Daqa'iq Tudaiq
CST137      CD 180gLP MP3 FLAC
"To listen to the music of Jerusalem In My Heart, the name under which Radwan Ghazi Moumneh records, is to experience a lurching, sonic dislocation. The effect is as peculiar as it is exhilarating... A complex, yet lush, accumulation of language and sonic textures designed to transcend the limits of language and communicate at a level that is direct and unhindered. But beneath the carapace of swooping chromatics and yearning voices are scratchy textures and a sense of peril...'Daqa’iq Tudaiq' is perhaps a revelation of sorrow that goes beyond all language – with JIMH providing an articulate, angry and poetic voice for the mess we’re in.”
New Internationalist

"Experiencing Jerusalem In My Heart live is to step into a world in which contexts and meanings seem to be inherently understood and communicated, circumventing linguistic and cultural barriers. There’s no clapping between songs, there’s no commotion usually attached with gigs of hyped artists. Connected by an unspoken, mutually inferred pact, an intangible electricity lingers between the audience, the artists, and their living, breathing play.

A few minutes into the first song of the evening, Radwan Ghazi Moumneh slowly rises from his chair in the middle of the stage, surrounded by electronic effects and instruments and illuminated solely by the glimmer of hamsa symbols that radiate from four 16 mm film projectors manned by Charles-André Coderre. His hands are raised, and he delivers repetitive, hypnotic lines with an almost palpable rage and pain at unnamed tyrants. While Moumneh’s mournful voice continues to pulse through the air, there’s only the whir of projectors to support him. It’s at this point that the packed audience surrender to Jerusalem In My Heart’s embrace.

War, torment, inner fears and self-reflection alternate with intimate, almost optimistic fragments, creating a challenging fusion and a disturbing vista of our present troubled times. Lebanon born producer, singer and buzuk player Moumneh has lived between Beirut and Montréal for most of his life, but his music, while rooted in Arabic forms, eschews geographical categorisation. Instead, he uses diverse traditions to channel thoughts and subvert the form of ideas, concepts and messages. The melismatic singing, the influences of electronic, drone and noise music are all meshed and used loosely in the composition of fractured songs. Their structures are held together by the repeating cycles of haunting images of Canadian visual artist Coderre.

As the show ends, the projectors turn off, the distorted electronic sounds die out, and Moumneh’s unamplified voice continues echoing and reverberating. I can’t help but relate to feelings of elation and complete immersion that Moumneh himself described when writing in The Wire 379 about his epiphanic experience during an Abdel Karim Shaar concert. Like his, this was a journey that transcended ephemerality to become part of us."

The Wire, 2017
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Deluxe 180gram vinyl pressing from Optimal (Germany) comes in a heavyweight 24pt jacket with black polylined audiophile dust sleeve, 12"x24" art print poster, 12"x12" art/credit insert, 12"x12" art/poem insert and 320kbps MP3 download card.




CD comes in a 20pt mini-gatefold jacket printed on 100% recycled CCNB with matte UV varnish and a black inner dust sleeve for the disc.

Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If If If If If (year-end lists at The Wire (#39), The Quietus (#24) and A Closer Listen (Top 10), among other accolades). Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, BIG|BRAVE) and complemented by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'iq Tudaiq translates as “minutes that bother/oppress/harass” – which presumably needs no further explanation – and features two distinct album sides of music.
Side One realizes a long-held dream of Moumneh’s to record a modern orchestral version of the popular Egyptian classic “Ya Garat Al Wadi” by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo musician/composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of plucked and percussive instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (oriental scales). Moumneh’s melismatic lead vocals and electronic production sensibility pay homage to the genre’s documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission. The song’s original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as “Oh Neighbour Of The Valley”, but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. “Wa Ta'atalat Loughat Al Kalam” (“The Language Of Speech Has Broke Down”) is an expression of wordless love and transcendent communication between two lovers’ eyes in Shawqi’s poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning – also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century.
Side Two comprises four tracks of non-ensemble “solo” material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory – voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loop-driven instrumental “Bein Ithnein” (“Between Two” ) and the stunningly unsettling processed vocal track “Thahab, Mish Roujou', Thahab” (“The Act Of Departing, Not Returning, Departing”).
Daqa'iq Tudaiq features album art by Charles-André Coderre, whose innovative 16mm film techniques frame JIMH’s entire visual identity – this time using archival photos from the Arab Image Foundation, which have been re-photographed and subjected to experimental chemical treatments of Coderre’s own invention.
Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking groups at work in avant-garde Middle Eastern music today. Thanks for listening.

Packaging notes
Audiophile 180gram pressing in midnight ultra-black vinyl from Optimal (Germany) comes in a thick 24pt jacket with Matte UV vanrish, a black paper polylined inner dust sleeve, 12"x24" art print poster, 12"x12" art/credit insert, 12"x12" poem insert, and 320kbps MP3 download card. CD comes in a mini-gatefold jacket printed on 100% recycled 20pt CCNB with Matte UV varnish and a black paper inner sleeve for the disc.
Artwork by Charles-André Coderre treating original photographic images by Hashim Almadani & Akram Zaatari courtesy of the Arab Image Foundation. Digital colourization by Eliane Berdat. Arabic hand calligraphy by Khaled Elsheikh. Poem and drawing (LP edition only) by Alexei Perry Cox.
01. Wa Ta'atalat Loughat Al Kalam (Part 1)
02. Wa Ta'atalat Loughat Al Kalam (Part 2)
03. Wa Ta'atalat Loughat Al Kalam (Part 3)
04. Wa Ta'atalat Loughat Al Kalam (Part 4)
05. Bein Ithnein
06. Thahab, Mish Roujou', Thahab
07. Layali Al-Rast
08. Kol El 'Aalam O'youn
Release date: 05 Oct 2018
Running time: 37:27
Music and lyrics by Radwan Ghazi Moumneh
Film and visuals by Charles-André Coderre
“Wa Ta’atalat Loughat Al Kalam” is an orchestral reinterpretation of "Ya Garat Al Wadi" by Mohammad Abdel Wahab with lyrics by Ahmad Shawqi
Re-arrangements: Sam Shalabi & Radwan Ghazi Moumneh
Recorded live in Beirut in December 2017 at Bustros Palace
Abed Kobeissy: Buzuk
Ali El Hout: Riq
Bashar Farran: Contrabass
Eliana Awad: Derbakeh
Firas Andary: Viola
Imad Hashisho: Cello & all the love in the world
Jad Saliba: Oud
Jihad Assaad: Qanun
Layale Chaker: Violin
Reda Bitar: Violin
Sam Shalabi: Arrangements
Radwan Ghazi Moumneh: Vocals & electronixxx
Amir Amiri: Santur
Sharif Sehnaoui: Prepared Acoustic Guitar
Tony Elieh: Electric Bass Drones
Fadi Tabba: Recording engineer
Pascal Semerdjian: Assistant engineer
Anthony Sahyoun: Assistant engineer
Baris Dogrusoz: Production Assistance
Charles-André Coderre: Cinematography
Yann-Manuel Hernandez: Cinematography
Tony Elieh: Photography
Percussion on “Bein Ithnein” by Ziya Tabassian
Mixed at thee mighty hotel2tango, Montréal, April 2018 by Radwan Ghazi Moumneh
Mastered at Grey Market by Harris Newman
Recording co-commissioned by Le Guess Who?