Red Crescent Part 3
The following appears on Metamorphic Journeyman.
Acting as a sort of coda to "United States Of Islam", this is a third version/variation of "Red Crescent". It follows along very similar lines - based mainly on percussion (most of which is fascinatingly interesting - curving pitch-changing drums, distant gongs, a myriad other drums from high-pitched finger cymbals to deep bass drums and everything between these poles) with a background colouration of mellow sitar and the sustained background hum which pervades so many of Muslimgauze's tracks. Its a mellow, trancey piece, not anywhere near as harsh & grating as the political drive behind it might suggest. If you're unfamiliar with this group & like the music of Vasilisk, O Yuki Conjugate etc. then this is without doubt your cup of tea. The 'B' side is actually a pattern of arrows printed into the vinyl, but the length of the 'A' side - 10'25" - makes up for there being only the one track.
review by Antony Burnham
The following appears here!
When I saw this in Synaesthesia, a shop more dedicated to techno, glitch and click music, I wasn't sure what it was. A semi familiar image on the heavy card cover, then 'The art of Muslimgauze' and 'Red Crescent Part 3' on the back. Art of Muslimgauze? Way Out, based on Manchester avenue [how appropriate], Cardiff, CA, but Extreme also included. At AUS $5 (US and not even 3 euro) I had to get it. A single sided 7" vinyl release (to be played at 33 I think) it is the third part following 2 on Extreme's 'United States of Islam'. And the non-music side is engraved with that image from the front.
Like much of that album, the 'Red Crescent' tracks are strong, beat driven pieces. A foregrounded percussion - deep resonant drums accompanied by smaller hand drums - plays out a moving pulse, a somewhat similar structured rhythm across the three parts. Allied to this are bells and droning strings (which swoop in and out, or sustain) providing texture and support.
Part 1 attacks early and maintains the pace, while two has more periods of subtle colouration from the lighter elements and more variation in tone.
(There is also a big noise a few minutes in, which is not taken anywhere and could be an error). Part 3 continues the overall approach but has a stronger drone (almost a Tuvan sample), and a more obvious straight rhythm drum (particularly in the middle) suggesting a remix for the vinyl set. It does also change in mood, having some gentler passages and a nice wind down.
While not a dramatic departure from the album, it is a forceful 10 minute
(when played at 33, too fast at 45) addendum to an album which is probably underrated - its 6 long tracks are powerful hypnotic Muslimgauze at his minimal, straight best.
reviewed by Jeremy Keens
Reproduced by permission.
January 11, 2017