Jackal the Invizible, by Muslimgauze

Jackal the Invizible

by Muslimgauze

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zenmaster489 This album is jolting, rhythmic and vivid. I listened to it fully and an it was an experience. I found this artist randomly through TikTok and cannot be thankful enough that this unique music was brought to my attention. I recommend a deep dive into the substantial catalog. Favorite track: Resume and Shaduf Fatah Guerrilla.

RICHARD JORDAN Many times, many people have to ask “Muslimgauze, right? Where do I start” Mostly, I laugh and just shrug my shoulders 🤷‍♂️. A person could be a millionaire, live to be a hundred, and still not have heard everything Bryn Jones has done as Muslimgauze.
This album is as good a place as any, to start. Jackal the Invizible has many of the styles you are going to encounter during a listen to a Muslimgauze album: the drones, the glitching samples, the hardest dance beats and clattering ha

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Full Digital Discography

98

releases

Get all 98 Muslimgauze releases available on Bandcamp and save 35%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of The Remix, Home demo tracks, eye for an eye, Muslimgauze Memorial Mix Part 3, Turn On Arabic American Radio, Unfinished Mosque, Muslimgauze Memorial Mixtape 2, Zealot postcard, and 90 more. , and , .

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Muslimgauze double white/black vinyl release
Record/Vinyl + Digital Album
a special bandcamop only edition of 200 hand screen printed and numbered one in white and one in black vinyl plus muslimgauze comic by Ibrahim R. Ineke

Includes unlimited streaming of Jackal the Invizible via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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	1.	Degage 05:35
	2.	Extract 02:27
	3.	Fedayeen bharboo of Pakistan Railways 03:53
	4.	Resume and Shaduf Fatah Guerrilla 05:35
	5.	Abu Nidal 07:30
	6.	Hand of fatima 07:54
	7.	Algeciras 04:38
	8.	Camel abuse does not egzist in Mogadiso 09:20
	9.	Anti arab media censor part1 09:05
	10.	Old Bombay vinyl junkie 08:14
	11.	Opiate and Mullah 06:47
	12.	Turkish sword swallower 03:00
	13.	.Kabul is free under a veil 01:47
	14.	Jackal the Invizible 02:11

about

Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties (it’s one of the reason some of that body of work is still being sorted through and released 20+ years after his passing). Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT.

Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal the Invizible, essentially a compilation of material from multiple other releases* that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30!) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal the Invizible is both a way to issue those tracks on vinyl as the Archive Series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums.

The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001” (although that album came out in 1998 and Jones sadly was not making anything by 2001, only leading to more questions). This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? (Well, probably not that last one.)

One thing we don’t have to question is the quality of the tracks here, regardless of familiarity. The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” (possibly the most misleading to longtime listeners - it has indeed been heard on it’s almost-namesake album, but there it’s known as “Mint Tea With Gadaffi”) is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. The result doesn’t touch on every single mode explored throughout the vast body of Jones’ work (you’d need a box set for that), but does prove to be a multifaceted experience that also serves as an excellent introduction to or refresher on Muslimgauze as a whole.

credits

released September 1, 2021

All tracks written, played, mixed by Muslimgauze. Engineered and mixed by J. Delf

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about

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 ... more

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