Radwan Ghazi Moumneh and Frédéric D. Oberland present the debut of their duo project in 2026 – a collaboration born at Montréal’s Hotel2Tango studio, which Moumneh co-owns. What began as quiet shared experiments between two long-standing figures in experimental sound grew into a focused partnership: music suspended between ritual electronics and contemplative devotional forms. Their pieces move between stillness and agitation, holding space for subtle emotional registers shaped through contemporary experimentation.
Moumneh continues a personal and political inquiry into identity and memory. His principal project, the interdisciplinary Jerusalem In My Heart, spanned fifteen years and four albums on Constellation. A Lebanese artist, producer, and musician based in Tiohtiá:ke/Montréal, he merges electronics with electro-acoustic buzuk treatments and anchors them in the resonance of Arabic vocal tradition. His voice carries both fragility and command, leaning toward imagined futures. Across two decades, he has challenged assumptions about what "Arabic music" can denote and opened pathways beyond inherited forms. His work remains rooted in the shifting ground between displacement and reinvention.
Oberland brings a practice shaped by a decade of steering the evolving Oiseaux-Tempête collective, whose music navigates intersections of avant-rock and free improvisation. A multi-instrumentalist and photographer, he thrives in settings built on exchange. He is a founding member of FOUDRE! and SIHR, and an active contributor to projects extending from solo performance to film scoring. His compositions grow through immersion: long forms that stretch and then rupture, echoing geological pressure matched by social urgency. Oberland’s work often seeks thresholds where noise meets melody or where presence meets absence; always in tension, never in excess.
Together, Moumneh and Oberland shape a dialogue that is intimate yet outward-looking. Each listens closely to what the other discloses. Electronics press against the grain of the buzuk; modal lines drift into noise; drones shimmer and eventually break into rhythm. From this exchange emerges a sound world that is fragile yet luminous. If Moumneh questions cultural inheritance and Oberland treats music as a site of collective attention, their collaboration becomes a place where these impulses converge and reconfigure. Their duo traces the space between memory and invention, devotion and abrasion, the personal and the expansive: a music built through listening as much as playing, through silence as much as sound.
