Dar Es Salaam
Dar es Salaam is an exploration of noise, beats and sound. A wonderful variety of what Muslimgauze did best - the first from this legend since "Sufiq" in 1999. Fast and furious dancefloor tracks next to ebbing guitars next to noisy repetition and distortion. What can really be said about a legend?
Through 90+ releases, Muslimgauze has managed to make a believer out of even the most sceptical music enthusiast. The onslaught started back in 1982 with the Piano Room cassette and continued through the eighties with such 'hits' as 1984's Buddhist On Fire, 85's Blinded Horses, 87's Coup d'Etat, and 88's The Rape of Palestine. 1988's 'untitled' cassette on Soleilmoon and 89's Iran CD on Staalplaat were the first two on those respective labels, which continue to release Muslimgauze material today.
The group Muslimgauze, as the creator prefers to be known, is considered by many to be one of the most dedicated and inspired groups of the century, on the level of Mozart or even Monet. If you consider the sheer volume of material, the number of devout fans and casual listeners, and the fact that the pro-Palestine, pro-freedom message that is primarily infiltrating western society through this music, the group Muslimgauze should be considered extremely revolutionary on the level of South Africa's Mandela or Harlem's Malcolm X.
Enigmatic, disturbing, provocative, occult, uncompromising and unlistenable are all words that have been used to describe his music. We commented to him once that the intentional distortion on one of his tracks almost blew up the PA speakers, Bryn said "Good that's what I want to happen!" Music is not and should not be safe, Muslimgauze made it bloody dangerous in lots of ways. Bryn we will miss you.
Press release from Hidden Art.
This item appeared on the Islamaphonia 2 mailing list.
This a beat album, no ambient tracks. Not aggressive but very hypnotic.
First are the basic ingredients: a drum machine (no sampled drum loops, no middle-eastern percussions), an analogic bass, Arabic ambient sounds (street sounds, farm or village-like source, conversations, muezzins, peacocks) and Arabic flute or luth (ud). This is a familiar receipts but everything is in the mix.
Flutes and Luths are paned on the left, the drum and the bass in the middle and the ambient sounds on the right in a weak volume, like a subtle perfume of orient.
Drum and bass are sometimes treated with a high saturation signal or analogic filter for a few seconds, just like some pieces on MUSLIMLIM 028 for example among others. Bass lines are between dub and jungle, very fat, round. They have the leading part.
Flutes and Uds have the second roll with their lower volume, almost muted, no high frequencies, just medium and bass. Very oriental melodic lines.
Ambient sounds are like phantoms, with their volume lower than the Arabic instruments, haunting the pieces. In some tracks you can only hear them when everything stops for a few moments.
The result is album of multi-layered volumes and minimalist instrumentation, very monochromatic according to colourful releases such as SINZ, Baghdad, Fatah Guerrilla or Deceiver. It sounds like some WORDSOUND releases.
Rhythmic tracks are medium, based on hip-hop, house, 16thshuffle and a 7/8. The last short track is the faster one with its jungle feel.
Once again, Bryn Jones have done something unique, an "exercise de style", a "tour de force". It's incredible how his inspiration seems infinite...he would always have something new to bring in his rhythmic stuff according to the ambient where IMHO he's more boring, using too much the same sounds and method (Mullah Said, Black September, Sandtrafikar, Betrayal).
Another singular release from that singular artist, a real genius.
review by Islamaphoniac
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The following appeared on Piccadilly Records.
An exploration of noise, beats and sound. Fast and furious dancefloor tracks next to ebbing guitars next to noisy repetition and distortion.
January 9, 2017