MUSLIMGAUZE
Intifaxa
Boomkat Product Review:
Muslimgauze’s 1990 album returns, remastered for posterity and loaded with hypnotic, club-ready steppers and signature, vibing pressure for days
‘Intifaxa’ is a deadly snapshot of Bryn Jones’ legendary project equidistant his early works as E.g. Oblique Graph and untimely passing, a little over 25 years ago, in 1999. It bears the hallmarks of his early work - dry drums cloaked in twilit synths and starkly dubbed field recordings - detectably on the cusp of the widescreen variants that would come to define a strand of his work, and which would strongly influence Vatican Shadow. It is now the first of four first time vinyl reissues of previously tape or CD-only releases due with his longtime supporters at Extreme, and part of a much wider reissue and excavation project that never fails to shift and prise open new angles on his fathomless archive of music made in North Manchester, which has since infected imaginations and artists across the world.
Vividly reanimated in the digital and vinyl remastering by Miroslav Piškulić, and clad in an expanded version of Oleg Galay’s definitive Extreme artwork, the album represents one of many crests in the oceanic Muslimgauze catalogue. Shy of the disruption that would colour some previous works and define a whole other tranche of his work, the seven original cuts mesmerise with a display of wraithlike spectral steppers polyrhythms that snake across the mostly 10 minute landscapes, rolling out loops of tingling high resister timbales and hand-played percussion swept with FX contrails and almost subliminal use of field recordings that imbue its unique tenor, on the edge of deep concentration, dread, and aerobic mysticism.
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Boomkat Product Review:
Muslimgauze’s 1990 album returns, remastered for posterity and loaded with hypnotic, club-ready steppers and signature, vibing pressure for days
‘Intifaxa’ is a deadly snapshot of Bryn Jones’ legendary project equidistant his early works as E.g. Oblique Graph and untimely passing, a little over 25 years ago, in 1999. It bears the hallmarks of his early work - dry drums cloaked in twilit synths and starkly dubbed field recordings - detectably on the cusp of the widescreen variants that would come to define a strand of his work, and which would strongly influence Vatican Shadow. It is now the first of four first time vinyl reissues of previously tape or CD-only releases due with his longtime supporters at Extreme, and part of a much wider reissue and excavation project that never fails to shift and prise open new angles on his fathomless archive of music made in North Manchester, which has since infected imaginations and artists across the world.
Vividly reanimated in the digital and vinyl remastering by Miroslav Piškulić, and clad in an expanded version of Oleg Galay’s definitive Extreme artwork, the album represents one of many crests in the oceanic Muslimgauze catalogue. Shy of the disruption that would colour some previous works and define a whole other tranche of his work, the seven original cuts mesmerise with a display of wraithlike spectral steppers polyrhythms that snake across the mostly 10 minute landscapes, rolling out loops of tingling high resister timbales and hand-played percussion swept with FX contrails and almost subliminal use of field recordings that imbue its unique tenor, on the edge of deep concentration, dread, and aerobic mysticism.
Boomkat Product Review:
Muslimgauze’s 1990 album returns, remastered for posterity and loaded with hypnotic, club-ready steppers and signature, vibing pressure for days
‘Intifaxa’ is a deadly snapshot of Bryn Jones’ legendary project equidistant his early works as E.g. Oblique Graph and untimely passing, a little over 25 years ago, in 1999. It bears the hallmarks of his early work - dry drums cloaked in twilit synths and starkly dubbed field recordings - detectably on the cusp of the widescreen variants that would come to define a strand of his work, and which would strongly influence Vatican Shadow. It is now the first of four first time vinyl reissues of previously tape or CD-only releases due with his longtime supporters at Extreme, and part of a much wider reissue and excavation project that never fails to shift and prise open new angles on his fathomless archive of music made in North Manchester, which has since infected imaginations and artists across the world.
Vividly reanimated in the digital and vinyl remastering by Miroslav Piškulić, and clad in an expanded version of Oleg Galay’s definitive Extreme artwork, the album represents one of many crests in the oceanic Muslimgauze catalogue. Shy of the disruption that would colour some previous works and define a whole other tranche of his work, the seven original cuts mesmerise with a display of wraithlike spectral steppers polyrhythms that snake across the mostly 10 minute landscapes, rolling out loops of tingling high resister timbales and hand-played percussion swept with FX contrails and almost subliminal use of field recordings that imbue its unique tenor, on the edge of deep concentration, dread, and aerobic mysticism.
2LP in extra heavy cardboard cover with deluxe spot UV finish and inside print.
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Boomkat Product Review:
Muslimgauze’s 1990 album returns, remastered for posterity and loaded with hypnotic, club-ready steppers and signature, vibing pressure for days
‘Intifaxa’ is a deadly snapshot of Bryn Jones’ legendary project equidistant his early works as E.g. Oblique Graph and untimely passing, a little over 25 years ago, in 1999. It bears the hallmarks of his early work - dry drums cloaked in twilit synths and starkly dubbed field recordings - detectably on the cusp of the widescreen variants that would come to define a strand of his work, and which would strongly influence Vatican Shadow. It is now the first of four first time vinyl reissues of previously tape or CD-only releases due with his longtime supporters at Extreme, and part of a much wider reissue and excavation project that never fails to shift and prise open new angles on his fathomless archive of music made in North Manchester, which has since infected imaginations and artists across the world.
Vividly reanimated in the digital and vinyl remastering by Miroslav Piškulić, and clad in an expanded version of Oleg Galay’s definitive Extreme artwork, the album represents one of many crests in the oceanic Muslimgauze catalogue. Shy of the disruption that would colour some previous works and define a whole other tranche of his work, the seven original cuts mesmerise with a display of wraithlike spectral steppers polyrhythms that snake across the mostly 10 minute landscapes, rolling out loops of tingling high resister timbales and hand-played percussion swept with FX contrails and almost subliminal use of field recordings that imbue its unique tenor, on the edge of deep concentration, dread, and aerobic mysticism.
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