In the uncompromising world of Muslimgauze, few releases capture the raw urgency and political fire of Bryn Jones's vision as powerfully as No Human Rights for Arabs in Israel. Now returning via MG Archive Vol. 033 as a double CD in a limited edition of 200 manually screen-printed copies, this confrontational masterpiece stands as one of the most rhythmically relentless and politically potent works in the entire Muslimgauze catalog. The album's genesis reflects the chaotic creative process that defined Jones's approach: Staalplaat received two DATs bearing the same provocative title but containing different content—overlapping in places yet distinct enough to warrant this expanded double CD presentation. The result is a work that captures Muslimgauze at his most focused and uncompromising, blending atmospheric electronics, techno-influenced loops, and distorted textures into a sonic manifesto of political resistance.
Drawing from the industrial-funk hybrids of the early '80s, the album weaves together influences that recall Psychic TV's confrontational electronics with the deep groove sensibilities of Bootsy Collins, all filtered through Jones's distinctive dubby grit. The "Refugee" tracks lean into raw, metallic tension that echoes the harsh realities of displacement and conflict, while the "Teargas" pieces offer more structured beats and voice samples that channel protest through pure sound. The album's centerpiece, a 20-minute epic sharing the album's title, moves from hypnotic rhythm to ambient dissolution, allowing the work to fade into abstraction while maintaining its political edge. This extended exploration demonstrates Jones's mastery of long-form composition, creating space for both confrontation and contemplation within the same sonic framework.
Throughout, Muslimgauze demonstrates his unique ability to transform political rage into transcendent musical experience. The album operates on multiple levels—as a document of geopolitical tension, as an exploration of electronic music's potential for social commentary, and as a work of pure sonic innovation that points toward the possibilities of politically engaged art. This double CD format allows the full scope of Jones's vision to unfold, presenting both versions of this crucial work while highlighting the collaborative tensions and creative accidents that often produced his most powerful statements. For anyone seeking to understand the intersection of electronic music and political consciousness that defined the underground scenes of the 1990s, this release stands as essential documentation.
The album's confrontational title and uncompromising content place it firmly within the tradition of politically engaged electronic music that stretches from Throbbing Gristle through Death in June to contemporary artists continuing this vital conversation. Yet Jones's singular approach—rooted in deep cultural knowledge and unshakeable political commitment—creates something entirely unique within this lineage.
