في الاثير كان الحب لا يدري موانعا ومستحيل في الاخير
في الاثير كان الحب كافيا لنفسه فلا يطير … في الاخير

سلوى القطريب - عللي جرى

Arabian Classic Tune Band | Samai Nahawand

21\5\2014 
خمس أشهر على اغتسالنا بطيفك الثقيل 
الثقيل . ولا ظلّ للفجر من بعدك . 
نصّي بصوت :أحمد قطليش 

يا حارس الصمت الجليل أنا لا أراك!

مشهد السفينة بتغرق من مسلسل موجه حاره

السفينة بتغرق ، أنا هطير

where we began, where we end is an album about a love that was real, consuming, and never meant to survive the world it existed in.

This record tells the story of a relationship that lived outside the lines. Not reckless. Not casual. But something that formed quietly in stolen time, shared routines, and a depth of connection that felt stronger because it had nowhere safe to exist. A bond built in the margins. In parking lots, late nights, borrowed hours. In spaces where everything feels more intense because it has to remain hidden.

The songs trace the arc from ignition to erosion. The rush of being seen in a way you hadn’t been before. The intimacy that grows when two people choose each other privately, even as the outside world insists they shouldn’t. What begins as warmth and certainty slowly bends under pressure, unspoken rules, looming consequences, the constant awareness of expectations that never needed to be spoken aloud.

This album isn’t about choosing different futures. It’s about being denied the chance to choose at all. About loving someone fully while knowing the life you’re building together exists on borrowed time. About staying longer than you should in something fragile because it feels truer than anything else you’ve known.

There’s no moralizing here. No defense. Just honesty. The ache doesn’t come from deception, but from inevitability. From watching something genuine collapse under the weight of obligation, reputation, and rules that leave no room for human connection.

Musically, the album mirrors that tension. Intimate, restrained, and deliberate. Songs breathe and circle rather than resolve, reflecting a relationship that kept looping back on itself, never allowed to move forward. Silence matters as much as sound. Repetition becomes confession. Nothing rushes toward closure because closure was never an option.

By the end, there’s no catharsis. Just recognition. The understanding that some loves don’t fail because they weren’t strong enough, but because the world had no place for them to exist.

where we began, where we end is not an argument.
It’s a record of something real that happened in the shadows.
A document of what it feels like to build something meaningful in a space that was never meant to hold it, and to live with the quiet aftermath of letting it go.

moments of gold, shadows of grey

Unsent Drafts Never Sleep (remastered)

Just My Nose by Dr. Lach is a folk-style parable inspired by an old Middle Eastern story about shelter, kindness, and limits. Sung from the camel’s point of view, the song explores how small, well-intended permissions can quietly grow into something larger than anyone expected. It is not a rejection of compassion, but a reflection on balance — the idea that care and boundaries must exist together for people, relationships, and communities to endure. Like all good parables, it leaves the meaning to the listener.

Just My Nose

دندناتٌ درامية

مقاطع صوتية، مقتبسة من مسلسلات درامية، تاريخية وغير تاريخية، لغتها مُعجبة، وأداؤها مدهش.

من مسلسل: ذاكرة الجسد، المأخوذ من رواية ذاكرة الجسد

تأليف: أحلام مستغانمي

أداء الصوت: الممثل السوري/ جمال سليمان

Radiodervish - أحبيني في القدس

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