Jones first released music in 1982 as E.g Oblique Graph on Kinematograph, his own imprint, and the independent co-op label Recloose, run by Simon Crab.

E.g Oblique Graph came from the do-it-yourself (DIY) ethos of the time and was musically composed of electronic/experimental drone with occasional synth-melodic hooks and use of radio broadcast samples.

Releases at the time were occasionally on cassette, more often vinyl EPs and LPs; the longest-running of Jones' label monikers, Limited Editions, started with Hunting Out with an Aerial Eye (1984) followed by Buddhist on Fire, put out by Recloose the same year.

Since then, Jones roughly released an album a year, given scarce financial resources until 1988, when he began making inroads with then-emerging labels Staalplaat, Soleilmoon, and Extreme Records.

The neighbouring Thomas a Becket pub run by East End gangsters—common-or-garden low-level vicious thugs (years before the species was romanticized by Lock Stock and Mona Lisa)—unable to control our unlicensed trade in alcohol and other illicits, firebombed the building one night and attacked the crew on a regular basis.

Though pleased at first, Jones was frustrated with Extreme's one-release-a-year policy and in 1993 signed with then-sibling labels Soleilmoon and Staalplaat, which offered a more frequent release schedule.

1993 saw the release of Vote Hezbollah, Veiled Sisters and a re-release of Iran on Soleilmoon and Hamas Arc, Satyajit Eye and Betrayal on Staalplaat.

Labels, including Soleilmoon and Staalplaat, continue to publish unreleased albums, as well as releases of demos, his own reworked tracks, and abandoned full-length tapes.

[14] Muslimgauze's music is often difficult to describe due to sheer volume, content diversity and often singular stylings; Jones never produced any hit albums or songs.

[15] The music is often heavily electronic and strongly rhythmic (sometimes including live studio percussion), though tempos can vary from very fast to slowly driving and almost ambient, making frequent use of gradually changing structures or melodic motifs.

Critic Ned Raggett reviewed a number of Muslimgauze albums for Allmusic.com, noting the diverse styles of Jones's recordings: United States of Islam (1991) featured layered percussion and "a muted techno pulse",[16] Hamas Arc (1993) touched on a menacing "ambience that is not so far removed from the likes of [industrial metal acts] Godflesh or Scorn",[17] and Gun Aramaic (1996) blended atmospheric sounds and vocal samples that "almost turns the album into a soundtrack for a non-existent film.

[21] Jones's research further grew to encompass other conflict-ridden, predominantly Muslim countries including Afghanistan, Pakistan, Chechnya, Iran, and Iraq.

References in dedications, album, and track titles suggest Jones had researched the conflict regions in the Middle East, as well as Chechnya, Kashmir, Afghanistan, India, Pakistan, and Indonesia, among others.

The show consisted of Jones singing to a backing track while Simon Crab then members of Bourbonese Qualk added instrumental accompaniment.

Contrary to his 1986 experience, Jones did enjoy doing live shows and frequently did them in his last years in diverse places such as the UK, throughout mainland Europe, and even Japan.