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Muslimgauze

Image taken by Martin Parker from D.O.R.
Background information
Birth name Bryn Jones
Also known as E.g Oblique Graph
Born 17 June 1961
Origin Manchester, England, United Kingdom
Died 14 January 1999 (aged 37)
Genres Experimental
Ethnic Electronica
Ambient
Noise music
Years active 1982–1998
Labels Extreme Records
Staalplaat
Soleilmoon Recordings
D.O.R.
BSI
Law & Auder
JARA
The Label
Arka Sound
Third Eye
Chlorophyll
Vinyl On Demand
Daft
Universal Egg
Associated acts Bass Communion
Species of Fishes
Website www.muslimgauze.info
Members
Bryn Jones

Muslimgauze was a music project of Bryn Jones (17 June 1961–14 January 1999), a prolific British ethnic electronica and experimental musician, influenced by conflicts in the Muslim world with an emphasis on the Israeli-Palestinian conflict. With dozens of albums released under the Muslimgauze name, Jones was remarkably prolific, but his mainstream success was limited due in part to his work being issued mostly in limited editions on small record labels. Nonetheless, as critic John Bush[1] writes, "Jones' blend of found-sound Middle Eastern atmospheres with heavily phased drones and colliding rhythm programs were among the most startling and unique in the noise underground."

Contents

Political beliefs

The name Muslimgauze is a play on the word muslin (a type of gauze)[2][3] combined with Muslim, referring to Bryn Jones' preoccupation with conflicts throughout the Muslim world. Jones claimed Muslimgauze was formed in response to "Operation Peace of the Galilee", Israel's 1982 invasion of Lebanon[4][5] to stem attacks from Palestinian Liberation Organization guerrillas stationed in South Lebanon. This event inspired Jones to research the conflict's origins, which grew into a lifelong artistic focal point, and he became a staunch supporter of the Palestinian cause,[6] and often dedicated recordings to the Palestinian Liberation Organization or a free Palestine.[7] Jones's research further grew to encompass other conflict-ridden, predominantly Muslim countries including Afghanistan, Pakistan, Chechnya, Iran, and Iraq. He concluded that Western interests for natural resources and strategic-political gain were root causes for many of these conflicts and should Western meddling halt, said regions would stabilize.[4]

Jones frequently netted criticism for never having visited the Middle East. He explained in a 1994 interview, "I don't think you can visit an occupied land. It's the principle. Not until it's free again."[8]

I would never go to an occupied land, others shouldn't. Zionists living off Arab land and water is not a tourist attraction. To have been in a place is not important. So you can't be against apartheid unless you have been in South Africa? You cannot be against the Serbs killing Muslims in Bosnia unless you have been there? I think not.
Bryn Jones , Chain D.L.K. interview[9]
Dedicated to the unknown Palestinians buried in mass graves in Al-Riqqa cemetery, Kuwait city.
Zul'm (1992)

References in dedications, album, and track titles demonstrate Jones had extensively researched the conflict regions in the Middle East, as well as Chechnya, Afghanistan, India, Pakistan, and Indonesia, among others.[10] Musical references also extended to other creeds and ethnicities including Hindus, Tibetan Buddhists, and Sri-Lankans[11]. Jones acquired this knowledge through local library research, which included available books and periodicals with additionally information gleaned from radio and news broadcasts.

When asked what he would do if conflicts in the Muslim world were peaceably resolved, Jones replied his music would champion other conflict regions such as China's occupation of Tibet. He also admitted Muslimgauze music could be appreciated outside a political context as the majority of it is instrumental; politicized only by track and album titles as well as occasional newscast and ethnic music samples. It was his hope that listeners would read album and track title references and verify for themselves the meanings through independent research and thought.

;interviewer:Do you believe it is absolutely necessary, to take these political aspects into account? Or can one also uncouple the politics and music from each other?
Jones
Yes, one can do that. It is music. Music with serious political facts behind it. There are no lyrics, because that would be preaching. It is music. It is up to you, to find out more. If you don't want that, it is up to you. You can listen to only the music or you can preoccupy yourself more with it.
Artefakt interview[12]

Early musical career

Jones first released music in 1982 as E.g. Oblique Graph on his own imprint, Kinematograph and independent co-op label Recloose, run by Simon Crab. E.g. Oblique Graph came from the Do It Yourself (DIY) ethos of the time and was musically comprised of electronic/experimental drone with occasional synth-melodic hooks and use of radio broadcast samples. Track titles were sometimes politicized such as “Murders linked to Gaullist Clique” on Extended Play (1982) and “Castro Regime” on Triptych (1982).

After operation Peace of the Galilee, the first Muslimgauze album, Hammer & Sickle (1983) appeared on another of Jones' label monikers, Hessian. Under the Muslimgauze alias, music switched from emphasis on pure synthesis to percussion textures which grew to encompass acoustic drum kits, drum machines, assorted ethnic hand percussion and even rudimentary objects like pots and pans. Synthesis and tape loop samples were often relegated to accompaniment.

Releases at the time were occasionally on cassette, more often vinyl EP/LP's; the longest running of Jones' label monikers, Limited Editions, started with Hunting Out With An Aerial Eye (1984) followed by Buddhist on Fire put out by Recloose the same year. Since then, Jones roughly released an album-a-year, given scarce financial resources until 1988 when he began making inroads with then-emerging labels Staalplaat, Soleilmoon and Extreme Records. In 1988, Staalplaat released the first Muslimgauze CD, Iran, the subsequent catalog migrated to mostly that format.

By the late 80's, Jones ran out of funding to self release, and other labels who did put out Muslimgauze such as Recloose and Permis De Construire (who put out Coup D'État) did not pay promised royalties. Recloose runner Simon Crab cited lack of sales and damaged records from fire bombing as his reason.

The neighbouring ‘Thomas a Becket’ pub run by east end gangsters - common-or-garden low level vicious thugs (years before the species was romanticised by ‘Lock Stock’ and ‘Mona lisa’) - unable to control our unlicensed trade in alcohol and other illicits, firebombed the building one night and attacked the crew on a regular basis (ironically, many of the new pressings of Muslimgauze’s ‘Buddhist On Fire’ stored in the Recloose offices were destroyed during this attack).
Stalker blog post[13]
The deal with Recloose was that we paid 50 percent of the profits to the artist and 50 percent went to the label, which was a pretty good deal, especially since we didn't sell that much. We put a lot of energy into marketing, and most of the artists signed to the label sold off the back of Bourbonese Qualk anyway. He assumed we sold loads of albums but we didn't even cover the costs.
Template:Simon Crab[14]

At this time distributors, Soleilmoon, Staalplaat, and Extreme Records transitioned to a label proper with the advent of the compact disc format which became less expensive to produce and ship than vinyl over time and gradually took on the Muslimgauze catalog. After a positive experience with the release of Intifaxa (1990) with Extreme, Jones signed on until his final release with them, Citadel in 1994.

Later musical career

It was with the release of United States of Islam (1991) a formalized agreement was reached with Extreme who helped fund professional studio recordings, designed attractive packaging and utilized a more extensive distribution network. Though pleased at first, Jones was frustrated with Extreme's one-release-a-year policy and in 1993 signed to then sibling labels Soleilmoon/Staalplaat who offered a more frequent release schedule. 1993 saw the release of Vote Hezbollah, Veiled Sisters and a re-release of Iran on Soleilmoon and Hamas Arc, Satyajit Eye and Betrayal on Staalplaat.[14]

As someone who always had more musical supply than demand, Jones additionally released with nearly any small label who approached him including Parade Amoureuse, Minus Habens, Concrete Productions, Daft and Jara. A drawback with releasing on so many labels was gratuitous editing by producers and through design or circumstance, no royalties. Extreme cited betrayal by distribution networks who were unscrupulous or filed for bankruptcy and could not pay—though they also claimed to have eventually remunerated Jones. Lack of due royalties was a source of on-going stress throughout Jones' career.

In 1995, he had six releases; in 1996, 15; in 1997, nine; in 1998, 16. After his death, the many record companies with which he had associated released unreleased material and re-pressed older, out-of-print material. In 1999, the year of his death, 22 new (and old) albums and EPs on several media were released.

As frequency of releases increased, Jones was able to musically respond to events in the Muslim world as they occurred. Cases in point were the 1993 Oslo Accords which surfaced as Betrayal and 1994's Hebron Massacre (also known as the Cave of the Patriarchs massacre) released under the same name just months after the tragedy.

Towards the end of his life, Jones involved himself in more collaborative efforts in projects like the Rootsman, Apollon, and Systemwide. Jones also made arrangements to release with other labels in addition to his mainstays (something done throughout his career, moreso towards the end) such as D.O.R., Third Eye, BSI, and DAFT. Add to that, the frequency of live shows increased, some recorded such as at On Air West in Japan (to be released on Gift Records in 2009), Mort Aux Vaches for VPRO Dutch Radio, and aboard the Mortorschiff Stubnitz. It seemed no combination of labels, collaborations or live performances could exhaust his musical output. Media scrutiny too increased (albeit mostly on independent publications) with a total of 8 interviews in 1998.

He always stated that he never had time to listen to other people's music, although in a 1992 interview with Impulse Magazine, he mentioned that he enjoyed traditional music of Japan, the Middle East, and India, as well as the works of artists such as Can, Throbbing Gristle, Wire, and Faust.[5] However, despite a few collaborations, Jones didn't trust anyone when it came to remixing his music. Instead, he took pieces of music sent to him and remixed them to his own liking.

Death

On Wednesday, 30 December 1998, Bryn was rushed to the hospital in Manchester with a rare fungal infection in his bloodstream, for which he had to be heavily sedated. His body eventually shut down, and he died on 14 January 1999.[15]

Posthumously

Since Bryn Jones's untimely passing in 1999 at the age of 37, Muslimgauze music continues to be released as of this post and will continue for years to come before his catalog is fully available for sale to the public. He often inundated labels and collaborators with music; consequently, the latter had to be selective of what was finally put out. Because of continuous demand for unreleased music, labels continue to air material previously relegated to the vaults. New material is often stylistic variations of previously released albums. In fact, Jones made large numbers of studio variations of nearly all his music.[11][16]

Bryn Jones is survived by his nephew Gareth Jones, who reportedly is in charge of the Muslimgauze estate, which includes rights-of-ownership and royalties.

Musical styles

Muslimgauze music is often difficult to describe as sheer volume, content diversity and often singular stylings make for a confounding task. Nor did Jones produce any 'hit' albums or songs, rather he made music both as audio aesthetic exploration and to express outrage over on-going injustices in and against predominantly Muslim countries. Muslimgauze did incorporate elements from a variety of genres including Ambient, Techno, House, traditional-ethnic-percussion, experimental-electro-acoustic and Jamaican Dub among a myriad of other styles which he fashioned into his own. Commonalties are often samples/loops of ethnic music from the places like the Middle East, Africa and South Asia; field recordings of said regions as well as the recurrent use of percussion. Another defining trait was the mongrelization of disparate ethnic and urban music stylings. On occasion, Jones eschewed stylings he was known for—namely ethno-percussion, to create beatless pure electronic textures or 4/4 dance oriented material. Muslimgauze music also features more abstract content such as noise/drone on selections from No Human Rights for Arabs in Israel (1995) as well as The Remix (2005), Izlamaphobia (1995), and pure electro-acoustic on Azzazin (1996). Add to that, collaborative efforts with projects like Apollon, The Rootsman, Bass Communion, Systemwide, and Sons of Arqa—artists who influenced Muslimgauze directly or indirectly and added further breadth to the oeuvre.

Jones produced music with the use of synthesis; drum machines (sometimes used as a sample trigger); sound modules; tape, Digital Audio Tape (DAT) and CD samples/loops; as well as a wide array of percussion and chimes. Many Muslimgauze albums were recorded in professional studios with the aid of sound engineers to add depth and further audio singularities. Computers were sometimes used in the editing process. In his last few years Jones had personal access to increasingly sophisticated synthesis and recording equipment but never owned a personal computer.

Discography

The Muslimgauze discography is vast. He released over 90 original albums on 32 different record labels, creating nearly 2,000 original songs. Many of his pieces were inspired by political facts or events. Many of his releases have been re-pressed as, after 1994, most of his albums were released in limited editions of 200–1,000. Including re-pressings, he had 192 releases as of 2008, but the number will likely increase for years to come.

Live performances

During the early phase of his career, Jones was known to have performed only one live show in 1986 at the V2 in s-Hertogenbosch, the Netherlands. At the behest of Bourbonese Qualk, mainstays of the Recloose label, Jones performed a half hour set. The show consisted of Jones singing to a backing track while Simon Crab and Stephen Tanza, then members of Bourbonese Qualk, added instrumental accompaniment. By all accounts the show went reasonably, but Jones was traumatized by the experience enough to swear off live performance until the 1990s.[14]

Jones resumed live performance in 1995 at the behest of record store owner and DJ, Simon Scott. Part of Jones' apprehension with live performance was in trying to figure out how to present the music. He concluded the best way was refrain from vocals with lyrics and instead play live percussion atop a backing track. He also did DJ sets which consisted of exclusively his own material. Contrary to his 1986 experience, Jones did enjoy doing live shows and frequently did them in his last years in diverse places such as the UK, throughout mainland Europe and even Japan.[16]

Date
(Year-Month-Day)
Country-Province-City Venue Event Release status
1993-07-06 UK-England-Manchester Turkish Baths Arabbox
1995-09-03 UK-Scotland-Edinburgh Wee Red Bar, Edinburgh School of Art Color Climax organised by Blue Room (Edinburgh) & Sonora (Glasgow)
1995-10-08 UK-Yorkshire-Edinburgh Cafe Mex Sunday Service
1996-02-18 UK-Yorkshire-Leeds The Duchess Sunday Service
1996-05-26 UK-Yorkshire-Leeds The Duchess Sunday Service
1996-08-24 Germany-Berlin Staalplaat Sonderangebot Festival
1996-10-17 UK-Yorkshire-Leeds Le Phono Brainticket
1997-06-22[1] Germany-Rostock MS Stubnitz/Rostock Harbor
1997-07-XX Spain 4 am in a Spanish bull ring
1997-11-01 UK-Yorkshire-Leeds The Duchess Tandoori Space
1998-01-27 Japan-Shibuya Club Shibuya On Air West
1998-06-13[2] Sweden-Stockholm MS Stubnitz Nursery Injection Festival
1998-09-XX France-Normandy The Monastery Of Sound
1998-10-28 UK-Yorkshire-Leeds The Cockpit Tandoori Space
1998-11-2X Germany-Berlin Volksbühne Ballroom International

Notes

  1. ^ http://allmusic.com/cg/amg.dll?p=amg&sql=11:hpfuxqt5ldde~T1
  2. ^ Sahlén, Mårten (1999-02-21). "Muslimgauze in Stockholm". http://home.swipnet.se/~w-30681/mg/. Retrieved 2009-01-07.  
  3. ^ Bryn Jones. (February 2007) (MP3). Bryn Jones Speaks. [audio]. Extreme. http://www.boomkat.com/item.cfm?id=93575. Retrieved 2009-01-07.   fee required
  4. ^ a b Ayers, Nigel (September 1990). "Network News interview". Network News. http://www.muslimgauze.org/articles/network(article).html.  
  5. ^ a b Crumby, Mark (January 2000). "Impulse Interview". Manchester. http://www.muslimgauze.org/articles/impulse(article).html.  
  6. ^ Rena (Summer 1994). "Industrial Nation interview" (print). Industrial Nation (9). http://www.muslimgauze.org/articles/industrial-nation(article).html.  
  7. ^ Richard Gehr Village Voice (28 October 1994)
  8. ^ Gehr, Richard (1994-10-28). "Beyond the Veil" (print). Village Voice. http://www.muslimgauze.org/articles/veil(article).html.  
  9. ^ Urselli-Schaerer, Marc. "Chain D.L.K. Interview". Chain D.L.K. (5). http://www.muslimgauze.info/articles/chain(article).html.  
  10. ^ Richard Gehr, Village Voice (28 October 1994)
  11. ^ a b Khider, Ibrahim (2005). "Muslimgauze". Perfect Sound Forever. http://www.furious.com/perfect/muslimgauze.html.  
  12. ^ Erik, Bennedorf; Picicci, Annibale (February 1997). "Artefakt interview". Artefakt (Berlin, Germany) (2). http://www.muslimgauze.info/articles/chain(article).html.  
  13. ^ Gehr, Richard (2008-11-28). "“Live Series 2" & the London Ambulance Station". Stalker. Simon Crab. http://crab.wordpress.com/2008/11/28/live-series-2-the-london-ambulance-station/.  
  14. ^ a b c Khider, Ibrahim (2006). "Equations of Eternity" (print). e/i: 54–60.  
  15. ^ Strauss, Neil (1999-01-28). "Bryn Jones, 38, Musician Known as Muslimgauze". The New York Times. http://select.nytimes.com/gst/abstract.html?res=F60813FC3A5D0C7B8EDDA80894D1494D81. Retrieved 2006-10-28.  
  16. ^ a b Kinney, Rick (2004). "Industrial Nation interview" (print). Industrial Nation (20). http://www.muslimgauze.org/articles/industrial-nation2(article).html.  

The Muslimgauze Website has reprints of almost all known Muslimgauze articles and interviews from varied publications; it also includes cover art and liner dedications for the entire Muslimgauze catalog.

External links

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