Bryn Geronimo Jones
As an expert singer he took the stage name “Bryn-Jones” (“Bryn from his birthplace). He made his professional stage debut in 1959 at Sadler’s Wells Theatre. This disambiguation web page lists articles about people with the identical name. In a 1994 interview, Jones mentioned, “I wouldn’t speak to any ; the entire people are disgusting, so no, I wouldn’t.” A 12 months later, Jones said that “Muslimgauze don’t have any hyperlink with any Palestinians. They have sufficient trouble with out having a Mancunian’s music thrust upon them. It’s the vile regime they need to reside under that Muslimgauze finds so unacceptable.
The situation will slide downwards into a ultimate end result, within the Palestinians’ favor. Any direct action taken in occupied Palestine is justified.” These themes remained fixed. What to do about all of the hate mail accusing Jones of bigotry and anti-Semitism? Folks whose first Muslimgauze encounter lay at the shit-finish of the spectrum are often turned off for good. And some albums do sound like reverb-drenched World Muzak. “You need Afghani opiates or Moroccan kif to enjoy it,” runs a standard Muslimgauze joke.
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Under the assumption that Muslimgauze was a group of British Arabs , I disregarded the album artwork and dived into the music. Listening to songs like “8A.M., Tel Aviv, Islamic Jihad” helps one perceive the strange genius of Muslimgauze. He had little interest in making Middle Eastern-sounding music. He fetishized the poor production high quality of its cheap cassette tapes, obsessively reproducing those sonic results. Distortion was his most obvious production trick, however Muslimgauze had a refined and masterful hand with reverb — the artwork of positioning sounds in area. Indistinct noises swirl round, implying a number of narratives on the point of intelligibility.
Welcome To Bryn Jones’ Web Site
From the beginning, Muslimgauze’s album artwork revealed a predilection for repurposed Koranic calligraphy, the Ayatollah Khomeini, and photographs of veiled girls hefting weapons. Especially for a white British guy with no familial ties to the Middle East. He was a reclusive bed room producer in cultural drag, who never set foot in an Islamic country.
Although Muslimgauze’s imagery has at all times instructed to me some neo-Orientalist version of Leila Khaled’s cosmopolitan Hepburn-as-hijacker chic, it barely made an impression as I started to hear. As far as I may inform, understanding little about Jones, the band was steeped in industrial music’s tradition of provocation. Laibach had the totalitarian-irony look down pat; Coil opted for a homosexual-magick vibe; Psychic TV fetishized Charles Manson and Jim Jones; Muslimgauze embraced militant Arab agitprop. Every “transgressive” band wanted an outrage, and their album covers were neither extra nor less meaningful than anybody else’s.