Muslimgauze

  • April 29, 2012

 
It’s difficult to talk about an artist with such a massive output, especially having only spent a week or so checking them out. Even Paul who’s got more than a handful of releases admits he’s only scratching the surface. It gets even more complicated when dealing with a western artist (born and lived in Manchester) who’s formed his music as a reaction to world politics. Specifically “every piece of music Muslimgauze releases is motivated by a political fact, mostly Palestinian, also Iran and Afghanistan are of great interest” – otherwise known as an area we really don’t want to get in to. But the bottom line is that while anyone can record an album a week, it’s near impossible to record an album a week and keep the ideas inventive and interesting, which, from my short exposure to Muslimgauze, is something that Bryn was managing to do.The short interview below was done by Guillaume Sorge on behalf of Trax 40,000 September 1998.
 
 Could you tell us about your first musical emotions?

The first music would have been English pop music, followed by German bands
of the 70’s and traditional Indian music. My approach to music stems from
Punk; the attitude, approach and a belief that “do what you feel”.

What was your first contact with Electronic music?

Electronic, it was German bands of the 70’s, searching and finding old vinyl
LPs from this time, lots of bands, trying different things.

How did you get involved with this musical style?

I bought a synth, experimented with it, out of this I turned into a drummer!!

Could you describe us shortly your main influences?

Main influences are political. The human rights of Palestinians, an end
to the vile regime of Israel. Anybody reading this who has any thoughts of
support for Israel, should through embarrassment donate all their money to
help Palestinians through aid. Muslimgauze music has a political fact at
it’s heart. I have far too many ideas for my own good, but I believe in what
I do. If you don’t like Muslimgauze, I don’t care.

Do you think that technology changed the way people
are producing music now?

Technology seems to have brought together more crap with idealess people.
The idea of sitting in front of a computer to inflict further crap music
on poor record shops, it shouldn’t happen.

Do you use samplers? if yes, in which frame of mind?

No I do not, never touched a computer. I use old analogue equipment, which
I abuse and force to do what I want. I hope Muslimgauze sound unique and
the CDs are worthwhile.

Do you think that technology can be a relevant medium
for artistic expression?

The important thing is ideas, not technology. Which ever artistic expression
is used, you need the original idea.

Could you tell us more about your production process?

I translate an idea from my mind, through my hands I create this idea using
old analogue equipment and percussion from various countries. Over this I
place things from cassettes, which could be voices/instruments. Some tracks
are left unfinished, some un-mixed, some re-mixed. It depends on the track.

Do you think that Electronic music is creating new sound
structures?

No, everything has been done before. Just try and put a different slant
on things.

What makes a good record?

Something is different to everybody, a million people don’t buy Muslimgauze
releases, a lot of people don’t like Muslimgauze, so what’s good?

What are for you the quality of a good DJ / producer?

To have an ear for sound, hands to shape this into a final thing.

Do you believe in a global Electronic culture?

Things seem to be global through the Internet. A different culture has affected
me, so culture is global now and in the past through pictures and sound.

Do you believe in the social implication of the so-called techno
culture?

I’m not too sure as to what techno culture is. The social implication of
drugs is evidently around. If some drugs are legal, the case for an open
house is strong.

How do you see your music in 10 years? Generally, how
do you see the future of this music?

I cannot see that far ahead, but I hope that over that time Muslimgauze
will have released good quality CDs/vinyl/whatever system comes up next.

Could you give us your 5 all time classic records?

No, I have no time to play other peoples music, I have no interest in other
peoples output. My time is total Muslimgauze, new tracks, new CDs, old tracks,
it’s endless.

After his unexpected passing in 1999 Bryn’s family, friends and former labels continue to release music they come across. Staalplaat label boss and friend of Bryn’s Gert-Jaan has been among those who’ve been through the vast unreleased catalogue he left behind. Evidently each release that came out pre-1999 (despite already coming so frequently) may have been filtered down from around 20 other possibilities, the man worked hard to get his music right before unleashing it. His mother and nephew are still releasing music as they come across fully formed pieces, some untitled and other with their intended politicised track titles. Most of these albums are being put out in limited runs, overseen by his nephew Gareth Jones, and are being done in unique and mostly beautiful packaging. Evidently there are plans to continue releasing the music until all Muslimgauze music is available to the public.

It’s about quality not quantity though, and Muslimgauze had both. Due to the volume of releases it’s hard to categorise and discuss one individual sound of the artist, only that his middle-eastern influences were always present. From crunchy raw drum ‘n’ bass created from hand drums to 50 second beatless arrangements he covered a lot of ground, and it’s worth checking out.

Strangely Bryn never had any desire to visit the Middle East, or even a deep understanding of the Islam, certainly never having converted to the religion. Despite the offer for fully paid trips, he expressed a desire to avoid visiting any occupied land.

He’s an interesting figure in music. for further reading there’s a host of interviews and articles collected over here: http://www.muslimgauze.org/articlesIndex.html