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Sonically, Bryn Jones’ work as Muslimgauze often pulled in two directions at the same time; the one towards what fans of Can might call an “ethnographic” kind of practice, especially with his use of vocal samples and percussion instruments from the Middle East and other regions of the world Jones was so interested in (obsessed by?). The other is towards, for lack of a more polite phrasing, harshly fucked up digital noise and ears.
Many interesting Muslimgauze releases tend more towards that ethnographic side or find a middle ground between the two impulses, but few of his records slide so much towards the other end of the spectrum as 1996’s” Uzbekistani Bizzare and Souk” does!
Limited edition of 500!
Staalplaat
Staalplaat
Sonically, Bryn Jones’ work as Muslimgauze often pulled in two directions at the same time; the one towards what fans of Can might call an “ethnographic” kind of practice, especially with his use of vocal samples and percussion instruments from the Middle East and other regions of the world Jones was so interested in (obsessed by?). The other is towards, for lack of a more polite phrasing, harshly fucked up digital noise and ears.
Many interesting Muslimgauze releases tend more towards that ethnographic side or find a middle ground between the two impulses, but few of his records slide so much towards the other end of the spectrum as 1996’s” Uzbekistani Bizzare and Souk” does!
Limited edition of 500!
