|Product code||RM-24 LP|
|More items available upon order||yes|
180 gr. VINYL WITH DOWNLOAD CODE FOR DIGITAL FILES - Release Date: 19/03/2013 · Format: LP+DIGITAL - Arabic Folk Music
1. Koll lil-mali7ati fi al-khimar al-aswadi (Speak of the Woman in the Black Robe)
2. 3andalib al-furat (Nightingale of the Euphrates)
3. Yudaghdegh al-ra3ey wala al-ghanam (He titillates the shepherd, but not the sheep…)
4. 3anzah jarbanah (Sick, Diseased Goat)
5. Ya dam3et el-ein 3 (Oh Tear of the Eye 3)
6. Ko7l el-ein, 3oumian el-ein (Eyeliner of the Eye, Blindness of the Eye)
7. Amanem (Amanem)
JIMH forges a modern experimental Arabic music by wedding melismatic singing in classic Arabic styles and electronic compositions with contemporary electronic production. The album equally emphasizes the intimacy and narrative pace that focused, intentional studio recording allows. The result is a unique and profoundly emotive album of contemporary Arabic music, a stunningly subtle first record for a project that resisted documentation or any sort of fixity for so many years. Moumneh's voice has become a powerfully authentic instrument, and his production techniques applying distortion, tape echos and delays to varying degrees transmit a timeless intensity to the recording. Saturated synths and the overdriven signals of Moumneh's acoustic buzuk and zurna reinforce the reigning sensibility, providing a bracing counterpoint to the vocals and lovely, searching instrumental narratives in their own right. Szlam’s work was the source material for the album’s visual aesthetic. Szlam’s visual creation for the album derives from sequences that echo lunar notions and photographic intervals that reverberate and resonate, evoking the oscillation of time. Using frames from various hand-processed 16mm filmstrips, Szlam created a lunar sequence that consitutes the album cover artwork.
Inspired by the Lebanese educator Boutros Al-Bustani’s book Circumference of the Ocean, Mo7it Al-Mo7it signifies, in JIMH’s open and poetic interpretation, “Ocean of the Ocean.” The numeral 7 is pronounced like an h; all titles on the album are rendered in contemporary colloquial “mobile” Arabic (the transliterative characters used in Arabic phone texting).
Jerusalem In My Heart (JIMH) has been a live audio-visual happening since 2005, with Montréal-based producer and musician Radwan Ghazi Moumneh at its core. Moumneh is a Lebanese national who has spent a large part of his adult life in Canada and has been a fixture of the Montréal independent music community from his early days as guitarist in various notable 90s bands to his tireless activity as a sound engineer and producer over the last decade. Moumneh is also active in the Beirut and Lebanese experimental music scenes, where he spends a few months every year.
With performances occurring 1-3 times per year, no two Jerusalem In My Heart events have ever been the same: configurations have ranged from 2 to 24 participants, with varying degrees of theatrical stage action alongside a film/video component. Moumneh's vocals and purposefully blown-out sonic sensibility have been the consistent thread, but the music of JIMH has never repeated itself either – one of the reasons Moumneh has resisted any official documentation or definitive recording of the project over the past eight years. At long last, in 2012 Moumneh cleared time and mental space to record a song cycle that cements the foundations of JIMH as an intensely vocal-driven musical project.
JIMH has always been an immersive sonic and visual live experience; on the musical side, an evolving effort to forge a modern experimental Arabic music that weds melismatic singing in classical Arabic modes to electronic compositions with a punk-rock production sensibility. Mo7it Al-Mo7it captures and conveys all of this, while emphasising the intimacy and narrative pace that focused, intentional studio recording allows. The result is a unique and profoundly emotive album of contemporary Arabic music, a stunningly subtle first record for a musical project that resisted documentation or any sort of fixity for so many years. Moumneh's voice has become a powerfully authentic instrument and his production techniques – applying distortion, space echo and delay to varying degrees – lend a timeless intensity to the recording. Saturated synths and the overdriven signals of Moumneh's acoustic playing on buzuk and zurna reinforce the reigning sensibility, providing bracing counterpoint to the vocals and lovely, searching instrumental narratives in their own right.
Jerusalem In My Heart currently exists around the core of Radwan Ghazi Moumneh carrying musical duties and Montreal filmmaker Charles-André Coderre projecting hand-made visuals using analog 16mm film & 35mm slides on multiple site-specific screen installation
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