The sun always shines brightly - very brightly - Â in the Middle East. Windows open, and we hear music. Not the music of Muslimgauze, but traditional music. We hear the Adhan, the call for prayer, the souk, and people talking. All along we hear music, music coming from all directions... rhythmic... mysterious... monotonous, perhaps... but like a swirling dervish, round and round it goes. Music of the Islam perhaps? It is this music that was such an inspiration for Bryn Jones, although 'inspiration' probably doesn't exactly justify the seemingly endless flood of material he recorded during his lifetime. 'Islamic Songs' is one of Jones' many previously unreleased albums which now, finally, gets to see the light of day. Although albums by Muslimgauze were usually not thematicaly based , it is perhaps possible to see 'Islamic Songs' as a thematically organised album. Not that it's set in a particular surrounding - it's more akin to moving through the hustle and bustle of the busiest city of this occupied Palestinean land. Jones produces his beats with considerable force in the opening piece, 'I Shall Sing Until My Land Is Free', and also in the untitled sixth track. The latter, especially, has a nice deep bass thumb, which once again brings 'Azzazin' back to mind. It is the sound of a low-flying drone, spying on us. Who said that life was going to be easier in the occupied territories after some time? A female voice singing, and a tribal dance beat which guides it. A classic Muslimgauze opening move. From then on its down the casbah - we hear tablas, sampled string instruments, and obscured voice samples. After the moment of rest we get with 'Sahara Head Dress', we then wake up back on the airplane, heading home, with 'System Virus Abuse 1,2,3' - a short burst of digital failure. Noted as such by Jones on the tape, this seventeen second piece is the sound of the aforementioned drone crashing. One down for the enemy.