Bass Communion v Muslimgauze EP

Two long pieces complete the joint project between Bass communion and Muslimgauze. The five pieces completed while Muslimgauze was alive were issued in 1999 by Soleilmoon as a limited edition (SOL89CD). At the time of Bryns death two additional pieces were left uncompleted. Bass Communion finished them over Xmas 1999 - here they are - there is no more. Please note that this is an EP with different material from the CD of the same title that Soleilmoon released last year. Also, this one is NOT a limited edition. It has a complete running time of 18:32.

Press release from Soleilmoon.

The following appears in All Music Guide.

The history behind the two tracks on this 20-minute EP is almost as interesting as the music itself. Steven Wilson (who records with singer Tim Bowness under the name Bass Communion) had been in touch with Bryn Jones (a.k.a. Muslimgauze) several times during the late 1990s; when they finally met face-to-face in 1999 Wilson presented Jones with some CDs of his (Wilson's) work. A few days later Wilson received two DATs in the mail containing Jones' remixes of tracks from Wilson's CDs. This led to further exchanges and the two eventually decided to make an album together. Jones died shortly before that album was released unexpectedly. These two tracks (titled "Six" and "Seven", because the original album contained five pieces) continues the previous album's dark, bassy ambience: "Six" chugs along on a bass-heavy groove somewhere between Detroit house and rockers reggae, while ambient chordal wisps float in the background. "Seven" is more abstract, with lots of backwards percussion and much less rhythmic focus. All of it is quite beautiful in an eerie sort of way.

review by Rick Anderson
All Music Guide

The following appeared in Vital Weekly, Freq E-zine and New Creative Music.

The snap and quiver rips forth from re-examined rhythms and speakers alike. A woman's voice. Did Bryn Jones savour that particularly particulate sound? It drifts through so many of these recordings, haunting the proceedings and is the lament of a woman (or other formed wail) - the chief symbol of the Middle Eastern struggle? The undulating beat occasionally crack crack cracks and reveals gentle tones shining through, fluttering above the thrum. Track two slowly wends an asp of finger-cymbals and melodies from its silken bag. It doesn't last long and one wonders why it doesn't last longer.

Problematic and emblematic.

review by David Cotner
Vital Weekly, Freq E-zine

The following appeared in Freq E-zine.

When Steven Wilson (also of No-Man) and Bryn Jones made their collaborative Bass Communion v Muslimgauze album shortly before the Jones' death, there were two tracks uncompleted on DAT, the reworking of which by Wilson forms the basis of this EP - hence the track titles "Six" and Seven". The former rides an absolutely massive amount of rolling bass, thumping furiously at the speaker cones with an urgent air of something living trying to escape from the cabinets. The sound generated makes an impressive rumble, offset by airy synths and the occasional bleep or build up of digital squirtles and splutters and drops down into less furious low end moments; but never fear, the storm returns. Take this track and play out through some really good speakers in a huge arena, please! Then get the Geiger counter out and measure the vibrations.

"Seven" is far less frenetic, and makes for more subdued listening by comparison. Based around a series of loops on the theme of samples snippets and glitches, the track builds an edgy atmosphere through its dreamlike use of large amounts of reversed sounds and judicious touches of reverb to the chimes and other ambiences. A short fade parricides some stuttering bass before the distinctive Muslimgauze percussion patterns emerge to the accompaniment of arpeggiating synth phrases and some faraway dissonant organs and a literally final blast.

review by Linus Tossio
Freq E-zine

The following comes from the Muze database.

Steven Wilson (Porcupine Tree, No-Man, Bass Communion) and the late Bryn Jones (Muslimgauze) would appear to be musicians from worlds apart. But Wilson was moved by the "originality and intensity" of Jones' Muslimgauze oeuvre, and he struck up a friendship with the controversial artist. Weeks before Jones' untimely passing, the two met in Jones' native Manchester and exchanged discs and DATs. Wilson was surprised to receive a return parcel of remixed material within days. Soleilmoon issued the fruits of further Wilson/Jones collaboration as 1999's limited Bass Communion v Muslimgauze album.

The Bass Communion v Muslimgauze EP contains two remixes left uncompleted at the time of Jones' death but finished by Wilson shortly afterward. Both tracks represent the striking integration of Jones' rough-hewn tumble of Middle Eastern samples, rhythms, and volatile electronics into Wilson's post-psychedelic ambient instrumentation. "Six" stirs currents of Balearic bliss into a floor-pounding techno mantra. Reversed hip-hop beats rustle Wilson's queasy Frippertronics, as the slowly simmering "Seven" comes to a full boil. When a live-wire surge cuts the track short at its peak, Wilson's intent is poignant and unmistakable.

Muze

The following appeared on the Recycle Your Ears.

The "Bass Communion vs Muslimgauze EP" is the sequel to the "Bass Communion Vs Muslimgauze" album that was released in 1999 on Soleilmoon. The main difference between the two is that the songs on the EP (18 minutes total) were finished by Bass Communion after the death of Bryn Jones (Muslimgauze)

Even though Bryn Jones used to say he wasn't interested in other music than Muslimgauze's, he has collaborated with several bands, including Sonar, and he took alone the initiative to make unrequested mixes for the British project Bass Communion. The two bands worked by swapping DAT, each one working on the other's music before re-sending the tape.

"Six" and "Seven" are clearly not typical Muslimgauze tracks. Even with "Six" features a very recognizable Muslimgauze voice sample, the melodies and the backgrounds sound too technoid to be his contribution. However, his percussions still lead the track that slowly become an hypnotic techno piece. "Seven" is a less pounding track, with a lush and "liquid" atmosphere.

This EP is both a way to pay another homage to Bryn Jones and to show another side of his works. Moreover, since all his recordings are planned to be released in the coming years, this will add to the fans' collection or will work as a companion for the "Bass Communion Vs Muslimgauze" album. 

review by Nicolas Chevreux
Recycle Your Ears (October 10, 2000)

The following appears on Amazon.com.

Contrary to the other reviewer, I found this to be a very solid Muslimgauze release. It is much more satisfying than the Species of Fishes collab. The songs are fairly long and develop into nice atmospheric pieces. The beats are fairly prevalent, but no where near as intense or fast as something like Sufiq. I'm sure most Muslimgauze fans would enjoy this.

review by Stewart Willons
Amazon.com

see also Bass Communion v Muslimgauze EP, The Inspirational Sounds Of Muslimgauze & Your Mines In Kabul

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January 9, 2017