The following appears in All Music Guide.

A gentler release than many in the limited edition subscription series, Sandtrafikar fits into the vein of such works as Zul'm and Drugsherpa, with a low-key propulsion balanced against generally downbeat, dark arrangements, all succeeding in conveying a sense of beauty and mystery mixed with a strange, slight dread. The opening title tracks complement each other well, and share similar elements such as a recurrent conversational sample and moody keyboards. The first has a more loping feel in terms of percussion, while the second is driven by a quick electronic beat; both use the bells which have appeared on so many other Muslimgauze recordings over the years. After the minute-long snippet, "God and I," the first "Baku Oil Field" ratchets up the brooding feeling even more: soft machine-like growls and wheezes rise from deep in the mix, with only an occasional bell and brief echoing samples of percussion and string instruments, calling to mind more familiar Muslimgauze works  until a growth in general intensity at the end. It's quite wonderful, and the similarly named track which follows continues that flow, with percussion added throughout. Following another brief track, Sandtrafikar concludes with "Remix by the Rootsman," which is indeed the U.K. dub/dance figure tackling the title song. He comes up with a rough, shuffling bass drone mix that fits in quite well, although he's not simply trying to ape Muslimgauze. It makes for a fine conclusion to one of Bryn Jones' best all-around efforts.

review by Ned Raggett
All Music Guide

The following appeared in Chainlink D.L.K..

The fourth installment in the series of Staalplaat re-editions of older Muslimgauze recordings, is an 800 copies limited edition of a 1997 production entitled "Sandtrafikar". Its seven tracks further explore the realms of murkier percussive suites and introduce the spoken language element (middle eastern languages) as a narration that accompanies part of the record. Another recurring element in this album (and in many others) are the bells. Electronics moves from the back to the front in several parts, and ranges from simple noise floor to predominant rhythmical part, while maintaining a pretty minimal approach. In fact, "Sandtrafikar" is a nice effort in combining ethnic ambience and flavors with electronic layers and patterns as it sneaks from percussive parts with udu, darbuka and the like to electronic suites, like the second track, where real (and saturated) percussions are only used as embellishments on top of a pulsing minimal electro-beat.

review by Marc Urselli-Schaerer
Chainlink D.L.K. (May 18, 2004)

see also Sandtrafikar & Zuriff Moussa & Fatah Guerrilla, Narcotic, Sandtrafikar, Vampire Of Tehran & Zuriff Moussa

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January 11, 2017