Salim Halali - Ardjaâ Lebladek - Side 1 (Pathé, 1939)

Hareeka - حريق

George Kirmiz' song When the Words End from the 1985 cassette Min Ansar ila Asqalan, dedicated to the struggle of Palestinian and Arab political prisoners. 



Vocal: George Kirmiz
Piano: Randall Faber

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Digitalised by Lucas Lyndes

George Kirmiz: Lamma Tihklas al-Kalimat

Tasalul is a collection of 14 one-shot recordings heavily sampled and processed through different methods to create a variety of soundtracks. The pieces range from calm to aggressive, emphasizing on texture, repetition, and decay. Tasalul, or the act of infiltration: a sonic mission of breaking into prohibited mental/physical zones imposed on us, in pursuit of a vision to overcome the state of siege.

Released December 5, 2022

Written & Produced by Abdel Hadi Hashem
Mastering : Victor Malvolti
Artwork : Maria Savykine

Zoom

Hail Of Stones

Israel needs friends. And one of the main tools it has used to get them is its arms industry. The 10th biggest in the world, it increasingly specialises in the kind of digital surveillance technology European governments love to pretend they never use.

Such powerful technology has not only forced many of its former adversaries to the table but, paradoxically, has increased the mistrust between itself and its closest allies: the powerful Five Eyes group of anglophone intelligence agencies.

In The Palestine Laboratory: How Israel Exports the Technology of Occupation Around the World, Antony Loewenstein reveals how this industry has made itself indispensable to the Israeli state.

He joins Rivkah Brown to talk about how Israel's often spectacular occupation of the Palestinian territories has allowed it to export not just its sophisticated weaponry but also the very idea of ethnonationalism around the world.

Novara Audio: Radio For A Different Politics

Novara FM: Palestine as Showroom w/ Antony Loewenstein

التراك الأصلي - القط الأسود

قط أسود / سبايك في أخر خمس طرق بطئ

This audio work features a poetic narrative that moves across spatiotemporal coordinates to interrogate the function of memory in the face of mass violence. The poem was written in response to a massacre that happened in my city Delhi in 2020, a massacre where the victims continue to await justice. In gathering fragments from multiple languages, this work seems to suggest that for those displaced or in exile, there is no geographical place, that time itself becomes a site of habitation, a wound that repeats itself in splintered hours. It disrupts a linear understanding of time by traversing multiple temporalities simultaneously, creating an alternative home where individual memory coalesces into a broader inquiry of the politics of public remembering. Here, absence is charged with dignity and agency, and not referenced as a mere loss of life, as a mere footnote, as a mere statistic. Lives that are often invisibilised from dominant histories find themselves chronicled in this counter-archive. The sonic textures, sometimes in sync with the poem, sometimes discordant, create a spectral topography indicating a time outside time, calling out to each absence, calling each absence by its name. The work is interspersed with samples from the everyday routines that inform my dailiness, and deploys glitch, repetition, and scratching as an aesthetic to situate the interstices between each word into the pluriverse of memory.  In refusing the sensationalism of news headlines, this work assembles a landscape of sensations instead, and becomes a tender ode to life itself.

We Were Being Taught a Lesson // Shivangi Mariam Raj x Osloob

lyrics:

I'd rip out my heart
and I'd give it to you
Honey, you're perfect for me
Honey, you're perfect for me

I want to carve a hole inside your chest
I want to carve a me shaped hole inside of your chest
and lie there forever

I'm scared that I might be alone in this
but you tell you're mine and I wish you'd be
Honey, you're perfect for me
Honey, you're perfect for me

I want to carve a hole inside your chest
I want to carve a me shaped hole inside of your chest
and lie there forever

Me Shaped Hole

A snippet of my latest project Arb'een (40) to be released on May 30th.

Written, arranged and performed by Youmna Saba
Recorded and mixed by Fadi Tabbal at Tunefork Recording Studios, Lebanon Mastered by Lopazz at Mixmastering, Germany
Produced by Youmna Saba and Fadi Tabbal (Tunefork)
Album cover illustration and design by Joseph Kai

Arb'een (40) 

https://gharamophone.com/2020/11/20/raoul-journo-habbit-ana-habbit-sides-1-2-philips-polyphon-1937/

Raoul Journo - Habbit Ana Habbit [Sides 1-2] (Philips, originally pressed on Polyphon, 1937)

Youmna Saba is a musician and musicologist who started her musical career in 2006 and has released four albums to this day (Arb’een (40), 2017, Njoum, 2014, Hal Bint Aabalha Tghanni, 2011, Min Aafsh el Beit, 2008). 

She is currently working on a research project that investigates the relationship between the art of the qasida (a musical form that is based on the vocal improvisation of classical Arabic poetry texts) and electronic and electro-acoustic treatments. 

Youmna has collaborated with many musicians of different musical backgrounds: Mike Cooper (GB), Jean Marc Montera (FR), Kyungso Park (SK), Piotr Kurek (PL), among others. She has taken part in international programs and residencies: Hwaeom Spiritual Music Residency (South Korea, September 2017), Sound Development City (Spain, Morocco, 2016), Gyeonggi Creation Center (South Korea, 2013), OneBeat (USA, 2012) and at La Cité Internationale des Arts in Paris as of January 2020. 

Youmna holds a master’s degree in Musicology, focusing mainly on the parallels between classical Arabic music and Arabic visual art.

Arb'een (40)

Youmna Saba

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