“It was one of those rare occasions when you hear something, you cannot help but think ‘where the hell does this come from?” So thought Steve Wilson in 1996 as he listened to the two Digital Audio Tapes (DATs) of remixes by Bryn Jones aka Muslimgauze of his bands Porcupine Tree and No Man. Wilson chuckled good-naturedly as Jones referred to the remixes as “improvements” over his own musicianship. Actually, Wilson was flattered since Jones, whom he met a week earlier at a Manchester pub, responded both promptly and creatively to promo CD singles passed along as both a gesture and musical calling card. While Wilson found the remixes intriguing, he did not know what to do with them. The DATs held only faint resemblance to the source material, which was smothered in the toxic waste distortion, deft manipulations, and industrial strength beats of Muslimgauze. Perhaps a handful of Wilson’s fan base would have ‘gotten it’, but it would have simply went over the heads of the majority. Wilson rang up Jones and said there was no way he could possibly release this music. The response was yet another DAT a week later titled, the “We cannot possibly release this’ remixes”. Wilson then suggested, rather than release remixes, to work on a collaboration which would be the basis of his then-new experimental music project, Bass Communion. Jones agreed and sent original Muslimgauze material which was the basis for the full-length and EP CD’s Bass Communion V. Muslimgauze (Soleilmoon 1999 and 2000, respectively). The remix DATs as well as unused material for the collaboration languished in Wilson’s studio until the Muslimgauze Preservation Society approached Wilson about bringing the music into the loving homes of Muslimgauze enthusiasts.
The Muslimgauze Preservation Society are proud to offer you MPS 02, Camel Through A Needles Eye, featuring two discs of unreleased music that clock in at just under three hours. Muslimgauze like you never heard it; a yin/yang of both the abrasive textures and ethereal, beat-driven and ambient—fused into wondrous harmony. To commemorate this release, the MPS sourced covers in Egypt to be hand-printed onto genuine papyrus. A second cover is set amidst a 9 panel fold insert with extensive liner notes on one side, and a fold-open poster featuring Jones’ original art work on the other. A bonus sticker of Jones’ art work is also included. The music and packaging is all set within a super jewel case to protect this special edition limited to a run of 500.