Sacred Groves
2025 stock DJ Raph is an electronic musician, producer and DJ from Nairobi, Kenya. He is an outstanding fgure in the growing Kenyan underground electronic scene. His debut album Sacred Groves is a rare gem of a record; considered, emotional and contagious. DJ Raph builds rich, textured electronic music from pan-African ethnographic field recordings. Sacred Groves opens up a timeless musical universe, that is both ancient and futuristic; a deep melange of modern electronic bass music, african cha…
The Drowned World
2025 stock 1115 are an experimental kraut-rave-IDM duo consisting of grey and fehler kuti. The two met in Munich in 2015 and started jamming in fehler's kitchen in the Westermühlstrasse. Grey operates a virtual 808 drum machine, bass and organ synthesizer, while fehler kuti uses, loops and modulates his voice. Their performances are rythm heavy hypnotic jam sessions that range from noise soundscapes to techno like club raves. Imagine Dieter Moebius and The Residents attending a Hauka Cult ritual…
Tandoor Dog
*2025 Stock* "In 1998 Staalplaat and Muslimgauze were on a conquering spirit. Bryn Jones (1961-1999), the man behind Muslimgauze delivered new works, almost on a weekly basis and was more than happy to see them released straight away. Unlike others, Staalplaat was never shy to release larger works, lumping various works together, such as the 9CD “Box Of Silk & Dogs”. Allowing free reign in editing, the 4LP box set ‘Tandoori Dog”, contained the LP of the same name, which saw only eight out of the…
Mohammad Ali Jinnah
*2025 Stock* "Unsurprisingly for an artist as prolific and strident as Bryn Jones was, the flood of material he sent to labels and compatriots was not always carefully categorized. Also, sometimes he would be so eager to release material that if things didn’t happen fast enough he’d just send in another tape. And that circumstance is how you wind up with a fascinating oddity like Mohammad Ali Jinnah.Staalplaat has previously released, in 2002, the Muslimgauze album Sarin Israel Nes Ziona. While …
Jerusalaam
*2025 Stock* 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 m…
Speaking With Hamas
*2025 Stock* 'Speaking With Hamas' was compiled by Bryn Jones himself early 1997 and he thought it would be nice to include a new, previously unreleased track. In his words:"It's for people who don't deserve it". "A tourist asked Ali muhamad, a second-hand camel salesman, why camels look so dam supercilious. He replied the Arabs know 99 names for god. But only the camel knows the 100th."
Al Jar Zia Audio
If ‘Satyajit Eye’ (which is released at the same time on Staalplaat) only blinks at Indian culture, the album ‘Al Jar Zia Audio’ does this with both eyes open. It is known that Bryn Jones, the man behind Muslimgauze, looked further than the Palestinian conflict and used extensively the rhythms of India, Pakistan and other Eastern cultures. Like crossing borders in the bigger Islam regio, Jones takes whatever comes at hand and moulds into his own trademark sound – often imitated, never surpassed.…
Jebel Tariq
Jebel Tariq has strong hand drum beats throughout but still maintains a very moody feel. It was undoubtedly these very elements that lead Jeremy Keens to state it was"balanced between the ambient and beat sides" of Bryn's work. It goes beyond just these elements though. There are whispered voices changing to strong ululations, frequent flute"samples" and then the bass. There are parts where the deep throb of the electric bass element gives a very dub feel and then there is the use of acoustic ba…
Sulaymaniyah
*2025 Stock* “Sulaymaniyah is part of Staalplaat’s ongoing Muslimgauze archive series, masters originally submitted in 1997, then “replaced” by what became Vampire of Tehran released early in 1998. It was not uncommon for the prolific Bryn Jones to replace masters with what he believed to be a more fit release. Short of two tracks, “Fez Tishan” and “Hamas Pulse of Revenge”, this is Vampire of Tehran with nine additional, unreleased tracks. Because Sulaymaniyah was “replaced”, it was stored in St…
Jackal The Invizible
*2025 Stock* Listeners who know much of anything about Bryn Jones' work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties. Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn't tend to give much more information than handwritten track titles on the sleeve of a DAT. Why he would submit multiple copies of the same or similar tracks to those he worked with…
Muhammadunize
*2025 Stock* Recorded and mixed at Abraham Mosque, Manchester 1996, this is a re-release of Muslimlim 009, only C2 taken from stdc 001. Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and Muhammadunize, has what could be called a classic feel to it, with a very familiar blend of drones, string instruments, and synths, and varying percussion/break-beat patterns, in turn mixed with a number of hard-to-catch vocal samples. It's a…
Demo
Demo is much in line with Jones's 1980s recordings, a set of primitive percussion tracks assembled from hand drums, chimes and simple effects, and possessed of a coldly malevolent focus. The Wire
Original Cassette material from Bryns Jones home, Audio Restoration by Radboud Mens.
Bedouin In Mercedes
"Bedouin In Mercedes" by Muslimgauze is an album characterized by its powerful and prolific innovation in experimental music. It features a blend of ambient electronics, polyrhythmic drumming, and a variety of voices and sound effects that create an immersive and visceral listening experience. The music combines elements of Middle Eastern cultural influence with electronic and industrial sounds, reflecting the artist's deep political and cultural engagement, particularly concerned with the Middl…
Home Demo Tracks
"Home Demo Tracks" by Muslimgauze is a collection of eight tracks with a total duration of about 47 minutes, featuring a distinctive blend of ambient electronics and polyrhythmic drumming. The album captures the raw and experimental essence of Muslimgauze's sound, characterized by visceral percussion, diverse voices, and sound effects. It reflects the artist's unique position in underground, experimental, and industrial music circles, continuing the innovative and atmospheric style that defines …
Return of Black September
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 prima facie evidence of a musician on a roll. Boldly named after one of the most notorious Palestinian terrorist organizations, the group which carried out the Israeli…
Turn On Arabic American Radio
The relationship between Bryn Jones's music as Muslimgauze and the track/album titles he would provide (sometimes right on the tapes he would send in for release, but often determined later, sometimes even giving two different pieces months apart the same title, accidentally or not) has always been a little mysterious. Jones himself can no longer be asked, and as you continue to investigate the swathes of material he provided, you hit sources like the DAT or DATs that make up the contents of the…
Maroon
Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations -- space, color, depth, illusion -- to the listening experience. The music on Maroon is dub-like inspired techno music, laidback with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on Maroon give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to b…
Eye For An Eye
The relationship between Bryn Jones's music as Muslimgauze and the track/album titles he would provide (sometimes right on the tapes he would send in for release, but often determined later, sometimes even giving two different pieces months apart the same title, accidentally or not) has always been a little mysterious. Jones himself can no longer be asked, and as you continue to investigate the swathes of material he provided, you hit sources like the DAT or DATs that make up the contents of the…
Hamas Arc
Originally released in 1993. The reissue contains remixed material from »Shekel Of Israeli Occupation«, which did never appear. Also on there are two remixes from tracks on »Vote Hezbollah«. From the original press release: »For over ten years this solitary voice from Manchester has created a unique sound drawn from a melange of Arabic and European instrumental music. From the very beginning the music has been based on drums and other percussion instruments. Recent advances have been attained th…
Lazhareem Ul Leper
Lazhareem Ul Leper by Muslimgauze certainly qualifies for its range of percussion instruments, atypical electronics, skillful de-construction of ethno-traditional music. In turn, said music is re-assembled with urban stylings with a technical deftness akin to the way a Shao-Lin monk wields weapons. Muslimgauze enthusiasts may recognize sounds from Izlamaphobia on the odd track as they were made roughly the same time, only Lazhareem is arranged differently and with more unique elements to form a …