Muslimgauze ‎– Narcotic

Staalplaat ‎– stcd 122
CD, Album


1 Medina Flight 8:45
2 Ramadan 1:55
3 Believers Of The Blind Sheikh 10:08
4 Effendi 7:25
5 Nazzareen 10:25
6 Gulf Between Us 3:48
7 Saddams Children 2:50
8 Narcotic 8:57
9 Narcotic 1:27
10 Narcotic 6:18



Housed in a clear tray jewel case.
Made in Austria.

Barcode and Other Identifiers

  • Barcode (Text): 7 5390-73922-2 7
  • Barcode (String): 753907392227
  • Matrix / Runout: A0100218499-0101 14 A0
  • Mastering SID Code: IFPI L554
  • Mould SID Code: IFPI 94K7


Reviews Show All 2 Reviews

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December 13, 2017
Muslimgauze mix (on two turntables and two cd-players) by Dutch dj and producer DJ Marcelle/Another Nice Mess, in Barcelona:


February 10, 2012
edited over 5 years ago

In such a vast discography as the one associated with Muslimgauze one may easily mislead the opinion or interest, it just take to choose the wrong kind of album for start. My first encounter with Muslimgauze was dissapointing in a way, the minimalism and distinctive repetition from the "The vampire from Tehran" was way too much for me back in the day, nevertheless i found exotic the introduction of oriental samples in the work, same happened with "Fedayeen" even though i could feel the hypnotic power that emanated from it. It may sound kind of out of note to talk about one album by talking about others but the point is with Muslimgauze things become more interesting in his more structured works, at least for a beginner, or someone who may be behind the more tribal based works.

Narcotic is perhaps one example of an album in both camps of the spectrum, it denotes the expertise acquired in oriental percussion by Bryn Jones after a crescent development and practice through action, numerous albums, and classics preceed it and now it evidences this character part Tribal, part Ambient with shades of texturized noise, glitch details and field recordings, as result the listener is inside this intoxicant atmosphere of exotic madness, where the basic musical premise constituted by the consistent tribal beats from darbukas and tambourines contrasting radically with the eerie sounds from organic noise, distortions and minimal jams.

The images of a surrealistic desert land inhabited by the bizarre and general strangeness abounds in between the strong rhythm usage and cinematic atmosphere unbound, subsequently the decisive progression from the album increases this sensation. The listener easily gets submerged into this opium like state, suscintly guided by the beats and echoes from oriental sounds that wander in and out of the speakers and far away and so close from the mind.
Interesting and atractive the album keeps a middle ground status, half experimental and other half adapted for the tribal and linear structure common to Muslimgauze, the listener will find quite another of the many faces of this enigmatic artist.