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Madrass Sitar Burner

by Muslimgauze

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about

Madrass Sitar Burner harbours Muslim-world East-Indian/Pakistani flavours as well as North African/Middle Eastern into what could be described as among the more 'jumping' Muslimgauze releases in the oeuvre. Curiously, sitars surface on only one track, perhaps reduced to ashes before further songs could be composed. Madrass... opens with simmering tablas, the mridangam and santoor for several tracks before the listener is transported to remote dusty villages of North Africa to experience both spirited and serene reed flutes that negotiate through high-voltage electronic rhythms. It is the rhythms that are the most pronounced element of this release as molten, toxic waste bass lines and tectonic strength beats both seep and clamour either like a force of nature or post-apocalyptic fall-out. The non-Indo tracks are familiar as parts were previously released on Dar Es Salaam while one track is straight off the Nommos' Return 10".
Despite the near-overwhelming rhythms and bass-ethnic elements along with voices from outskirts of Lahore and Bedouin caravan routes persist like determined insurgents against 'Western occupier' styles. To harness this raw power and beauty, Madrass Sitar Burner is for Muslimgauze completists who want an artefact and new fans who want to hear an artisan put grime and dubstep proponents to shame.

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released May 25, 2020

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Muslimgauze Berlin, Germany

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
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