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About this electronic
Moumneh (Jerusalem In My Heart) and Oberland (Oiseaux-Tempête) consolidate a long history of cross-collaboration on this debut studio album as a duo: a compelling synthesis of their respective and shared sensibilities. Blending juddering electronics with acoustic instruments like buzuk, rababa, clarineau and saxophone, peppered with Moumneh’s Arabic singing, the album is forged in outrage and lamentation over our suprematist and genocidal political present. Morphing between the sensory and the suppressed, Radwan Ghazi Moumneh and Frédéric D. Oberland’s debut album summons a poetic musical proclamation of transfigured reality and social amnesia. These seven tracks evolved collaboratively over two years, beginning as a series of duets that Moumneh instigated at Montréal’s Hotel2Tango studio in summer 2023. The Arabic title of Eternal Life No End translates more literally as “A dark, cursed night, like the seekers themselves” and the album is an outcry amidst the oceans of injustice flooding the SWANA region, haunting the lives and visions of vast populations. Like Dante and Virgil in Dante’s Inferno, Oberland and Moumneh’s compositions chart an emotional vortex, as dream-time seeps into trancelike percussion and hypnotic melodies, channeling collective urgencies that ripple through the currents of Radwan’s voice and Arabic lyrics. Oberland’s passages of saxophone and clarineau evoke shamanic exhortations of evil, while Moumneh’s buzuk strums and swarms, often through electronic processing, with tempestuous mourning about unfolding tragedies. An array of instrumentation fleshes out the wider soundscapes: daf (a Middle Eastern frame drum) and bongos, a modified electric rababa, shuddering bass and other synthetic filigree from Oberland’s Buchla and Deckard's Dream synths. “It's a healing process in a way,” says Oberland about the work. “Since the genocide started, I’d had a complete artistic block and the inability to articulate what people are living through” explains Moumneh, who ultimately packed his instruments and gear and flew to Paris in the summer of 2024 to work on the album in earnest with his long-standing friend. The two had collaborated on multiple previous occasions, with Oberland’s primary group Oiseaux-Tempête, and through Moumneh's work as Jerusalem In My Heart and as a producer/engineer on various other projects. Eternal Life No End builds on their abiding allyship as Oberland and Moumneh navigate energies and emotional shifts in newfound ways, merging their sensibilities and uncovering deeper resonances. “We worked day and night together and made clear decisions collectively” states Oberland, who nonetheless also took the lead in positioning Moumneh’s voice to shine through these compositions—there is singing on four of the album’s seven tracks. The duo played reverse roles of a sort and ventured new creative processes, as Moumneh openly took direction from Oberland, setting aside his usual lead-producer role as steward of Jerusalem In My Heart. “Squeal of Swine” and “Dagger Eyes” open the album with dual gut punch, as hand percussion, low end synth tones, and ricocheting buzuk and rababa set the stage for Moumneh’s keening Arabic singing, reflecting a sea of sickness currently drowning the state of humanity. On the instrumental track “A Dream That Never Arrived”, a lo-fi dancehall-inflected beat anchors otherworldly melodic lines set against electroacoustic sound design in spatio-temporal displacement. Eternal Life No End is accompanied by an audio-visual essay for the electronic (and vocal) song “The Serpent”, assembled by Oberland and shot on Super 8mm camera in Montréal, Paris and Beirut, including footage of Gaza protests in Paris and of Oberland’s performance at Irtijal Festival’s 25th anniversary edition in Beirut. Lebanese graphic designer, printmaker, and calligrapher Farah Fayyad provides talisman-like artwork of entwined serpents, similarly inspired by this centerpiece album track.
