Mo7it Al-Mo7it
CST093      CD 180gLP MP3 FLAC


Reviews
"When opposing forces meet, 'clash' need not be the most fitting description; Mo7it Al-Mo7it constitutes a gentle merger, a meeting of ideas that sets the pace for a creative partnership both deep-rooted and fruitful — a daring kick-start for an act brimming with promise."
Tiny Mix Tapes

"The closing track, "Amanem", is cavernous and terrible: a wreck, a reverberating plea. As Moumneh hammers his instrument, asking & asking, I imagine the murder in the cathedral, a mosaic or stained glass. This anguish is a beautiful, awful blues…"3andalib Al-Furat" is "Amanem"'s opposite. No vocals - just harp and acoustic buzuq, the whisper of a nightingale. It is a respite, a moment of peace. It is pause; you stop for a while, under sky and branches, and imagine if you could really stay there."
Said The Gramophone

"Compelling, confounding, and at times, deeply moving."
All Music Guide

"The buzuk and zurna are played clean and processed while classic Arabic melismatic singing is melded to electronic textures and found sounds. The effect can be gentle, as on '3andalib Al-Furat', where an acoustic instrumental is enhanced by birdsong, or far more transformative, as on Yudaghdegh El-Ra3ey Walal-Ghanam'...where a pulsing synth undertow brings a glistening modernism to the traditional vocal melodies. The mix between elements shifts from track to track, but there is a common heartfelt yearning and emotion that unifies the album."
The Wire

"Hypnotique, incantatoire, mélismatique, très intense malgré la lenteur des rythmes, cet album révèle l’actualisation très personnelle d’un artiste aux identités multiples."
La Presse

"It’s a true delight to come across an album whose disparate cultural starting points are written on the wall but sound completely natural together...This album has a mature and unbridled energy that defies classification, and I cannot recommend it enough."
A Closer Listen

"The album succeeds in communicating a very unique perspective on an already ‘out there’ scene, and does it very well, with conviction and plenty of definition."
Subba-Cultcha

"Impassioned, prayer-like vocals take a leading role, treated with subtle electronic production and gradually accompanied by pulsing synthesizer repetition, drone and waves of electronic noise, both unsettling and enthralling, while two tracks offer peaceful counterpoint via beautiful in-situ river-bank recordings of virginal and harp, complete with birdsong accompaniment... A fascinating and subtly realized work."
Rock-A-Rolla

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CST058
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CST066

Description
Jerusalem In My Heart (JIMH) is a project of contemporary Arabic and electronic music interwoven with 16mm film projections and light-based (de)constructions of space, exploring a relationship between music, visuals, projections and audience. With performances thus far occurring once or twice a year, no two JIMH events have ever been the same: configurations have ranged from solo to 35 participants, with varying degrees of stage theatrics alongside a film & visual component, using multiple projections to construct a space in constant flux. JIMH's vocals and purposefully blown-out sonic sensibility have been the consistent thread, but neither its music nor visual propositions have ever repeated themselves – one of the reasons why JIMH has resisted for eight years any official documentation or definitive recording of the project.

JIMH was formed in 2005 by Radwan Ghazi Moumneh, a Lebanese national who has spent a large part of his adult life in Quebec and has been a fixture of the Montreal independent music community, from his early days in various notable 90s punk bands to his tireless activities over the last decade as a sound engineer, producer and co-owner of Montreal’s Hotel2Tango recording studio. Moumneh is also active in the Beirut experimental music scene, where he spends a few months every year. JIMH now consists of a core trio with French musician & producer Jérémie Regnier and Chilean visual artist & filmmaker Malena Szlam Salazar, whose two-year collaboration with Moumneh has resulted in the co-creation of JIMH’s debut album Mo7it Al-Mo7it.

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).

Thanks for listening.

Release date: 19 March 2013
Running time: 40:37

Packaging notes
CD comes in a custom gatefold paperboard jacket with the disc in a printed paper dust sleeve. 180gLP includes download code and a pull-out poster.

Tracklist
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)

Credits
PERSONNEL
Radwan Ghazi Moumneh, Malena Szlam Salazar, Jérémie Regnier

GUESTS
Dina Cindric playing the Rast Virginal on the banks of Al-Furat for 3andalib Al-Furat.
Sarah Pagé playing the Bayat Harp on the banks of Dajla for Dam3et El-3ein 3.

Mastered by Harris Newman

Conceived with the middle white sea in the heart, in the fall of 2012.

For Mister Mohammad Al-Bouazizi, for you fuel this fire, ya habib el-alb.