The Islamic State terror group has used a network of companies operating out of Wales in the UK to finance terror plots, including the recent attacks in Spain, a media report said today.
In an incident in Barcelona, a white van sped down the popular Las Ramblas avenue packed full of tourists on August 17, knocking people down and killing 13.
Then just eight hours later, attackers struck again at an seaside resort of Cambrils in Spain where a car rammed into pedestrians, injuring six civilians and a police officer. One of the civilians later died.
FBI documents seen by The Sunday Times reveal that surveillance technology dispatched to Spain is believed to be linked to the development by the terror group of weaponised drones routed through the UK.
Other purchases said to be routed through Cardiff in Wales include orders for "bug sweep units" and software to help launch rockets.
US court documents seen by the newspaper show the lengths to which individuals involved with the Wales companies went to mask their alleged activities.
One of the firms, which shipped surveillance equipment to Madrid, Spain, appears to have been set up using the identity of a bogus director and shareholder called "Peter Soren".
The name is believed to be an alias for Siful Sujan, a Bangladesh-origin IT expert and businessman behind the companies who left south Wales three years ago with his family to join the ISIS in Syria.
He was later killed by a US drone strike in Raqqa, the terror groups de facto capital.
Sujan and his associates originally set up the Ibacs network of companies to offer website and printing services to restaurants and takeaways.
They operated out of an office on Alexandra Gate business park at Tremorfa in Cardiff.
But a probe involving the FBI in the US and British anti-terrorist police discovered that some of the companies became involved in more sinister activities after Sujan headed to Syria, where he was a senior figure in ISIS hacking operations and weapons development.
One of the Cardiff-based firms, Ibacstel Electronics, was used to send a total of $7,700 in 2015 to an ISIS supporter in Maryland, US, called Mohamed Elshinaway, 32, who pleaded guilty to terrorism charges last week.
In July 2015 a company called Advance Technology Global (ATG) was created and registered at the Alexandra Gate business address, the FBI claims.
Transcripts of a Skype conversation between Sujan and another Ibacs director in Cardiff obtained by the FBI reveal that Sujan was the real brains behind ATG.
Sujan came to the UK to study in 2003 and was followed by his wife, Akter, two years later.
They had a son, Amanul, in 2011 and lived in Pontypridd, but later moved to a rented townhouse in Cardiff, close to the Alexandra Gate business park.
The couple briefly moved back to Bangladesh before travelling to Turkey with their son.
Ibacstel Electronics was dissolved in March 2016 and ATG was wound up eight months ago.
Other Ibacs-linked firms continue to operate out of a new office in Newport but there is no suggestion that they are involved in any wrongdoing, the newspaper said.
The FBI disclosures will raise fears about the likelihood of further attacks in Europe.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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