After numerous delays, the latest The Muslimgauze Preservation Society (TMPS) vinyl is finally shipped. I mail TMPS products via United States Postal Service (USPS) as they are the most cost-effective solution. America keeps shipping prices artificially low by subsidizing shipping, which is key for a healthy manufacturing sector. Canada, where I reside, does not. In fact, Canada Post even breaks down fuels surcharges on receipts. Since TMPS recordings are made in Canada and the USA, I took advantage of the North American Free Trade Agreement (NAFTA) which legally enables me to cross the border. When TMPS released CD’s, it was feasible to fill suitcases with mailing packettes and cross via bus. Border security did not like this, but they did not stop me either. However, 180 gram audiophile vinyl is a different story and bus trips are not the best option for something so heavy. I managed to get a ride from someone and that is when we got stopped at the border and denied entry unless we had a commercial broker. In the words of border security, they were too busy trying to catch terrorists to worry about us. Small, informal entries require physical paper work and the guards to manually process them while large scale commercial shippers use electronic means. First, the shipments are electronically processed, next, the vehicles are registered and electronically processed. Commercial brokers make sense for shipping companies who do large scale logistics, not some micro label with irregular release schedules. To be extra nice, border security marked me so I can no longer enter the US to import products, even by bus. It is a sad day for freedom in Western society when you have to smuggle records across borders to keep them from being seized by zealous border security.
When was the last time a record killed anyone? The records are made in the USA, so I figure we helped their economy. The products are also wholesaled by American business, so they too help generate tax revenue for border security. Finally, the product deals with the very terrorism border security are so concerned about. Muslimgauze music is a form of education and a more informed populace can help enact legislation to prevent further conflict. I am not the only Canadian business this happens to, many other small time businesses are turned away from the border by guards allergic to paperwork.
Satyajit Eye cover
However, the TMPS records turned out nicely with high quality audio pressed onto 180 gram audiophile vinyl. A 2000 word text on the making of the recording is printed on the back, very 1950′s, along with a glossy poster insert. All graphics images are done by Bryn Jones circa early 1980′s in a style of Limited Editions, Jones’ own label of the time. Satyajit Eye finally got the proper, formal release it deserves.
Is TMPS dead? According to the Edge aka Terry Allan Bennett who runs Muslimgauze: The Messenger, absolutely not. He will take over the project and run things his way and ensuring fans get what they want more effectively.
I am dismayed with our homogenous approach to gathering information using search engines, specifically the overwhelming use of Google. How often do I hear, “I Googled this search term” instead of, “I tried various search engines to learn more about my query”. One of the lessons drummed into my mind during high school and beyond, is the importance of multiple sources when researching a topic. Ideally, libraries are still the best place to go (notice the plural) to learn more about a given topic. Hit the stacks, look up the books (including those next to the ones you have the call numbers for), along with related periodicals and glean from different perspectives on the topic. These days, most opt for the ‘net instead. If you do so, why just Google?
For instance, when one queries topics, she might notice that Google and Yahoo! yield different results. Both search engines use different algorithms to achieve this. Unfortunately, using different search engines such as Yahoo!, Google, and Bing! (Microsoft) turned into a popularity campaign rather than an opportunity to get different information on a topic of interest. The documentary Google: Behind the Screen by Ljsbrand Van Veelen for VPRO Dutch television highlights just how dangerous it is use only one search engine exclusively over others. I am not saying that Google is a bad search engine, but I am saying you are placing the pursuit of knowledge at risk when you hand the task over to just one source. Consequently, we empowered Google with more than what they deserve and in the process placed our freedom on the internet, privacy, and acquisition of knowledge at risk. Please see Google: Behind the Screen in its entirety. Here is an excerpt of the documentary and if you are pressed for time please skip to 7:45 where founder of Archive.org, Brewster Kahle speaks on the importance of using different sources, be it a book or the interweb.
Since we are on the topic of search engines, allow me to propose some really cool alternative ones I now use. DuckDuckgo, check out what this site has to say about how some search engines “bubble” the user. Duckduckgo is a search engine that emphasizes privacy and weeds out ‘content mills’ aka ‘ehow’ sites. Furthermore, the designers also work on weeding out spam and clutter.
duckduckgo.com
Blekko, a search engine that relies on human editors rather than solely mathematical algorithms and ad placements. People (including you) can tag sites based on relevance to a topic.
Blekko.com
WolframAlpha is dubbed ‘a computational knowledge engine’. You ask the engine specific questions, such as, ‘how far is the sun from the earth?’ and your query will return a series of factual answers. Very cool!
Bryn Jones took-on uncomfortable subject matter through his music which us occidentals continue to struggle with, especially those not familiar with history. Consequently, Jones was often mistaken to be “pro-terrorist”, “pro-dictatorship” or whatever unsubstantiated adjective his less informed detractors came up with. A key theme in Muslimgauze music is anti-colonialism, particularly among disparate regions like Afghanistan, Pakistan/India, Tibet, Chechnya, Lebanon, Iran/Iraq and occupied Palestine among others. On occasion Jones’ anti-colonialist view points aligned with Western interests such as when the Soviets invaded Afghanistan in 1979 and the subsequent Afghani struggle for autonomy. (How many are aware that Ronald Reagan compared the Mujahideen to America’s founding fathers and even declared a national “Afghanistan Day”?) More often, however, Jones’ anti-Colonialism clashed with US and British foreign policy.
Given America and Israel’s current sabre rattling and evident desire to invade Iran, with the aid of attendant European allies, some reflection on Jones’ stance on Iran is warranted. During his life, Jones professed an admiration for post-Islamic Revolution Iran (circa 1979) led by the Ayatollah Khomeini. This is evidenced in album titles like Iran (1988), the cover of Hajj (1986), Muslimgauze promotional posters featuring the Ayatollah, as well as stickers, fliers and track title references like “Shroud of Khomeini” off of Uzi (1989).
Hajj promo poster
Muslimgauze Handbill for Flajelata circa 1986
Such references are mistaken by detractors as adulation which is both incorrect and missing the point. Bryn Jones was non-religious though he had a traditional upbringing in a Christian household so it is doubtful he concurred with the Ayatollah on faith-based grounds. Rather, Jones was impressed with Iran’s struggle for and maintenance of autonomy. Iran was under colonial rule by the United Kingdom with help from the USA, namely for her abundant oil resources. During the 1950′s, Iranians democratically elected their own prime Minister Mohammad Mosaddegh who nationalized his country’s resources. By way of response, the US and UK coordinated a coup to overthrow Mossadegh and empowered Reza Shah Pahlavi with weapons and espionage resources to lead the country and maintain Western interests though it may not be in the best interests of the Iranian populace. Despite considerable resources, funding, and a green light by the USA for the Shah to be as brutal with his populace as he wished, Iranians finally managed to shake off their colonialist influences and attain a measure of autonomous rule under Ayatollah Khomeini subsequent to the Iranian Islamic Revolution of 1979.
Granted, most occidentals would object to being under Shiite Islamic rule, including Bryn Jones, the fact is this is what the majority Iranians wanted at the time. That is what Jones was responding to, a country’s right to self-determination without forced intervention by outside interests who could care less about the well being of Iranians. After the revolution, by way of punishment, the West helped facilitate Iraq’s invasion in 1980 in what became Gulf War I, followed by numerous sanctions over the decades, and now threats of armed conflict by Israel. And no, Iran is not a threat. At current count, Israel has over a hundred nuclear weapons so they really have nothing to fear. Rather, Israel should be more concerned with the ongoing abuses against and murder of Palestinians as well as neighboring Lebanon.
By no means is Iran a bastion of human rights, free expression, or lifestyles that emulate the West, but this is for the Iranians to work out on their own. I doubt whether they can be bombed into a feminist state, for example. Moreover, it is difficult for any country to engage in meaningful social reform when they are under a constant state of emergency due to war or threats of war. It is beyond the scope of this post to get into the full colonial and post-colonial history of Iran, rather I leave that job to an excellent BBC multi-part documentary series titled “Iran and the West”. In viewing this, you may better understand why our policy officials unfairly demonize Iran as a “pariah state”. This has nothing to do with concern over human rights, rather control of resources. Khomeini, by his own admission did not consider himself to be the best leader and was riddled in faults, but he was a considerable sight better than who the West had earmarked to control the region.
Bryn admired Iran for her successful ability to resist colonial rule and foreign resource greed, even with the weight of almost the entire world against them. At least the Iranians can say for now, “Iran for Iranians”. It was Bryn’s belief that all countries deserve autonomy and the right to work out their own destiny.
Letter to Richards on the album "Iran" and passing of Khoneini in 1989
Night Lands compilation on Andrew's Hulme's Final image label
In 1987 Bryn Jones was approached by Andrew Hulme for a contribution to Nightlands, an ambient and electronic compilation on his Final Image label. In addition to being a small label owner, Hulme collaborated in several music projects, the most well-known being O Yuki Conjugate (OYC). OYC started in 1982 with Andrew Hulme (electronic, synthesizer, tape loops), Siblings Roger, Tim Horberry (both on percussion), and Claire Elliott (flute), who together initially made music based on improvisation, and Brian Eno’s ideas of ambient music. Eno had recently released a series of deeply atmospheric yet sparse instrumental/electronic albums, including a drone release with Robert Fripp, No Pussyfooting; sparse yet beautiful soundtrack work on Music for Films, and the album for which he coined the phrase “ambient music”. It was on the liner notes of Music for Airports where Eno described ‘ambient music’ as something that “…must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” OYC extrapolated on Eno’s ideas to create a kind of music which was not fully appreciated until a decade later, first in post-rave chillout rooms, then later by savvy IDM-electronic music enthusiasts. OYC’s sound gradually morphed from initial electronic-experimental ambient, to rhythmic realms of atmosphere and ethno-percussion similar to Muslimgauze, to the point wherein tracks by respective bands complimented one another. The intent, however, behind said bands making music was profoundly different—one had political motivation, whereas the other found joy in sound for its own sake.
OYC jammed in various venues around Nottingham and Leeds, playing to sparse attendance at first, but developed richer, more in-depth textures with each passing year. Their debut, Scene in Mirage (1984) remains astonishingly ahead of its time for an ambient-experimental work, perhaps even a work of musical prophecy. Processed electronics, tape loops, synth-scapes, melodic drones, and deconstructed rhythms—not unlike what would later be called IDM music. (this was later re-issued as Primitive) Some dated sounds are present on the album, but in retrospect it can be likened to Boards of Canada’s haunt/nostalgic approach. Scene in Mirage is sometimes eerie, but in a good way. It more often sets the listener blissfully adrift.
OYC - "Primitive" A compendium of early OYC tracks
The following album, Peyote (1991), is stylistically closest to Muslimgauze for its use of ethno-traditional percussion, but with a more playful approach. There are even moments on some tracks that could have passed as Muslimgauze. Since they were headed in the same direction musically, Hulme solicited Jones for a contribution. As he recalls, “I’d spoken with him (Jones) on the phone before because I ran a label when I lived in Leeds called Final Image. He contributed a track called “Green is the Colour of the Prophet”. At the time it was a brief conversation, I couldn’t assess his personality at all. I felt we were working in the same area at the time, sort of soundscape type ambient industrial music. I just had a vision of a particular album that I wanted. I think I heard a track by him that I liked. I tend to go in and out of interest in people, I’ll listen to their music for a time and your attention drifts elsewhere. He sent me a track and that was pretty much the last I heard from him until ten years later.”
Consisting of members from OYC under additional alter-ego’s, as well as Bourbonese Qualk, Nightlands depicts how the contributors share similar musical attitudes, and at times even similar styles.
The premise behind Cultures of Resistance (COR) are communities who use arts and culture (as opposed to weaponry) to resist oppression throughout the world. It is my impression that Iara Lee is a pacifist who seeks non-violent resistance to oppression in all its forms. The COR film is situated in disparate locations as Brazil, Lebanon, Iran, Occupied Palestine, Burma, and throughout Africa to name a few. First the film identifies conflict in said places, like Israel-controlled Palestine, brutality against the populace (including monks) in Burma, resource exploitation and wholesale slaughter in Africa such as in Liberia, Congo, and Rwanda, and the impending invasion of Iran. Subsequent to identifying some of the issues, COR provides concrete examples of how poetry, music, film, dance, paintings and other artistic expression helps bring awareness, break down racial/social barriers, and resist injustice. To the film’s credit, examples of where non-violent resistance did not work is also shown such as in the Congo where peaceful resistance leaders were strung-up by despots. The Congolese resistance have resorted to armed struggle since. Another case was in Burma where the Buddhist Monks had large numbers of their ranks tortured and murdered since their peaceful protests, their price was steep and the best they got from their actions was perhaps world-awareness of just how brutal the Burmese government is. It is a sign of maturity and sophistication when a director can present both sides to problem solving, though COR’s bias rests firmly in the non-violence camp. The topic is vast and COR may require more than one viewing for the audience to absorb the deluge of information the film presents. It is a great way to bring awareness on timely issues going on in the world and artistic ways of resistance. A personal favorite is the Iranian hip hop group Mahdyar.
Aspects of Japanese pop culture has levels of sophistication and refinement not evident in most North American. A case in point is in animated television and film series. In North America, animation is generally associated with children’s programming whereas in Asia the distinction is not observed. (A cursory glance at some of the 18+ Japanese animation will quickly dispel that). There are animated series (we will call this “anime”) which both adults and children can appreciate, such as the Mobile Suit Gundam series that I have recently come to appreciate. The MSG is an epic interstellar adventure tale (since spawned off into a franchise) of two rival factions vying for space colonization and focuses on a handful of civilian survivors (including children) who through circumstance wind up as (often unwilling) combatants. During the episodic telling, themes like mortality, injury, war time atrocities, and notions that in war, often there is no clear distinction between ‘good’ and ‘bad’ sides and quite often, the enemy is from within. These things are rarely touched on in Western animation which tends to ‘dumb down’ characters to binaries of good and evil. Moreover, Japanese animation houses sometimes take the trouble to research the science in their science fiction. Add to that, a fallacious notion among Western animation producers that children cannot understand and appreciate or comprehend such details. That is why, as a youth, I valued Japanese animation like Starblazers, Robotech, Gatchaman, over anything Western counterparts like GI Joe or Transformers. Japanamation did not ‘talk down’ to their audience, only North American censors did, though we were lucky when some scenes did manage to make it past the excision knife. I recently reviewed some of the anime I grew up on and saw the deleted scenes such as sexual themes, substance abuse, depression, grief, and other things adults have to deal with. I do not think these scenes would have damaged my childhood, the characters are clearly adult and as such, it made sense they were dealing with adult problems. The kids remained kids though they had to deal with war issues. Though North American kids largely avoided war, other parts of the world face it daily.
The above mentioned anime shows are merely what I saw in childhood, and come to realize there was a lot more going on. In a strange way, the shows have seemed to have matured alongside with me. Lately, I have delved further into anime and have enjoyed shows and films every bit as cleverly scripted as Western masterworks as The Twilight Zone, The Sopranos, House (early seasons), Northern Exposure, and The Wire. Some examples of great Japanese anime are Planetes (done with assistance from NASA), Welcome to the N.H.K., Genshiken, Cowboy Bebop, Sumarai Champloo, Usagi Drop, and pretty much anything Ghost in the Shell related. If you doubt me, simply check some of the IMDB ratings for these humble anime shows.
A spot where I get my fix for Japanamation is Anime Extreme in downtown Toronto (3 bucks, tax in, nets you seven days rental). They also have a great selection of manga which I get on occasion (got all of Genshiken and am working on Bakuman) and gorgeous mobile suit model kits I hope one day to afford. The staff is knowledgeable, they initially made anime selections for me, the place is well laid out and made out into an animation enthusiast’s dream. Even if you are not a fan of this stuff, it is well worth a walk through to look at the amazing figures and art. There are anime/manga selections for children, adults that include both men and women. My tastes are conventional (sci-fi and slice-of-life) but there are weird things there to satisfy the more exotic palettes. The manga is a pretty good value, in contrast to something like DC or Marvel comics. The stories and art are often better, with a balanced marriage between style and substance. Also, a manga book is a thick volume of story with very little in the way of ads. American comics tend to be heavy on ads, expensive, and not much value for your dollar.
Rows upon rows of awesome manga
Rows upon rows of model kits I cannot afford (would go for the Zaku if I did)
Another Muslimgauze press write up I penned on an album that never received a proper release. This was previously issued on DAT or CD-R upon request. Now The Mulsimgauze Preservation Society aim to give this the 180 gram audiophile vinyl with liner notes and poster treatment.
The Muslimgauze Preservation Society proudly offer a proper issue of the cinematic Satyajit Eye on 180 gram audiophile vinyl packaged in previously unrevealed sleeve art by Bryn Jones. Each release will also have a fold open insert of a Jones graphic, like ones included with Limited Editions releases (his own label during the 1980′s) as well as liner notes on the recording of this significant work in the Muslimgauze canon. Satyajit Eye is in fact a companion release to Vote Hezbollah, the first time John Delf and Bryn Jones worked together in the Cutting Rooms studios back in 1993. At the time, Delf was freshly trained to engineer conventional rock bands when in walked Jones with his instruments and DATs, asking, “there you go, can you mix it?” Delf had no idea what Jones wanted. The music and approach was unlike anything he heard or learned in vocational school. For Delf, Muslimgauze sessions were experimental as they proceeded to use the studio equipment in ways not originally intended to produce a sound not thought of before. Half of Satyajit Eye are excerpts from the Vote Hezbollah sessions, while the other half are extra songs. So began one of the mutually longest working relationships in Delf and Jones’ career. Among the early works, Satyajit Eye is also one of the more pristine and has the varied emotional range of an epic film, alternating between fervent and reflective moments like struggling through a storm to reach its quiet eye, then info the fray once more. Psychedelic, the music is evocative of fevered dreams of sun burned valleys of Pakistan, Pashtun controlled mountains of Afghanistan, post war plains of Iran, and Israeli incursions in occupied Palestine. Now is your chance to experience this high quality recording in an ideal setting, packaged the way Bryn Jones would have done himself, while paying homage by excerpting a fragment of the upcoming Muslimgauze: Chasing the Shadow of Bryn Jones.
Press release write up I did for the latest Muslimgauze on Staalplaat:
Hefty slabs of beefy beats are seasoned with spicy South Asian melodies while mouth numbingly hot bass lines are smothered in distortion chutney; Souk Bou Saad was broiled in Machester’s finest tandoor and is now served by Staalplaat. If you love East-Indian flavor with a neo-Bhangra beat, this disc will not disappoint, equally at home on the dance floors of Bradistan, UK or Mumbai, India. On a buffet, this sizzling dish ought to be placed somewhere between Silknoose and Lahore & Marseille, but with some unique takes on Bhangra beats. The disc opens with the fading echoes of breaks before a woman’s voice croons an old Punjabi song for several seconds; enter track two with its infectious stomp-beats, slices of sizzling distortion, masala violin with turmeric dulcimer and ghee laden hand percussion bits. Muslimgauze fans will need to dance off this caloric intake. Tracks two through five can school even the likes of MIA on what grime laden ethno-dance beats are really about, best for the more intensely choreographed moments of a Bollywood dance routine. Hovering throughout most of Souk Bou Saad, like dense smoke from a barbecue flame, is a layer of distortion as if from a not-quite-tuned-in radio. When the distortion crackles in time to the beats, the realization hits that this was just another texture the late Bryn Jones used, the way a sculptor works with sheet metal and a blowtorch to add a new dimension to abstract works. By track five the album style veers into ambient-drone-radio-play territory as bass lines roll through agitated voices in North African dialects amidst urban environs, evocative of material from Veiled Sisters. Track six brings back the beat, this time in the same dusty North African villages while flute melodies, string instruments and ‘Gauzified slabs of distortion recall parts of Jebel Tariq. Track six returns to East Indian flavors with a variance from Hussein Mahmood Jeeb Tehar Gas, only with restrained beats culled from hand percussion but with menacing bass lines and distant Punjabi vocals. The final track book-ends the album on a South Asian bent with celebratory beats and ululating vocals with harmonium bits and lots of distortion, almost to the point of obscuring the music. Though Souk Bou Saad overall is decidedly East-Indian, it also acts as a bridge between above mentioned albums. Great for Muslimgauze completists who want to hear all versions of previously released works along with something new, but essential to those who are slaves to the rhythm.
Perhaps the most beautifully packaged Muslimgauze release is Nadir of Purdah (Jara, 1995) designed by Mark Crumby. Crumby used to run an electronic/industrial music fanzine called Impulse! in the early 90′s where he interviewed Bryn Jones as Muslimgauze. Crumby, who hailed from Norfolk, England was among the few Brit Muslimgauze fans and could not figure out why his fellow countrymen were not releasing this music. So Crumby negotiated the release of Nile Quartra on his own Jara imprint. The packaging outraged Muslims and Crumby did not want to repeat the incident, read about it in Muslimgauze: Chasing the Shadow of Bryn Jones
Nile Quatra (1994) that upset some Muslims
so by next release Crumby decided to do the packaging art work himself. The result was a breath taking work of art that garnered art gallery attention. See for yourself in the image below,
Nadir of Purdah
Recalls Crumby, “Nadir of Purdah tracks are on Kashmiri Queens. I liked the idea of having a clear vinyl record, it was an absolute nightmare to get this record pressed, because I had to fight the pressing plant to make a clear vinyl record with no label on it. They told me that it screwed the machines up. It took six months. The sleeve photo was the top of a mosque I got from a book. The cover was quite expensive to do as well. Then after the record came out, I got a letter from the Barbican Art Gallery asking permission to put the sleeve in an exhibition of graphics in London. This was 1996, a year after the record came out. Someone must have seen the record in a record shop and asked for the sleeve to go in. Also, after I put it out, I did actually play it to a guy I knew who spoke a little bit of Arabic. I asked him if he could translate the words, because it is one of the few that actually has full singing on it. Bryn took some Arabic singing and just put the drums on top of it. It is like a proper song. I had no idea what this woman was singing, so I played it to this guy to make sure it was fairly innocent, and it wasn’t anything serious so it wasn’t a problem.”
Barbican Art Gallery request to display Nadir of Purdah 12 inch
Letter to Steve Barker came with Muslimgauze promo records, On the Wire
In pre-internet days, one of the best ways to learn about new music was through the radio. I first heard the music of Muslimgauze on CIUT 89.5 FM, University of Toronto radio, at a time I could not afford to buy the CD’s or records. Come to think of it, college and community radio is probably the only place you can hear ground breaking new music as mainstream radio by definition has no interest in cultural development, rather predictability and repetition.
Steve Barker then
Back in the 80′s, Bryn Jones scanned radio dials in search of new and interesting sounds and paused at On The Wire, Steve Barker’s (still running!) radio program on BBC. Barker made a point of keeping abreast of contemporary urban music like electronic, rap/hip-hop, techno, house, as well as world music, reggae and many other genres. Barker also played the music of local emerging artists and Jones would send Barker promo records. To Jones’ delight, Barker played Muslimgauze records on the air and consequently was one of the few UK supporters of the music. Steve Barker recalls, “I know Bryn used to listen to my program because it was popular around the Manchester area. At the time he [would have] been listening to a lot of dub and a lot of World Music—though it was not called ‘World Music’ then. We weren’t genre’d like we are these days. We played anything that wasn’t mainstream pop music. Anything from rockabilly to dub, avant-garde to new electronica to old R&B and blues. We’d juxtapose different music together as well as themed programming. I remember when I first got in contact with Bryn, I was playing a lot of dub. One of Bryn’s interests was the percussion connects that came out of dub. Bryn would include letters with his promo copies and the usual line in his scrolly, spider-style writing—friendly, brief, to the point: ‘Who the hell was listening to his stuff?’ ‘Hi Steve, here’s another record. You’re the only one that’s playing this.’ That kind of stuff. I never met him in person, we always used to correspond by letter and I used to give him ‘shouts’ over the air. I always felt like it must seem to Bryn, from what he was saying that we were the only people playing his music on the radio. For Bryn, he was grateful not only that someone was playing his music but saying, ‘This is the top new music from Muslimgauze.’ We were also playing it in the company of other stuff that was fairly experimental or interesting by any standards. We automatically got white labels from Bryn saying, ‘This is new stuff’ and we played it.” Despite the political charge of Jones’ work, Barker kept neutral. “We were always, ‘this is Muslimgauze’s new record’. We never presented it in a political context. This is Bryn’s new album and here is a track from it. We never ranted on what an interpretation of Bryn’s intent was. It stood alone and represented itself. I remember on occasions it almost seemed like treatises on behalf of the Intifada just by playing a record. Even a record without any decipherable lyric. There might have been some samples in there on occasion that was supported by artwork that was stark and dramatic. Sometimes I picked up an album and thought, ‘Oh blimey, Bryn.’ We were happy to play his music because it was dramatic compared to a lot of things coming out at the time.”
Steve Barker now
Apparently, Steve Barker will be doing a focus on The Muslimgauze Preservation Society sometime in the near future. Meanwhile, visit On the Wire and listen to one of Bryn Jones’ favaorite radio shows. Barker’s program was likely one of the ways contemporary urban music seeped into Muslimgauze.
