As I write this it has been seven years to the day since the passing ofBryn Jones. Several labels diligently continue to release andpreserve his music but in recent years Soleilmoon is at the forefrontof packaging presentation. From the metal tin of Arrabbox tothe oversized folder of Alms for Iraq to the fur covering of Re-mixsVolume 1 & 2 to the silk pouch of Syrinjia. And now this. Soleilmoon Recordings
Speaker of Turkish is a limited edition of 397 (a second issuein more conventional packaging is forthcoming) that comes in ahand-made wooden gatefold case held together by a paper hinge and heldfast by a beaded string through top notches. On the front is araised-relief mosque and inside the word "Allah" is silk-screened inArabic calligraphy. Also inside is a hand-numbered 2006 wallet-sizedcalendar and window sticker, both with colorful mosque illustrations.
Musically speaking, rather than another re-issue, this is the firstalbum of completely new material to be released in more than two years.It was recorded in 1997 along with at least a dozen other albums—threeof which have still yet to be released—a testament to Jones'unrelentingly productive pace. The entire catalog stands as one greatwork but any one disc is a snapshot of a particular period. Around thistime Jones had become very skilled at creating a sort of traveloguecollage with his usual arsenal of sounds: hand drums, bass throbs,ethnic wind and string instruments, electronic blips, snatches ofvoice, smears of stereo-panned distortion and seemingly found sounds(the pesky peacock is back, but subdued).
Six tracks make up the 73 and 1/2 minutes with two being in the 10minute range and three being in the 16 minute range. "The Good Muslim,"especially its same-titled reprise, is the most aggressive minded asthe beats are much more forceful and overlapping. The closer, "Shah ofPersia," approaches a minimal zen as a simple string loop is accompaniedby bass, surface crackle and sporadic overdriven outbursts. The rhythmson the epic length tracks are lethargic and come and go as theymeander,altogether defying the tedious repetition that marks many other albums.
It's this more relaxed and subliminal style of Muslimgauze thatimpresses me most and leaves me with an overwhelming sense of mystery:where are we?; why are we there?; what does it all mean? It onlybecomes perfectly clear when delving into the to-the-point interviewswith Jones that the music is purely a compulsive reaction to events inthe Middle East. He produced music for 17 years at the time of hisdeath and I wouldn't be surprised if it takes another 17 years torelease the remainder of what he left behind. Hopefully Soleilmoon andothers continue to honor the man and his music with their adornment.
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