Sandtrafikar by Muslimgauze

“A gentler release, Sandtrafikar fits into the vein of such works as Zul'm and Drugsherpa, with a low-key propulsion balanced against generally downbeat, dark arrangements, all succeeding in conveying a sense of beauty and mystery mixed with a strange, slight dread. The opening title tracks complement each other well, and share similar elements such as a recurrent conversational sample and moody keyboards. The first has a more loping feel in terms of percussion, while the second is driven by a quick electronic beat; both use the bells which have appeared on so many other Muslimgauze recordings over the years. After the minute-long snippet,"God and I," the first"Baku Oil Field" ratchets up the brooding feeling even more: soft machine-like growls and wheezes rise from deep in the mix, with only an occasional bell and brief echoing samples of percussion and string instruments, calling to mind more familiar Muslimgauze works — until a growth in general intensity at the end. It's quite wonderful, and the similarly named track which follows continues that flow, with percussion added throughout. Following another brief track, Sandtrafikar concludes with"Remix by the Rootsman," which is indeed the U.K. dub/dance figure tackling the title song. He comes up with a rough, shuffling bass drone mix that fits in quite well, although he's not simply trying to ape Muslimgauze. It makes for a fine conclusion to one of Bryn Jones' best all-around efforts.

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