Since discovering the glory of Muslimgauze for myself in September of last year, I have been
mesmerized by the textures heard in Bryn Jones' and beyond's ethnic electronic music. Prior to
this affinities' establishment, I had been on a crusade against dynamics, so to speak - only the
flattest and most barren sounds were permissible under my grey sonic accords, inspired by the sounds
and productions of Godflesh and 80s Swans. This regime's products are indexed in the sludgeon.com
directory entitled 'demosz', and its quite laughable the consequence of such a glaring dismissal
of dynamic breadth - the recordings are lifeless. 90 percent of them are unfinished too, attribute
to the unmotivatedness of the whole vibration. This is a year removed from the days I'm talking about
so don't be alarmed with the self-disparagement; while the crop has yet to be turned, the approaches
concieved of at the time are what this site is oriented around and continually slugs ever closer to
realizing. These metered approaches, centered around affixable quantifiers of bodies which entail
songs but aim to accomodate wider and less structured (if you can call it that) sonic modules, will
have much more to sink their teeth into with genres of music exhibiting more dynamics than a lightswitch.
Granted, I still quite enjoy incredibly monotonous musics in the vein of industrial metal and the
like (death industrial, industrial rock, death industrial(2);music concrete) and the template still
has much play within its simple ethics, but I'm excited most about the prospects of tapestrylike
gestations under these parameters.