Recorded and mixed at Abraham Mosque, Manchester 1996.

Muhammadunize, It is a good dense collage atmosphere. From everywhere shoots drums, Palestinian word-scraps give the total radio play-character. One feels when hearing this release as if the Gaza-strip is mastered from an outsize echo-appliance.

Muhammadunize, has what could be called a classic feel to it, with a very familiar blend of drones, string instruments, and synths, and varying percussion/break-beat patterns, in turn mixed with a number of hard-to-catch vocal samples. It's a formula used many times in the past by Jones, yet somehow he still manages to keep things just fresh enough, investing songs like the first and second "Khalifate" and especially both slamming versions of "Imad Akel" with enough unexpected touches. He incorporates the basic power of his work in the tracks as well, with both beauty and a nervy, hard-to-define tension as the songs progress.

Muslimgauze expands into ever-more lengthy projects with this release. On Muhammadunize, Bryn Jones manages a neat encapsulation of the various styles and phases of Muslimgauze, intentionally or not, over the course of the entire work
Muhammadunize, has what could be called a classic feel to it, with a very familiar blend of drones, string instruments, and synths, and varying percussion/breakbeat patterns, in turn mixed with a number of hard-to-catch vocal samples. It's a formula used many times in the past by Jones, yet somehow he still manages to keep things just fresh enough, investing songs like the first and second "Khalifate" and especially both slamming versions of "Imad Akel" with enough unexpected touches. He incorporates the basic power of his work in the tracks as well, with both beauty and a nervy, hard-to-define tension as the songs progress. It is a good dense collage atmosphere. From everywhere shoots drums, Palestinian word-scraps give the total radio play-character. One feels when hearing this release as if the Gaza-strip is mastered from an outsize echo-appliance.

Musically Muslimgauze continues on the lines of Izlamaphobia and Deceiver, with strong rhythms which in some cases are more danceable then ever.

Muhammadunize - the sound palette here is very similar to his ambient-techno albums such as Mullah Said and Gun Aramaic, down to the rhythms and the trademark tanpura drones and keys in C minor. The difference is that it's a bit more aggressive and faster-paced than the aforementioned albums, thus utilising a similar dark atmosphere to a more immediate and in-your-face effect, especially as noted by the drumkit urban-sounding pulse of Imad Akel, one of the high points on this album. However, my favorite track here is the closer Fatah Guerrilla (also title track of the whole triple album), featuring a rapid echoed rhythm along with a barrage of percussion popping up and echoing every so often, sounding like they're flying through the room at a quick pace; the piece also features a beatiful flute melody which combines with the busy rhythm section in an interesting way.