Muslimgauze's early work was dominated by ritualistic instrumentals, in which insistent gusts of arid ambience gracefully sweep through the pulsing complexities of Arabic percussion. In his later work, the binary codes of his digital equipment are allowed to deliberately misfire, offering sharp staccato edits in opposition to the fluidly streaming samples of tablas. While the aural presence of Muslimgauze elicits abstract shimmers of desert imagery, his conceptual agenda is fervently concrete.
Every release is an impassioned reaction to specific incidents related to Palestinian politics.
Abu Nidal was originally released on Jones's own Limited Editions Records . Only the sounds of the bass retain a similarity as the bass drone lulls the manic arrangements of Arabic cymbals and stringed instruments. Muslimgauze's relation to dub may also include the same massive intake of pot as Lee 'Scratch' Perry , but his intention was to attain the conviction and focus of the Hasan I Sabbah's mythic Persian religions sect of murderous Hashashins . Muslimgauze's rigid yet expressive palette of Arabic sounds has yielded a multitude of dynamic juxtapositions. Screeching distortion blasts, distant jet engine rumbles, and badass hip hop breaks add a rather militaristic slant to Muslimgauze's uptempo Arabic trance-mantras.