Radwan Ghazi Moumneh and Frédéric D. Oberland are longstanding collaborators and friends who debuted their eponymous duo project with the Eternal Life No End LP released on Constellation in April 2026. What began as quiet shared experiments and occasional intimate live performances at Moumneh’s Hotel2Tango studio in Montréal, evolved into a full-scale transatlantic recording project, with the cocomposers/ co-producers expanding their experimental songcraft in a melding of ritual electronics and contemplative devotional forms.
Radwan Ghazi Moumneh is a Lebanese artist, producer, and musician based in Tiohtiá:ke/Montréal, best known as founder of Jerusalem In My Heart (JIMH), an interdisciplinary project rooted in contemporary explorations of Arabic musical traditions and socio-geographies, with various partners creating/projecting 16mm analog films, and sometimes involving other musical, theatrical, and contemporary dance collaborators. Moumneh is also a renowned producer/engineer whose credits include Matana Roberts, Alanis Obomsawin, Nadah El Shazly, Sarah Davachi, Jessica Moss, SANAM, and many more.
French multi-instrumentalist and photographer Frédéric D. Oberland is co-founder of Oiseaux-Tempête, the acclaimed musical collective that navigates intersections of avant-rock and free improvisation, with a string of albums since 2013 on Sub Rosa, and releases on NAHAL Recordings and Ruptured. He is a founding member of FOUDRE! and SIHR, performs in many other ensemble and solo configurations, has appeared on collab albums with the likes of Aidan Baker, Irena Tomažin, and Richard Knox, and composes for film.
Jessica Moss is a violinist, composer, and solo performer based in Montréal. With over two decades of work in experimental music, she first came to prominence as a member of Thee Silver Mt. Zion and co-founder of Black Ox Orkestar. Since 2015, she has focused primarily on solo composition and performance, creating music shaped by live improvisation, deep listening, and a belief in the concert as a space for reflection and shared experience.
Photo: Robin P. Gould
Das Konzert wird unterstützt vom Verband für aktuelle Musik Hamburg.
Radwan Ghazi Moumneh & Frédéric D. Oberland
Across two decades, Moumneh has challenged assumptions about what Arabic music can denote, and opened pathways beyond inherited forms. Oberland has relentlessly explored improvisation and collective composition over this same period, amassing wide-ranging stylistic and instrumental acumen. On Eternal Life No End, Oberland plays Buchla and modular synths, alto saxophone, and clarineau; Moumneh sings and plays buzuk and rababa; both contribute electro-acoustic processing, and share rhythmic duties with acoustic hand percussion and drum machine programming. Together they shape a musical dialogue at once intimate and outward-looking, inscribing a sound world fragile yet luminous. Electronics press against the grain of the buzuk; modal lines drift into noise; drones shimmer and eventually break into rhythm. If Moumneh questions cultural inheritance and Oberland treats music as a site of collective action, their collaboration creates a place where these impulses converge and reconfigure. Eternal Life No End traces sonic territories between memory and invention, devotion and abrasion, the personal and the expansive.
Jessica Moss
Moss’s solo performances are built from violin, voice, bells, loopers, and effects pedals, all operated live without pre-programmed sequences or computers. Her setup, designed by modifying equipment originally built for electric guitar, allows for dynamic shifts between stillness and intensity, melody and noise. Each performance responds to the room and its audience, unfolding slowly in real time.
Her sixth solo album, Unfolding (Constellation, October 2025), grows out of this approach. Developed over several years of touring, the album takes longform ambient structure as a starting point, using repetition and dissonance not as goals, but as part of an evolving musical logic. The record culminates in a choral piece based on the phrase “none are free until all are free,” with versions composed for both trained and community voices. A canon-style arrangement is in development for participatory performance on her upcoming European tour.
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