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Beirut Transister

by Muslimgauze

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about

organic and ‘Arab’ of releases and bound to compliment any fan’s collection. Fundamentally in the traditionalethno-percussive camp of the Muslimgauze oeuvre, the core style is raqs sharqi/baladi (traditional belly dancing) and is at home with titles like Observe With Sadiq Bey and especially Jebel Tariq. Though tracks can be recognized from parts of the latter, these are alternate versions and where Jebel is a continuous set, each track on Beirut stands alone. This album delves into raqs sharqi/baladi as tempo and density of rhythm shift from simpler patterns to vigorous cascades of lush layered tabla that vary from song to song and charm the listener. Few artists can deconstruct and reassemble centuries-old tradition, then edit it into near seamless perfection while not falling into musical cliché. For instance, “Find Yugoslav butcher of Muslims”, arranges a percussive raqs sharqi ensemble into hip hop style beats with raunchy oud, that still sounds fresh and exciting. Another editing marvel is how field recording samples are choreographed with the obsessive detail of a radio drama and brings a strong sense
of narrative. While the tablas bring kinetic energy, Arab voices intone religious recitation; call brusquely over megaphones while women and men sing or murmur dimly in backgrounds. Not stopping there, additional ethnoinstrumentation such as reeds, lute fragments and chorus’ of other Mid-Eastern winds ornament the tracks. “Soufaf
in Gulf” transports one into dusty Arab villages and markets (perhaps even in south Lebanon) as the ambient clopclopping of passing horses and rushing shrill play of children mingle with melodica loops and artfully placed car horns and megaphone calls. A further detail is the infusion of roots reggae dub elements such as the occasional tight melodica loops, staggered-echo-instrumental bits, and then the bass... It is the bass that deserves special mention as it is unlike most Muslimgauze releases. Whereas bass coils like an anaconda through albums like Remixs 1, 2 and 3 and Cobra Head Soup, it powerfully tremors through Beirut Transister like a force of nature. Few Muslimgauze recordings have the bass so powerfully pronounced; melodic, yet massively shifting like tectonic
plates. A case in point is “Egyptian Song Contest” where a short Arabic phrase prefaces provocative metallic hand drum textures and relentless earthquake bass and screeching shortwave radio feedback. The masters for Beirut Transister were submitted in 1998, at the zenith of the late Bryn Jones’ technical skill where he no longer was influenced by styles so much as ‘owning’ and then and spawning his own. Abu Dub Step Bryn Jones, father of dubstep, is still the unparalleled master and this is one of the summits.

credits

released May 25, 2020

Track 2 is the same as 'Morocco leather' on Sarin Israel Nes Ziona.
Track 6 is a longer version of 'Just In Tunis, Only Just' on Sarin Israel Nes Ziona (this longer version is also on Jah-Mearab).
Track 7 is the same as 'Turn Onto Hezbollah Digital Radio' on Jah-Mearab.
Track 8 is the same as 'Jar Of Salahuddin' on Jah-Mearab. (there is a shorter version on Sarin Israel Nes Ziona)

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Muslimgauze Berlin, Germany

Muslimgauze occupied a strange place in the musical world. He was a powerful, prolific innovator, releasing albums that were alternately beautiful and visceral, full of ambient electronics, polyrhythmic drumming and all kinds of voices and sound effects. The recordings earned him a devoted following in underground, experimental and industrial music circles worldwide.

The New York Times 1999
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