Could we guess that EG was listening to Muslimgauze, but not that Bryn was listening to EG? They had to be familiar with each other, but did one influence the other more?
I think Muslimgauze contributed a track to the EG remix/tribute album "EN-CO-D-eSPLENDOR" (along with Coil and others paying their respects)
I've since learned what was going on with EG and Arabic influences. The EG documentary on youtube is full of good information.
There was an early-to-mid 80s UK postpunk/funk group called C Cat Trance with a distinct Middle East and Arab influence, in sound as well as cover design. I have a couple of albums, not bad for what it is. I believe they hailed from Nottingham, but I've sometimes wondered if as a young and impressionable Mancunian, Bryn was ever exposed to them in record stores or perhaps even live? We will never know, but I like the thought of him seeing the She Steals Cars (https://www.discogs.com/release/105290-C-Cat-Trance-She-Steals-Cars/image/SW1hZ2U6MTU4MTM4Nw==) 12" cover and getting some ideas in his head...