Dbl-CD - available (September 20, 1996)
Hot on the heels of 'Return Of Black September', this new double CD follows. Again, Muslimgauze changes his music, this time in favour of up-tempo rhythm material. The package is a gatefold CD sleeve (like 'Izlamaphobia').
Once more we would like to stress that the limited edition series is meant for the die hard fans. Tell everybody you know who wants to buy 1 Muslimgauze CD a year, that there will be a 'Greatest Hits' (provisional title) CD, containing the best material from the previous set of limited CDs.
Press release from Staalplaat.
The following appeared on Grinding into Emptiness.
You'll be lucky if you run across this 2 CD set. It is limited to 800 copies and hand numbered. It mixes the sound that I am more accustomed to in newer Muslimgauze with that of which Muslimgauze started. The end product is noisy, metallic, tribal, Arabic instrumentals. It may sound like a strange combination if you are unfamiliar with Muslimgauze's work, and it is a quite unique combination that no other band has attempted to create. The first track on the first CD is by far the most complex and best track on the album. It is 24 minutes long, which is a bit unusual compared to the rest of the album which primarily consists of shorter, less in-depth tracks about 3 minutes long. This is one of Muslimgauze's best, and if you pass it up, you will have made a big mistake, because you may not come across this extremely limited release again.
review by Scott Mallonee
This review originally appeared on
G R I N D I N G i n t o E M P T I N E S S (February 16, 1998)
The following appears in All Music Guide.
Starting off with the quite lengthy first title track, which begins as a heavy-stomp monster that either is sampling a John Bonham drum part or is doing its best to sound like it is, then alternates between quieter and louder passages, 'Deceiver' is another excellent entry in the limited-edition release series begun by 'Izlamaphobia'. Like that other double-disc release, which showcased Bryn Jones moving into newer, less familiar sonic realms with his work, Deceiver has Muslimgauze working in extremis on a variety of fronts, if not quite as much (though pretty darned close nonetheless) as the earlier effort. One thing that definitely does carry over from Izlamaphobia is Jones' love for crunching drum and percussion sounds used in immediate, in-your-face approaches. Standouts in this vein, to name just two out of many, include "A Parsee View," one of the sharpest and most danceable things Muslimgauze released, with a massive beat and tight groove accompanied by what sounds like heavily-amplified clapping, and the very untypical "Herod-1," anchored around a pumped-up series of bass synth lines and a swirling, wordless female vocal sample. "Herod-2" takes the bass and gets even crazier with it, with backwards percussion and many strange twists and turns. The full blend of punch and experimentalism which characterized Izlamaphobia does crop up at points here as well, as with "Morsel of Sand," with several interlocked percussion lines, some quite clear and some heavily treated, accompanied only by a flute, and the body-rocking first "Jagdish Masjid of Light," which even has some wah-wah guitar snuck into the funk. The second "Jagdish" is no slouch either, with distortion and sonic overload worthy of Autechre to boot on top of everything else.
review by Ned Raggett
All Music Guide
see also Re-mixs & Deceiver
November 4, 2020