Label: Soleilmoon Recordings – SOL 25 CD, Soleilmoon Recordings – sol 25 cd
Format: CD, Album, Limited Edition
Country: US
Released: 05 Feb 1995
Genre: Electronic
Style: Tribal, Experimental, Ambient
Tracklist
00:00 Salaam Alekum, Bastard
07:30 Dome Of The Rock
17:48 Hebron Massacre (Short Mix)
29:49 Caste The First Stone
34:34 Poona Eunuch (Zealot Mix)
36:49 Haramzada
46:57 Mandarin Guerilla
53:29 Cairopraktar
57:43 Salaam Alekum, Bastard
all tracks written/played by Muslimgauze
recorded, mixed at the Abraham Mosque Manchester
engineered by John Delf
Dedicated to the invisible hands of revenge.
\"While Muslimgauze's beautiful, frequently Koran-inspired packaging and exacerbating titles smack of pure political agenda, the music itself aspires to timeless, utopian peace. You can float or fly through this stuff, let it loft you gently into the upper atmosphere or pursue its dragon tails into imaginary Medinas. Sculpted from keyboards and electronics, a variety of international drums, and voices and sound effects snagged from Allah knows where, Muslimgauze's output bears affinity to ambient music that claims the decidedly different psychic terrain of such titles as 'Eternal Drift', 'Path of Harmony', and 'Sunangel Summer'. Reducing Muslimgauze to mere ambience does no justice to Jones' obsessions. Where ambient wants to chill you out with it's lazy, looping beats, Muslimgauze's hot pulse aims to sweep listeners into significant, albeit imaginary, liberationist solidarity.\"
(Soleilmoon)
\"One of Muslimgauze's more fiery releases, containing as it does a shortened but still potent mix of \"Hebron Massacre\" and with a fierce title to boot, Salaam continues Bryn Jones' remarkable abilities to use recurrent elements in ways that never fail to captivate, or at the very least provide a fine listening experience. The first title track, which leads off the album, shudders with energy, a fast-paced combination of electronic drums and keyboards, acoustic percussion, murmuring samples, and the bells that often recur as a dramatic hook for many of Muslimgauze's songs. It makes for a great start, a quality the album maintains throughout its length, though not all the tracks maintain that same level of intensity. \"Haramzada\" keeps things on the forward track, but at a midrange level. Neither dreamy nor explosive, it includes the same layering of drone keyboards which Jones often uses to create a strange, ominous feeling in the proceedings. Far more ambient in nature is \"Mandarin Guerrilla\"; despite the title and the random interjections of shouts, a heavily flanged keyboard line is center stage here, rising and falling over a low-key but increasingly complex series of rhythms. \"Poona Eunuch,\" originally from Zealot, reappears here without change, presumably as a way to give fans a taste of that album once the aborted pressing sold out. One of the more un-remarked but still present elements of Muslimgauze's work surfaces here as well, namely his sometimes sharp and sometimes atrocious way around puns, as demonstrated by song titles like \"Caste the First Stone\" (a gentler number, with an intriguing string/dulcimer melody driving the piece) and \"Cairopraktar\" (a slow-growing but striking blend of various drums and percussion over a brooding keyboard line).\"
(All Music Guide)
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