Iran by Muslimgauze

An important release, and not just musically - this is the first album by Muslimgauze for Staalplaat, proved to be Bryn Jones' staunchest supporter, releasing the lion's share of his massive discography over the course of the 1990s and beyond. Only three songs long, Iran still deserves attention if only for the killer opening track alone, an extended remix of "Lion of Kandahar." It's a slamming song with a pulsating beat that alternately takes over then subsides back into the mix, as other drums and percussion play around it. Bells, drones, and synth strings flesh out the overall piece, at times doing a radical revamp of the core beat as well. As an example of Muslimgauze's radical fusion of styles, it's near perfect. "Qom" has its points, with a strange, echoing clatter providing the main rhythm among many as the song slowly but surely builds. I still falls a touch flat, however, against the brilliant opening track. "Intifadah" brings it all to a fine conclusion; cymbal clashes herald yet more throbbing beats, occasionally dropping many of the rhythm tracks in various combinations. Some nicely unexpected shifts in tempo are provided, as string and sitar noises, among others, slide out of the speakers.

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