Jerusalaam

release date: November 30, 2016

Originally issued as the fouth LP in the limited edition box set Tandoori Dog, Jerusalaam follows Jaagheed Zarb, the title disc, and Libya Tour Guide with a CD reissue; finally, the long out of print box has been completely reissued. Again the increased space of its new medium has allowed unreleased material from the original tape to be included. This time, however, the extra material is neither alternate versions of Tandoori Dog material nor new songs intended for those releases; the two extra tracks here, clocking in at near 15 minutes and just under 8, make up unused material from the Return of Black September sessions.

The contrast, even for someone with as wide a range as Muslimgauze had, is stunning. The original Jerusalaam fits in with much of Bryn Jones’ classic work, with a heavy emphasis on hand percussion, bass-heavy distortion, sharply clipped loops, and the seething his of static. The two otherwise unnamed Return of Black September tracks, however, follow that album in taking a much more cleanly digital feel, with many of the elements Jones usually uses present but in more stripped down or even mechanized forms. The relatively clean pulse of these two longer compositions serve as a refreshing contrast next to the hand- and tape-made feel of tracks like “All the Stolen Land of Palestine” and “Hessian Bag of Camel Parts”, an invigorating reminder of the breadth and vitality of Jones’ work even now.

Press release from Staalplaat.

The following appears on Staalplaat's Muslimgauze Bandcamp page.

Jerusalaam plus the two extra tracks make up unused material from the Return of Black September sessions.

The contrast, even for someone with as wide a range as Muslimgauze had, is stunning. The original Jerusalaam fits in with much of Bryn Jones’ classic work, with a heavy emphasis on hand percussion, bass-heavy distortion, sharply clipped loops, and the seething his of static. The two otherwise unnamed Return of Black September tracks, however, follow that album in taking a much more cleanly digital feel, with many of the elements Jones usually uses present but in more stripped down or even mechanized forms. The relatively clean pulse of these two longer compositions serve as a refreshing contrast next to the hand- and tape-made feel of tracks like “All the Stolen Land of Palestine” and “Hessian Bag of Camel Parts”, an invigorating reminder of the breadth and vitality of Jones’ work even now.

"Dedicated to all Palestinian freedom fighters, victims of zionist terrorism. The patience in the face of Israeli violence towards them is a great quality they possess, to retaliate is justified."

Jerusalaam on Bandcamp

The following appeared on Boomkat.

Jerusalaam forms the 4th and final vinyl disc from Muslimgauze’s sought-after Tandoori Dog boxset to arrive on CD, now nearly 20 years since the original release.

The vast majority of Jerusalem slots ruggedly into Bryn Jones’ unique category of salty, tetchy drums ’n dub noise, with some rude highlights found in the dense but light-headed pressure of All The Stolen Land of Palestine and the convulsive flurries of tabla and flute that reshuffle themselves between ready shocks and rolling slow house in Sufiq Gulf Breeze 1-2.

However, the final two tend toward that Muslimgauze niche of crisp, prickling electro-dub and atmospheric collage, spreading out for 14 minutes of moving, hot-stepping designs in Unused Return Of Black September Track 1, and farther out into unmetered electro-acoustic zones laced with floral arabic strings and sparse electro pulses under a shifting patina of voices.

Make sure to check those last two!!

Boomkat

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Jerusalaam Jerusalaam (digital re-issue)

February 5, 2017