2010 release. "An attribute of a good work of art, besides craftsmanship and beauty, are revelations of new details with each experience. Lazhareem Ul Leper by Muslimgauzecertainly qualifies for its range of percussion instruments, atypical electronics, and skillful de-construction of ethno-traditional music. In turn, said music is re-assembled with urban styling and a technical deftness akin to the way a Shao-Lin monk wields weapons. The Staalplaat crew think this among the more unusual of Muslimgauze works, and fans undoubtedly will think it both refreshing and as striking now as when first committed to DAT. Muslimgauze enthusiasts may recognize sounds from Izlamaphobia (1995) on the odd track as they were made roughly at the same time, only Lazhareem is arranged differently and with more unique elements to form a stand-alone album. Stylistically, Lazhareem straddles the line between ethno-electro releases like Silknoose for its pervasive use of Indo-Pak music melded with Persian and Mid-East; along with more industrial releases like Izlamaphobia and Blue Mosque for its occasionally tight, near-mechanical loops. Fans will be pleased to notice never-before-heard (to this listener, at least) percussive textures layered into lush, rhythmic harmonies punctuated by chimes on track five. Track ten is also singular for the way it opens with a clamor, not unlike a knocked-over box of tin cans one moment, the next, this seemingly dissonant noise is harnessed and re-edited into a well-crafted rhythm track. Track six flaunts music production standards by rolling three or four tracks into one continuous 20-minute piece, vintage Bryn Jones. Yet another stand-out work is track seven, a piece that is more than its assemblage of rhythms and counter-rhythms and fused together, an underlying pulse takes possession of the track and ultimately the listener. Since 1995, masters for Lazhareem Ul Leper languished in Staalplaat vaults when it should have been put out for immediate apprec.......
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