Author: dave

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. 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”. 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? 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” is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. Engineered and mixed by J. Delf. Mastering by Rinus Hooning. Edition of 700.

Views From A Different Angle, is a rebuild album of the two previously released digital releases Views 1 – 5 and Views 6 – 10. The new interpretations have all been made during the night, under quiet circumstances in the studio. Nighttime gave space and tranquility to focus completely on making the tracks more calm and present.

The tracks were composed after my visit to Sri Lanka in 2015. Before finishing the tracks I lost some files and wasn’t able to edit them. Thanks to the great mastering skills of Stewart Walker I could finish the tracks and finally release the album 3 years later.

The style is different from what I do now – it transforms from ambient to electronica, a blend of percussive grooves, field recordings and vocals.

On 17th February 1996, World Music band Celtarabia played a sell-out gig at Slaithwaite Civic Hall in West Yorkshire with support from Psychedelic DJ Simon Scott of Tandoori Space Records in Leeds and were joined on stage by Bryn Jones who joined them in their set playing a Darbuka with his painted red hands signifying his support for the Palestinian people. Reggae Producer John Bolloten (The Rootsman) was also there and a great time was had by all on stage and afterwards.

At the end of the gig Quentin Budworth gave Bryn Jones and John Bolloten a copy of the band’s first CD ‘The Lost Music of Celtarabia’ with some very interesting results a series of collaborations leading to the recording of The Rootsman Meets Celtarabia ‘Union of Souls’ album with John and the arrival of a mysterious DAT tape in a plain brown envelope sent directly to John Bolloten at the Third Eye Studio of Celtarabia tracks remixed by Bryn Jones directly from the album – extremely gritty and fierce the recordings are direct from Bryn’s Studio and strangely beautiful. Reflecting the bitter reality of life in Palestine far removed from the dreamy orientalism of the original Celtarabia Tracks. The tracks are all remixes of “The Lost Music of Celtarabia” tracks. — Quentin Budworth

Originally intended as a cassette-only release for Dizzy Positivity Recordings in 1999.

Reissued by Aquarellist in 2016.

DAT transfer: December 2015.

Mastered by Dmitriy Ataulin, 2016.

Remastered by Igor Potsukaylo, 2021.

Design by Oleg Galay

Track list:
1. The Angel (Muslimgauze Remix)
2. Straddle The Speaker (Muslimgauze Remix)
3. The Angel (Muslimgauze Remix 02)
4. Bedlam (Muslimgauze Remix)
5. Life (Muslimgauze Remix)
6. The Angel (Muslimgauze Remix 03)
7. The Angel (Muslimgauze Remix 04)
8. Stepping On Shadows (Muslimgauze Remix)
9. Life (Muslimgauze Remix 02)
10. The Angel (Muslimgauze Remix 05)
auze Remix)
6. The Angel (Muslimgauze Remix 03)
7. The Angel (Muslimgauze Remix 04)
8. Stepping On Shadows (Muslimgauze Remix)
9. Life (Muslimgauze Remix 02)
10. The Angel (Muslimgauze Remix 05)
11. Life (Trial Mix)
12. The Angel (Trial Mix)
13. Stepping On Shadows (Trial Mix)

Yamaoka’s (Kenichi Oka ) third Databloem release and another lovely ambient cocktail of loop based groovy sequences topped with a touch of minimal techno (improvised on old hardware units). Compared to the previous two Databloem releases (“Time to Time”, “Short Films for Long Days”) this timeless piece of work seems to tell the story in a more mellow dramatic way, sounding like a musical reflection of Kenichi’s experiece of a heavy earthquake shocking his home town and whereafter the only light he saw for a week was coming from the stars..

London-based artist and musician Wil Bolton, known for several fine release of predominantly sound-based artworks with eye and vision, this time joins up with Joseph Auer ( born in the USA. educated at the UK) for a intruiging and fascinating set of electronic minimalism, driven by melodic loops and sequences floating on a bed of droning ambient. ‘Meridian’ is a fusion of two sessions and two musical impressions. Both sessions were recorded at Wil’s London studio in 2017, but also took inspiration from Joseph’s time spent in both Tokyo and Barcelona. For the first session, Joseph brought some compositional frameworks from his time living in Tokyo which took inspiration from Japanese electronic minimalism (Hiroshi Kobayashi, Hiroshi Yoshimua, Inoyama Land and Geinoh Yamashirogumi among others).The second session was recorded on Joseph’s return from seven months living in Barcelona, during which he researched more into experimental electronics from Alvin Curran, Robert Ashley, Pauline Oliveros, Steve Reich, Luc Ferrari, Daniel Blinkhorn and Eugenio Muñoz in particular, while also working 3 – 4 hours a day on composition.For these sessions, Joseph brought a Yamaha FM synthesizer keyboard and a hardware effects unit, creating crystalline digital tones and rhythmic, minimalist sequences. Wil played electric guitar, analogue synths, bells and effects pedals, improvising fuzzy, fragmented melodic loops and droning ambient textures.These live multi-tracked recording sessions resulted in several lengthy pieces which were later edited and mixed down by Wil to form the final five album tracks. Joseph provided the album and track titles and they manifest a deep connection with the city of Barcelona: “The titles reflect impressions of specific geographical areas of the city along with their underlying cultural aspects. It is no accident that these titles are in Catalan, with a nod to Wenzhounese (the language spoken in the region where the majority of the Chinese in Barcelona come from and whose industrial enclave in Sant Adria De Besos I spent a lot of time wandering through). The album title is a nod to the way that the Avenue Meridiana – which it seems I spent a lifetime walking along – acted to me as a dividing middle point going into Barcelona city centre from the vantage point of living in Torre Baró.”