Hussein Mahmood Jeeb Tehar Gass

The way the fine track "Bilechik Mule" begins Hussein, a listener would be forgiven for thinking that it sounds like anything but Muslimgauze; while rhythm, as always, is still central, the clattering mechanical beat is quite unlike the vast majority of his recordings, and the high-pitched sound loop added to it is equally unexpected. As a way to confound expectations — and in and of itself — the song is a good start to one of Muslimgauze's most direct records, which was also Bryn Jones' last major release before his untimely death in early 1999. While none of his passion has subsided, Hussein does come across as being lighter in tone, even jaunty at points compared to many past releases, as the galloping title track ably demonstrates. Add to that the quirky keyboards on "Nazareth Arab" and you have a downright amusing start to Hussein. In turn, tougher tracks, such as the semi-jungle "Sarin Odour," aren't as fierce in comparison to other raging numbers of the past, but they still have a solid energy to them, while moodier songs like "Turkish Purdah" and the very dub (right down to the melodica) "Istanbul" also keep the groove going. Intentional static is introduced on various tracks as well, which is not something that Jones has been well known for in the past. The static provides an even rougher edge to songs like the electrodub "Uzi Mahmood 7." Given the breadth of his work up until his passing, it would be hard to say that Hussein would be the signpost to even more changes and developments in style, but it does definitely demonstrate that Jones went out on top, as challenging and listenable as ever.