Muslimgauze – Jaal Ab Dullah (1997)

„Quite different from any other Muslimgauze I’ve heard (admittedly what I’ve heard is not exactly a sizeable portion of a discography nearly the size of Alaska), this is hard, distorted, and mad abrasive on the ears. Twenty six tracks, some over eight minutes long, many under a minute, and none of them comprised of more than one or two loops. Bryn Jones doesn’t like to waste ideas, I guess – he just loops them and lets them run forever. Sometimes this is a good thing, sometimes it really seems like a waste of space, and worst of all, some of the best loops are contained in the really short songs („Noose of Gold Silk“ is the worst offender with a seriously awesome, seriously drunken noise loop, but you can put it on repeat and almost not notice that you’re repeating, so it’s not that big a problem). Given all this, the music is pretty simplistic and not as „accomplished“ as a lot of other Muslimgauze, but then again, it isn’t supposed to be „accomplished,“ it’s supposed to be badass and distorted, which it is. Very much so. I particularly like how all the middle-eastern music samples are almost always chopped up into distorted, painful tiny shards and inserted into what would otherwise just be abrasive techno – sometimes it works amazingly well and gives off almost a totally fucked up and otherworldly hip-hop vibe. Granted, this does mean that the middle-eastern influences are significantly downplayed, and you don’t get much of the feel for the middle-east (well sort of, given that Jones resides and works in England, but whatever) that makes the other Muslimgauze recordings so unique. Granted, he manages some kind of a „feel“ on a couple of tracks, but it’s not as exotic a sound as previous efforts – the loop in „Base Metal Trinkets, One Rupee“ is a good example. It manages a middle-eastern feel, but more through its mantra like, gently nodding loops and percussion than through the actual music“ (

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