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From the ultra-creative period that brought us ‘Hamas Arc’ and ‘Vote Hezbollah’ Jones had a wealth of unreleased material - so much so, in fact, that Staalplaat decided to give fans a 'free' release in exchange for sacrificing a part of the cover of ‘Hamas Arc’: if you cut out the insert from the CD cover and sent it in with a blank DAT, you’d eventually have your DAT sent back to you, but now as a free six song DAT-only release (the severed part of the 'Hamas Arc' cover would become the j-card cover for this new release - named 'Satyajit Eye'-

‘Hamas Arc’ turned out to be one of the most successful releases from Muslimgauze, and endless amounts of these DATs have been copied. The DAT consisted of three original pieces, and three remixes from ‘Vote Hezbollah’; but there were also three pieces that were on the original master which, for reasons we may never know, were not used on the final release. Unsurprisingly enough, ‘Satyajit Eye’ was eventually bootlegged - but not until this year. This expanded version, however, completes the whole picture of this album - showing us the first signs of Jones looking towards Indian music for inspiration; but also with breezy, desert-like rhythms and sounds (such as the intense ‘Zion Poison’ - which reminds us of O Yuki Conjugate), or the way-out music of the title track. ‘Satyajit Eye’ is a mysterious album, full of hidden layers; and evokes a lonely yet warm feeling of sun-covered sand dunes.

Muslimgauze occupied a strange place in the musical world. He was a powerful, prolific innovator, releasing albums that were alternately beautiful and visceral, full of ambient electronics, polyrhythmic drumming and all kinds of voices and sound effects. The recordings earned him a devoted following in underground, experimental and industrial music circles worldwide.

The New York Times 1999