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Muslimgauze


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  • Narcotic is perhaps one example of an album in both camps of the Muslimgauze spectrum, it denotes the expertise acquired in oriental percussion by Bryn Jones after a crescent development and practice through action, part tribal, part ambient with shades of texturized noise, glitch details and field recordings, as result the...
  • 'Uzi' is Muslimgauze's gem from the late '80s Cinematic, minimal, noisy, hypnotic, and gloomy Probably not so overtly Middle Eastern as his later works, though definitely bearing an influence Backed by electric drones, percussion forms a living, breathing atmosphere of impending menace For a strange reason this album was missing...
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    Emak Bakia – long out of print masterpieces from 1994 Even in the huge Bryn Jones' discography Emak Bakia really stands out of albums from the period due its rather unique (house-music related) sound and short, by the standards of Bryn Jones, tracks Like a crossmix between Psychic TV (circa Towards Thee Infinite Beat) and...
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    Long-time Muslimgauze fans with keen eyes and/or photographic memories may immediately notice something about the newly unearthed Sadaams Children album; with some slight orthographic differences, it just about shares a name with a short track from the classic Narcotic (Staalplaat, 1997; the similarity and the difference is...
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    " In 2008 during a large Muslimgauze transferring and remastering project for Roger Richards / Extreme Music, AP recorded a remix as a bonus addition, applying a more drone and ambience - based approach to counterpoint the Muslimgauze rhythms The year after three additional remixes were recorded as well, based on material...
  • It was not so long time ago in history of modern music, when influence of musicians on society was tectonic When artist’s statement or position could impact the political situation in a country or sometimes even worldwide When secret services like KGB, Mossad or CIA would consider some musicians as seriously dangerous for their...
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    The excellent Black September, a continuous, five-part, 68-minute epic, is as formidably competent as ever, although more for the brooding, surreal nature of its soundworld than for its grooves, which here sound almost subsidiary The soul samples and restlessly evolving minor-chord kaleidoscopes that unfold throughout the work is...
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