ON THIS LAND
02:14
TRACK 1 OF 8
TRACK 1 OF 8
Performed by Marwan Abdelhamid
Written by Marwan Abdelhamid, Khalil Cherradi
Produced by Khalil Cherradi
Additional production by Domenico Lorenzo "Buddy" Caderni
Choir by Katara Studios Choir
Drums by Hisham Dahud
Guitar by Daniel Malet & Nazim Bakour
Oud by Nazim Bakour
Additional vocals by Sol Band Gaza & Zein Sajdi
At the heart of On This Land lies a poignant moment captured in a video that Saint Levant encountered a month after October 7th, featuring journalists in Gaza. Their rendition of ‘Sawfa Nabqa Hawa,’ a Libyan protest ballad composed by Adel el-Mshiti in 2005 following his 5-year imprisonment under Gaddafi’s regime, ignited the creative spark for this project.
“We will remain here in our homes, until the pain goes away…” is what they’re singing.
— Dr. Omar Suleiman (@omarsuleiman504) December 3, 2023
We teach life. Every single person here has lost multiple family members and fled multiple airstrikes. They’ve seen more death and destruction in a few weeks than we have seen in our entire… pic.twitter.com/uek99IMDRZ
This song, having served as a soundtrack to the revolution in Libya during the Arab Spring and then spreading to the rest of the region, is a an anthem of revolutionary struggle and determination. It provides the unaltered intro that Saint Levant preserved across different versions of On This Land, setting the tone for what the song would become.
Central to the thematic and musical composition of On This Land is the profound influence of Palestinian poet Mahmoud Darwish, whose poem of the same name deeply informs Saint Levant’s creation. Darwish’s work, celebrated for its intricate exploration of identity, belonging, and resistance, provides a critical intertextual reference that significantly enriches the song’s narrative layers. The incorporation of Darwish’s On This Land into the Arabic segment of the song imbues it with rich lyrical themes that navigate questions of belonging, legacy, and the nuances of human connection to land and memory.
Additionally, On This Land engages with the concept of martyrdom, weaving this theme into the fabric of the composition to introduce a reflective and critical dimension. By invoking the legacy and sentiment of Darwish’s poetry alongside the contemplation of martyrdom, SL challenges prevailing perceptions and honors the lives lost in the pursuit of freedom. This dual reference creates a complex interplay between the individual’s search for identity and the collective struggle for liberation, marking On This Land as a poignant tribute to resilience and the enduring human spirit.
Like most of Saint Levant’s songs, the creative process for On This Land was inherently collaborative, bringing together a diverse group of musicians to breathe life into the track. This ensemble included guitarists, violinists, and notably, an oud player alongside Deira’s producer, Khalil Cherradi, who contributed with his drums. Marwan’s long-held verse written years before; reflecting on diasporic guilt, alienation and identity – ‘I hate that I’m more comfortable in English’—found its perfect context within this piece, adding a layer of personal introspection to the broader collective narrative.
Recording sessions spanned continents, from Zeyne’s studio in Amman, Levant Studios, to a Kuwaiti trio’s contribution via Zoom from Katara studio, orchestrated by SL in real-time. This cross-border collaboration culminated in a song that encapsulates a wide array of musical influences—from the rap interlude and Dabke rhythms to the shaami (Levantine) call-and-response style, reminiscent of Fairuz’s work, fostering a sense of collective dialogue and sound.
More specifically, the musical genres and influences that permeate On This Land are vast and varied. The incorporation of rap offers a contemporary mode of storytelling and expression, while the inclusion of Dabke rhythms anchors the song in the cultural practices of the Levant. These elements not only anchor the song in Levantine musical traditions but also celebrate the collective dialogue and sound that characterize Arabic music, reinforcing the track’s communal and revolutionary spirit.
Positioned within Deira, described by Saint Levant as “the people’s album,” *On This Land* epitomises the spirit of collaboration and shared heritage that defines the project. His aspiration for On This Land is to evoke a visceral response, aiming for listeners to “feel it in their stomach.” This desire for a profound emotional connection reflects the song’s core message—one of enduring strength, communal bonds, and the unyielding resolve to claim one’s place in the world, against all odds.
As On This Land reverberates beyond the confines of the studio, it invites listeners to engage with the complexities of identity, heritage, and resistance. In doing so, Marwan not only cements his place as a pivotal voice in contemporary music but also contributes to a larger dialogue on the power of art to transcend boundaries and unite us in our common humanity.
كي يزول الألم
سوف نحيا هنا
سوف يحلو النغم
موطني موطني
موطني ذا الإباء
موطني موطني موطني يا أنا
i hate that I’m more comfortable in English
but everyday I tell myself that it’s a privilege
cuz I can talk about the way my people living and I’ll do it on this
beat ‘cause I know you’ll wanna listen
i seen children with a vision
turn to numbers on your tv screen
i seen dreams and hopes of a college degree
turn to dust and get buried up under all this debris uh
our biggest weapon is our family trees
we didn’t choose to live this life overseas
i hear the sounds of the bombs in my sleep
but i never in my life heard the sound of defeat cuz
we are a nation of displaced dreamers
heritage keepers
overpaid leaders
by definition we are overachievers
underpaid teachers of life can you hear us uh
and if you have a problem with me speaking up
tell my assistant because i don’t give a fuck
imagine thinking you can censor us
ما مننساش شهدانا يا سيدي
و على ارض الوطن تلاقيني
حتى لو سدو الميدان
حتى لو سرقوا العنوان
تراب القدس الغالية، بيت حنينة الطيبة
اه يا بلدي ما بننساك
we will stay here
سوف نبقى هنا
nous resterons ici
so the pain fades away
كي يزول الألم
pour que la douleur s'atténue
we will live here
سوف نحيا هنا
nous vivrons ici
the melody will sweeten
سوف يحلو النغم
la mélodie s'adoucira
my homeland, my homeland
موطني موطني
mon pays, mon pays
home of pride
موطني ذا الإباء
terre de fierté
my homeland, my homeland, my homeland
موطني موطني موطني يا أنا
mon pays, mon pays, mon pays
بكرة اني برتاح أكتر بالإنكليزي
i hate that I’m more comfortable in English
je déteste d'être plus à l'aise en anglais
بس كل يوم بقول لنفسي انها ميزي
but everyday I tell myself that it’s a privilege
mais chaque jour, je me rappelle que c'est un privilège
لأني قادر أحكي عن عيشة شعبي ورح أعملها
cuz I can talk about the way my people living and I’ll do it on this
parce que je peux parler de la vie de mon peuple et je le ferai sur
على هالإيقاع لأني عارف رح تبغى تسمع
beat ‘cause I know you’ll wanna listen
sur ce rythme parce que je sais que vous voudrez écouter
شفت أولاد عندهم رؤية
i seen children with a vision
j'ai vu des enfants avec une vision
تحولو لأرقام عشاشات التلفزيونات
turn to numbers on your tv screen
devenir des chiffres sur votre écran de télévision
شفت احلام وامال بتسوى شهادات جامعات
i seen dreams and hopes of a college degree
j'ai vu des rêves et des espoirs de diplôme universitaire
تتحول لغبار وتتغطى تحت كل هالانقاض - اه
turn to dust and get buried up under all this debris uh
se transformer en poussière, enterrés sous tous ces débris
اكبر سلاح لنا هو اشجار عائلاتنا
our biggest weapon is our family trees
notre plus grande arme est nos racines
ما اخترنا نعيش هالحياة برا
we didn’t choose to live this life overseas
nous n'avons pas choisi de vivre cette vie à l'étranger
بسمع أصوات القنابل أنا ونايم
i hear the sounds of the bombs in my sleep
j'entends les bruits des bombes en dormant
بس بحياتي ما سمعت صوت الهزيمة لأن
but i never in my life heard the sound of defeat cuz
mais je n'ai jamais entendu de ma vie le son de la défaite car
نحنا شعب حلّماني مهجّر
we are a nation of displaced dreamers
nous sommes une nation de rêveurs déplacés
محافظين التراث
heritage keepers
gardiens d'héritage
القادة الفاسدة
overpaid leaders
dirigeants surpayés
بالتعريف نحنا متفوقين
by definition we are overachievers
par définition nous sommes des surperformants
معلمين في الحياة، سمعيننا؟ اه
underpaid teachers of life can you hear us uh
enseignants de la vie sous-payés, pouvez-vous nous entendre
وإذا عندكم مشكلة إنّي بحكي عالعالي
and if you have a problem with me speaking up
et si ça vous dérange que je prend la parole
اشكو همكم لمساعدتي لأن اخر همي
tell my assistant because i don’t give a fuck
dites-le à mon assistante car je m'en fou
imaginez penser que vous pouvez nous censurer
imagine thinking you can censor us
nous n'oublions jamais nos martyrs
ما مننساش شهدانا يا سيدي
we never forget our martyrs
et sur la terre de notre patrie, tu me trouveras
و على ارض الوطن تلاقيني
and on the land of our homeland, you'll find me
même s'ils bloquent la place
حتى لو سدو الميدان
even if they block the square
même s'ils volent notre adresse
حتى لو سرقوا العنوان
even if they steal our address
la terre sacrée de jérusalem, tendre beit hanina
تراب القدس الغالية، بيت حنينة الطيبة
the sacred soil of jerusalem, tender beit hanina
oh mon pays, nous ne t'oublierons jamais
اه يا بلدي ما بننساك
oh my country, we will never forget you
FORGIVE ME
02:54
TRACK 2 OF 8
TRACK 2 OF 8
Performed by Marwan Abdelhamid & Toufik Bouhraoua
Written by Abdellah Messous, Blaise Batisse, Marwan Abdelhamid, Mounir Maarouf, Souhayl Guesmi & Toufik Bouhraoua
Produced by Abdellah Messous, Blaise Batisse, Khalil Cherradi & Ratchopper
Guitar by Nazim Bakour & Senpai Katchy
Forgive Me emerges from Saint Levant’s repertoire, marked by its development through a series of creative shifts and collaborations. Initially conceptualized with an open verse for collaboration, the track found its definitive form through an unexpected turn of events, highlighting the fluid nature of music production and the serendipitous moments that shape a song’s final composition.
In the developmental phase, SL sought to collaborate with an artist who’s unique sound and style could complement the song’s narrative and musical composition – envisioned as a key element in broadening the track’s appeal and deepening it’s emotional resonance.
He was ultimately led to TIF who expressed a strong connection to the song upon hearing it, particularly drawn to its post-chorus, “ayammi- maksoura bil hozn.” TIF’s subsequent involvement and contribution to the second verse emerged from this serendipitous encounter, illustrating the dynamic and often unpredictable nature of music production. The inclusion of TIF added a new layer of depth and complexity to the track, enriching its narrative and expanding its thematic scope.
Marwan’s goal to achieve a sound with a “Pharrell bounce,” inspired by the works of Pharrell and Travis Scott, set the tone for the song, aiming for a fusion of funk with a contemporary flair. This vision came to life rapidly, with the chorus and post-chorus materializing in a burst of creativity. Abdel Messouss played a pivotal role in the studio, contributing to the memorable synth/accordion motifs that define much of the song’s character.
Forgive Me navigates themes of longing, passion, and the spectrum of human emotions, from joy to sorrow. These themes are interwoven with the music’s upbeat tempo, creating a contrast that adds depth to the listening experience. This technique, inspired by Belgian artist Stromae, utilizes optimistic musicality to frame and explore more somber topics, providing a complex backdrop against which the song’s narrative unfolds.
Musically, the track is a fusion of genres, incorporating elements from funk to rap, and integrating a guitar solo inspired by Raïna Raï that introduces rock influences. This eclectic mix, combined with the use of Arab drums, grounds the song in its cultural roots while broadening its appeal.
In forging Forgive Me, Saint Levant underscores his unique method of synthesizing music—a method grounded in collaborative ingenuity and a willingness to experiment. This approach distinguishes his work, enabling the fusion of eclectic musical traditions into a singular, compelling narrative. Marwan’s strategy in this creation not only highlights his versatility as an artist but also his skill in orchestrating diverse sounds into a unified, resonant piece. Through Forgive Me, he reveals the depth of his musical exploration, producing a track that is both innovative and deeply rooted in a mosaic of cultural influences.
Moreover, through Forgive Me, SL not only traverses various musical genres but also delves into the interplay between upbeat musical compositions and introspective lyrical themes. The result is a track that is an ode to the dynamic and evolving nature of contemporary music production, embodying the complexities of human emotion and the innovative blending of soundscapes.
i don’t mind mixing my business and pleasure
‘cause me and my woman
make money together
mediterranean nights
need a sweater
i’m determined to death
but i need to do better
‘cause I’m only half of the man I can be
but baby, growth isn’t scary to me
بالعكس
i look for that shit in my sleep
i know i’m good for it
le pays de mon enfance
m’a appris l’humilité
l’amerique ma presque pris ma dignité
mama promis
jai qu’une seul afinité
on est tous là grace a des immigres
شافوا فرصة وحكوا
fuck it we not leaving
my love just tell me im dreaming
they thought I’d be in and out in a season
now i’m on top of the world for a reason
you know that i
don’t wanna be great if I’m all alone
so mama i might
come back to the city that raised me
but mama i lied
‘cause i’d kill a man to see you smile
لهيك
سامحيني
ايامي مكسورة بالحزن
يا بلادي المجروحة فش حب
le cœur est blessé
notre amour risquerais de ne pas passer l’hiver
j’ai pas fais exprès
سامحيني
جزائري بس دمي فلسطيني
je passe mes journées au stud je suis à Paris
mais pas celui des champs élysées
quand la chance avait des airs timide
je l’ai courser jusqu’à l’infini
souvent je disais m’attend pas
y’a des problèmes mais ça ne m’etteint pas
rebeu fougueux ton cœur est pris d’assaut
que je sache je ne t’ai jamais promis l’anneau
et je taf ap pour un minimum
خمسة في عينيهم
vu kle monde oublie les nôtres
on sera nous même l’étoile dans le cielo
you know that i
don’t wanna be great if I’m all alone
so mama i might
come back to the city that raised me
but mama i lied
‘cause i’d kill a man to see you smile
سامحيني
ايامي مكسورة بالحزن
يا بلادي المجروحة فش حب
mélanger les affaires et le plaisir ne me pose pas de problème
i don’t mind mixing my business and pleasure
ماعندي مشكلة إخلط بين الشغل والمتعة
parce que ma femme et moi
‘cause me and my woman
لأن أنا و حبيبتي
faisons de l'argent ensemble
make money together
بنطلع مصاري سو
des nuits mediterrannées
mediterranean nights
ليالي البحر المتوسط
j’ai besoin d’un pull
need a sweater
بدي كنزة
j’suis deter’ à mort
i’m determined to death
أنا عزمان للموت
mais je dois faire mieux
but i need to do better
بس لازم بادر
car je suis la moitié de l'homme que je pourrais être
‘cause I’m only half of the man I can be
لأني نص الرجل اللي عاوز كونه
mais mon amour, l’évolution ne me fait pas peur
but baby, growth isn’t scary to me
بس حبيبتي التطور ما بخوفني
on the contrary
بالعكس
au contraire
je cherche cela dans mes rêves
i look for that shit in my sleep
بدور عليه بنومي
je sais que je peux le faire
i know i’m good for it
عارف إنّي قدها
my motherland
le pays de mon enfance
بلاد طوفلتي
taught me humility
m’a appris l’humilité
علّمتني التواضع
america almost took my dignity
l’amerique ma presque pris ma dignité
أمريكا كانت حتاخدلي كرامتي
mom, i promise
mama promis
بوعدك يا ماما
i only have one affinity
jai qu’une seul afinité
عندي شغلة وحدة بس
we’re all here because of immigrants
on est tous là grace a des immigres
كلنا هون بفضل المهاجرين
ils ont trouvé une opportunité et ont dit
شافوا فرصة وحكوا
they saw a chance and said
peu importe, nous ne partons pas
fuck it we not leaving
لن نرحل
hayati dis-moi juste que je rêve
my love just tell me im dreaming
حياتي، بس قولي لي إنو بحلم
ils pensaient que je serais là et parti en une saison
they thought I’d be in and out in a season
فكروني رح إظهر وإختفي بظرف موسم
maintenant, je suis au sommet du monde pour une raison
now i’m on top of the world for a reason
أنا هلأ على قمة العالم لسبب
tu sais que je
you know that i
بتعرفي انني
ne veux pas être au sommet si je suis tout seul
don’t wanna be great if I’m all alone
ما بدي كون عالقمة لو كنت وحدي
alors maman, je pourrais
so mama i might
عشان هيك يما ممكن
revenir dans la ville qui m'a élevé
come back to the city that raised me
أرجع للمدينة اللي ربتني
mais maman, j'ai menti
but mama i lied
بس ماما أنا كذبت
parce que je tuerais un homme pour te voir sourire
‘cause i’d kill a man to see you smile
عشان بقتل لشوف ابتسامتك
alors
لهيك
so
pardonne-moi
سامحيني
forgive me
mes jours sont mêlés de tristesse
ايامي مكسورة بالحزن
my days are diluted with sorrow
mon pays, tu es blessé, il n'y a pas d'amour
يا بلادي المجروحة فش حب
my wounded country, there is no love
GALBI
02:23
TRACK 3 OF 8
TRACK 3 OF 8
Performed by Marwan Abdelhamid
Written by Marwan Abdelhamid, Moez Bouali & Naïka Richard
Produced by Abdellah Messous Sacem
Bass by Alexandre Wallo Bamba
Guitar by Victor Martinez
Violin by Moez Bouali
Saint Levant developed Galbi Mani Nasi during a writing camp in Limoux in July 2023, marking a significant addition to his discography that demonstrates a blend of multiple musical influences and production techniques. This track is distinguished by its integration of diverse musical elements, showcasing the singer’s adeptness in creating a sound that is both contemporary and deeply rooted in various musical traditions.
The violin, played by Moez Bouali, is a standout feature of the song, providing a rich melodic layer that complements the track’s overall texture. Galbi’s chorus takes inspiration from the melodic structure of Djamel Laroussi’s Etoile Filante, creating a link between Saint Levant’s music and the broader canon of North African melodies. This interpolation not only pays homage to Laroussi’s work but also enriches the song’s cultural resonance.
Production-wise, Galbi emphasizes synths and soft pads, echoing a soft Afrobeat cadence. This choice contributes to a listening experience that is ethereal yet rhythmically engaging, suitable for both introspective listening and dance settings. The drum patterns in the track are influenced by Persian pop from the 80s and 90s, specifically recalling the style of Andy & Kouros’ Niloofar. This element of the production adds a nostalgic quality to the song, while simultaneously highlighting Marwan’s appreciation for the rhythmic foundations of Persian pop music.
The song’s creation involved contributions from Abdel Messous as the producer and Alex Bamba on bass, alongside Bouali’s violin performance. These collaborations were instrumental in achieving the song’s distinctive sound. An interesting aspect of the song’s development was Marwan’s approach to performing Galbi live before finalizing the second verse. This practice involved freestyling and top-lining during performances, illustrating his dynamic and adaptive approach to music-making.
The process of finalising the song included writing the second verse with the assistance of Naïka, further refining its lyrical content. The production’s “Bumble bass” and Bouali’s violin riff towards the song’s conclusion are key components that contribute to its unique sound profile, encapsulating the collaborative spirit and technical craftsmanship that define the track.
Overall, Galbi is a testament to SL’s skill in navigating a complex array of musical genres and influences. By weaving together elements of North African melodies, soft Afrobeat, and Persian pop, he creates a multifaceted auditory experience that reflects his diverse musical influences and innovative production techniques.
j’ai mis ma main dans le feu
mais t’a pas aidée
j’ai tout donné
pour te garder
t’a pas idée
i put some weight up on my shoulders
on the way
but you don’t see it that way
j’ai mis ma main dans le feu
mais t’a pas aidée
j’ai tout donné
et toi ta tout abanndoné
i put some weight up on my shoulders
on the way
but you don’t see it that way
on se fait mal
on s’éloigne
et tu reviens pas
on se fait mal
on s’éloigne
mais tu reviendras
والله قلبي ماني ناسي
قلبي ماني ناسي
قلبي ماني ناسي
هالأيام
والله قلبي ماني ناسي
قلبي ماني ناسي
قلبي ماني ناسي
هالأيام
wallahi there’s nobody like you
girl I had to
and even when you’re in a bad mood
je t'offrirais la lune
just to have you
my love
there's nothing in this world
that makes me change my mind
i want you forever
girl you’ll always be mine
you say that my efforts are a waste of time
but I don’t see it that way
on se fait mal
on s’éloigne
et tu reviens pas
on se fait mal
on s’éloigne
mais tu reviendras
والله قلبي ماني ناسي
قلبي ماني ناسي
قلبي ماني ناسي
هالأيام
والله قلبي ماني ناسي
قلبي ماني ناسي
قلبي ماني ناسي
هالأيام
i put my hand in the fire
j’ai mis ma main dans le feu
حطيت إيدي بالنار
but you didn’t help
mais t’a pas aidée
بس ما ساعدتيني
i gave my everything
j’ai tout donné
اعطيتك كل شي
to keep you
pour te garder
لحافظ عليكي
you have no clue
t’a pas idée
ما عندك اي فكرة
j'ai mis du poids sur mes épaules
i put some weight up on my shoulders
حطيت وزن على كتافي
en chemin
on the way
عالطريق
mais tu ne le vois pas comme ça
but you don’t see it that way
بس ما بتشوفيها بهالطريقة
i put my hands in fire
j’ai mis ma main dans le feu
حطيت إيدي بالنار
but you didn’t help
mais t’a pas aidée
بس ما ساعدتيني
i gave everything
j’ai tout donné
أعطيت كل شيء
and you abandoned it all
et toi ta tout abanndoné
وأنتي تخليتي عن كل شي
j'ai mis du poids sur mes épaules
i put some weight up on my shoulders
حطيت وزن على كتافي
en chemin
on the way
عالطريق
mais tu ne le vois pas comme ça
but you don’t see it that way
بس ما بتشوفيها بهالطريقة
we hurt each other
on se fait mal
بنآذي بعض
we drift apart
on s’éloigne
بنبعد عن بعض
but you don’t come back
et tu reviens pas
بس ما بترجعي
we hurt each other
on se fait mal
بنآذي بعض
we drift apart
on s’éloigne
بنبعد عن بعض
but you’ll come back
mais tu reviendras
بس رح ترجعي
mon cœur n'oubliera pas
والله قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
ces jours-ci
هالأيام
these days
mon cœur n'oubliera pas
والله قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
ces jours-ci
هالأيام
these days
wallahi il n'y a personne comme toi
wallahi there’s nobody like you
والله ما في حدا زيك
je t'ai présenté à maman
girl I had to
عَرَّفتك على ماما
j'ai dû le faire
and even when you’re in a bad mood
يا بنت اضطريت
i’d give you the moon
je t'offrirais la lune
رح إهديكي القمر
juste pour t'avoir
just to have you
بس عشان أقدر كون معك
mon amour
my love
حبيبتي
il n'y a rien dans ce monde
there's nothing in this world
ما في شي بهالدنية
qui me fait changer d'avis
that makes me change my mind
بيقدر يغيّرلي رأيي
je te veux pour toujours
i want you forever
بدي ياكي للأبد
tu seras toujours à moi
girl you’ll always be mine
يا بنت، دايماً رح تبقي لي
tu dis que mes efforts sont une perte de temps
you say that my efforts are a waste of time
بتقولي إنو جهدي مضيعة وقت
Je l’voit pas comme ça
but I don’t see it that way
بس ما بشوفها هيك
we hurt each other
on se fait mal
بنآذي بعض
we drift apart
on s’éloigne
بنبعد عن بعض
and you don’t come back
et tu reviens pas
وما بترجعي
we hurt each other
on se fait mal
بنآذي بعض
we drift apart
on s’éloigne
بنبعد عن بعض
but you’ll come back
mais tu reviendras
بس رح ترجعي
mon cœur n'oubliera pas
والله قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
ces jours-ci
هالأيام
these days
mon cœur n'oubliera pas
والله قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
mon cœur n'oubliera pas
قلبي ماني ناسي
my heart won’t forget
ces jours-ci
هالأيام
these days
5AM IN PARIS
02:15
TRACK 4 OF 8
TRACK 4 OF 8
Performed by Marwan Abdelhamid
Written by Marwan Abdelhamid
Produced by Khalil Cherradi & Marwan Abdelhamid
Piano by Domenico Lorenzo "Buddy" Caderni
Saxophone by Mario Castro
Additional vocals by Zein Sajdi
5am in Paris marks the first in-person collaboration between Marwan and the main producer behind Deira, Khalil Cherradi. This pivotal meeting set the stage for a creative fusion, blending deep emotional narratives with the lively energy of club beats. Their shared experience of listening to Cheb Mami’s T’zaza during this initial encounter served as the spark for the track’s inspiration. Despite the controversies surrounding Mami, it was this song’s distinctive sonic qualities coupled with inspiration from Indian rhythms that captured their imagination and influenced the direction of 5am in Paris.
In many ways, 5 am in Paris was created during a distinct transitional phase for Marwan, where he would meet many of the creative forces in his life, from Khalil to Charaf Tajer (Casablanca’s creative director) and others. It also to some extent marks Marwan stepping into his recognition and reputation as an artist. The music video, shot in Morocco; directed by Carlos Ramirez, creative directed by SL’s creative director Pedro Damasceno, and produced by Marwan’s father, Rashid coupled with the track’s boldness, represent that journey.
The production journey of 5am in Paris saw Marwan and Khalil weaving Indian musical elements into the fabric of the track, aiming to capture a specific flow that mirrored these influences. This endeavor was further enriched by Khalil’s background and his previous work with TIF, which Marwan found compelling for its rhythmic sophistication. The decision to incorporate a “four-on-the-floor” beat was a strategic one, aimed at transforming the track into a more club-friendly tune without losing sight of its underlying melancholic themes.
This approach underscores Marwan’s intent to create a piece that juxtaposes the narrative of personal and emotional complexity with a production that invites movement and celebration. 5am in Paris uniquely captures the essence of displacement and longing through its lyrics, offering listeners a narrative that spans continents—from Paris to Algeria, Casablanca, and LA. The track articulates a sense of fragmented belonging, a theme that resonates deeply in its reflection on identity, relationships, and the search for home.
Pride in the track’s writing is evident, particularly in the nuanced portrayal of a divided existence—physically present in one place while emotionally tethered to many. 5am in Paris is the decisive product of Marwan and Khalil’s first collaborative venture, reflecting their ability to meld distinct musical styles—from Indian rhythms to club beats—into a coherent whole. This song stands as a testament to the dynamic synergy of their partnership, encapsulating the vibrancy of club music while engaging with the introspective and the personal, creating a space where listeners can find echoes of their own stories.
5 heures du matin
Je rentre chez moi
Mon corps à Paris
Mon coeur à Gaza
Mon âme à Algiers
Mon ex à Casa
Ma meuf à LA
Me prend dans ses bras
Je me sens chez moi nulle part
Je me sens chez moi nulle part
في عيلتي بالشرق
وصحابي بالغرب
وامي بالذات
متمسكة بالأرض
بتفاجا من حالي
لما في ضعط
بس عمري بنساش
تربايتي بالحرب
Je me sens chez moi nulle part
Je me sens chez moi nulle part
It's been calling my name
But I don't feel at home
Oh no
It's been calling my name
But I don't feel at home
Oh no
It's been calling my name
My name
It's been calling my name
My name
5 heures du matin
Je rentre chez moi
Mon corps à Paris
Mon coeur à Gaza
Mon âme à Algiers
Ma meuf à LA
Me prend dans ses bras
Je me sens chez moi nulle part
Je me sens chez moi nulle part
في عيلتي بالشرق
وصحابي بالغرب
وامي بالذات
متمسكة بالأرض
بتفاجا من حالي
لما في ضعط
بس عمري بنساش
تربايتي بالحرب
Je me sens chez moi nulle part
Je me sens chez moi nulle part
It's been calling my name
But I don't feel at home
Oh no
It's been calling my name
But I don't feel at home
Oh no
It's been calling my name
My name
It's been calling my name
My name
5 AM
5 heures du matin
5 صباحًا
I'm going home
Je rentre chez moi
أنا أعود إلى المنزل
My body in Paris
Mon corps à Paris
جسدي في باريس
My heart in Gaza
Mon coeur à Gaza
قلبي في غزة
My soul in Algiers
Mon âme à Algiers
روحي في الجزائر
My ex in Casa
Mon ex à Casa
حبيبي السابق في كازا
My girl in LA
Ma meuf à LA
حبيبتي في لوس أنجلوس
Takes me in her arms
Me prend dans ses bras
يحتضنني
I feel at home nowhere
Je me sens chez moi nulle part
لا أشعر بأنني في منزلي في أي مكان
I feel at home nowhere
Je me sens chez moi nulle part
لا أشعر بأنني في منزلي في أي مكان
My family in the east
في عيلتي بالشرق
Ma famille dans l'est
My friends in the west
وصحابي بالغرب
Mes amis dans l'ouest
And my mother in particular
وامي بالذات
Et ma mère en particulier
Sticking to the land
متمسكة بالأرض
Accrochée à la terre
Surprised by myself
بتفاجا من حالي
Surpris par moi-même
When under pressure
لما في ضعط
Quand sous pression
But I never forget
بس عمري بنساش
Mais je n'oublie jamais
My upbringing in the war
تربايتي بالحرب
Mon éducation dans la guerre
Je me sens chez moi nulle part
I feel at home nowhere
لا أشعر بأنني في منزلي في أي مكان
Je me sens chez moi nulle part
I feel at home nowhere
لا أشعر بأنني في منزلي في أي مكان
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mais je ne me sens pas chez moi
لكنني لا أشعر بأنني في منزلي
But I don't feel at home
Oh non
يا لا
Oh no
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mais je ne me sens pas chez moi
لكنني لا أشعر بأنني في منزلي
But I don't feel at home
Oh non
يا لا
Oh no
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mon nom
اسمي
My name
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mon nom
اسمي
My name
5 AM
5 heures du matin
5 صباحًا
I'm going home
Je rentre chez moi
أنا أعود إلى المنزل
My body in Paris
Mon corps à Paris
جسدي في باريس
My heart in Gaza
Mon coeur à Gaza
قلبي في غزة
My soul in Algiers
Mon âme à Algiers
روحي في الجزائر
My girl in LA
Ma meuf à LA
حبيبتي في لوس أنجلوس
Takes me in her arms
Me prend dans ses bras
يحتضنني
I feel at home nowhere
Je me sens chez moi nulle part
لا أشعر بأنني في منزلي في أي مكان
I feel at home nowhere
Je me sens chez moi nulle part
لا أشعر بأنني في منزلي في أي مكان
My family in the east
في عيلتي بالشرق
Ma famille dans l'est
My friends in the west
وصحابي بالغرب
Mes amis dans l'ouest
And my mother in particular
وامي بالذات
Et ma mère en particulier
Sticking to the land
متمسكة بالأرض
Accrochée à la terre
Surprised by myself
بتفاجا من حالي
Surpris par moi-même
When under pressure
لما في ضعط
Quand sous pression
But I never forget
بس عمري بنساش
Mais je n'oublie jamais
My upbringing in the war
تربايتي بالحرب
Mon éducation dans la guerre
Je me sens chez moi nulle part
I feel at home nowhere
لا أشعر بأنني في منزلي في أي مكان
Je me sens chez moi nulle part
I feel at home nowhere
لا أشعر بأنني في منزلي في أي مكان
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mais je ne me sens pas chez moi
لكنني لا أشعر بأنني في منزلي
But I don't feel at home
Oh non
يا لا
Oh no
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mais je ne me sens pas chez moi
لكنني لا أشعر بأنني في منزلي
But I don't feel at home
Oh non
يا لا
Oh no
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mon nom
اسمي
My name
Elle appelait mon nom
كانت تناديني باسمي
It's been calling my name
Mon nom
اسمي
My name
LET HER GO
02:40
TRACK 5 OF 8
TRACK 5 OF 8
Performed by Marwan Abdelhamid & Cheb Bilal
Written by Bilal Moufok, Khalil Cherradi, Marwan Abdelhamid, Mohamed Khafage & Cheb Bilal
Produced by Khalil Cherradi
Guitar by Nazim Bakour
Violin by Moez Bouali
Additional vocals by Naïka Richard
The genesis of Let Her Go occurred during a session with collaborators Marek Razzouk and Khalil Cherradi at Khalil’s home early in 2023. There, Khalil introduced Saint Levant to Cheb Bilal’s track Di Ayza Kalam which immediately resonated with Marwan, inspiring him with its melodic richness and over-all feeling. The session quickly evolved into an impromptu creation process, where SL began to incorporate elements of Bilal’s song into a new composition, melding the original melody with contemporary beats to form a unique musical blend.
Recognizing the potential of this new track, Marwan pursued a direct collaboration with Cheb Bilal, inviting him to reinterpolate his own song into Marwan’s contemporary framework. This collaboration is a highlight of the track, offering a direct link between the original inspiration and its new expression. The involvement of Cheb Bilal not only authenticates the homage but also enriches the song’s cultural depth.
Further enhancing the track’s complexity, Marwan worked with lyricist Mohammed Khafage to craft a second verse that introduces Egyptian thematic elements, broadening the song’s appeal and cultural resonance. The addition of Nazim Bakour on guitar, who also contributed on Comme C’est Beau, introduces another layer to the music, incorporating Algerian Raï influences into the composition.
The recording process also included contributions from local Algerian musicians, whose identities were facilitated through Rashid Abdelhamid (Saint Levant’s father), showcasing the grassroots level of cultural engagement Marwan pursued for the authenticity of Let Her Go. These musicians provided vocal layers that Marwan describes as reminiscent of Algerian “cabaret singers,” adding a raw, authenticity to the track that celebrates the street music scene of Northern Africa.
Let Her Go is a bridge between traditional and modern sounds. The song not only pays tribute to its roots in Cheb Bilal’s original but also pushes the boundaries of genre by incorporating elements from across the Arab world, from Egyptian lyrics to Algerian instrumentation. This synthesis of styles and cultures within a single track echoes Marwan’s ongoing exploration of the intersections of identity, heritage, and contemporary music, making Let Her Go a standout piece in Saint Levant’s evolving musical narrative.
its been running through my mind lately
You were my home away from home
I’m paid to travel round the world now lil baby
But I’ll never make it alone
You been in and out my life lately
You were my home away from home
I’m paid to travel round the world now lil baby
But I’ll never make it alone
So if we're really meant to be, baby, ay ay ay ay
And if you're really meant for me, baby, ay ay ay ay
هي دخلت قلبي
و فرجتني الحرية
هي سكنت قلبي
reste la, reste la
and i'll never let her go
j'ai essayé mais j'arrive pas
ya habibti mon amour
reste la, reste la
حبيبتي و انا معاكي
بتمناش حياة بدونك babe
انت على بالي و ما الي غيرك
عمري فداكي
بصيلي و انا معاكي
if only you knew everything i did
you would never look at me the same
عمري فداكي
So if we're really meant to be, baby, ay ay ay ay
And if you're really meant for me, baby, ay ay ay ay
هي دخلت قلبي
و فرجتني الحرية
هي سكنت قلبي
reste la, reste la
and i'll never let her go
j'ai essayé mais j'arrive pas
ya habibti mon amour
reste la, reste la
j'y pense beaucoup récemment
it’s been running through my mind lately
عم يدور براسي هالفترة
tu étais mon refuge loin de chez moi
you were my home away from home
كنتي الدار لمّا كان الدار بعيد
Je suis payé pour voyager autour du monde maintenant, ma cherie
i’m paid to travel round the world now lil baby
صرت مدفوع عشان أسافر حوالي العالم يا حبيبتي
mais je n'y arriverai jamais seul
but I’ll never make it alone
بس ما رح أقدر أوصل لوحدي
you entres et sors de ma vie récemment
you been in and out my life lately
إنتي عم تفوتي وتطلعي من حياتي هالفترة
tu étais on refuge loin de chez moi
you were my home away from home
كنتي الدار لمّا كان الدار بعيد
je suis payé pour voyager autour du monde maintenant, ma cherie
i’m paid to travel round the world now lil baby
صرت مدفوع عشان أسافر حوالي العالم يا حبيبتي
mais je n'y arriverai jamais seul.
but I’ll never make it alone
بس ما رح أقدر أوصل لوحدي
alors si c'est vraiment nous, bébé, ay ay ay ay
so if we're really meant to be, baby, ay ay ay ay
إذا عنجد مكتوب نكون مع بعض يا حبيبتي آي آي آي آي
si t'es vraiment faite pour moi, bébé, ay ay ay ay.
and if you're really meant for me, baby, ay ay ay ay
وإذا مصيرك تكوني لي، حبيبتي آي آي آي آي
Who’s strong gonna stay strong
aha ya lli fort fort
آه يا اللي فور فور
Doesn’t need explanation
di aayza kalem
دي عايزة كلام
So stay away from us
aha ya weddi 9ilouna
آه يا ودي قيلونا
They hit and run
chachra yedarbouha toul
شاشرة يدربوها طول
Good job
Joli ya Salam
جولي يا سلام
Don’t worry they know who we are
aha ya weddi 3arfouna
آه يا ودي عرفونا
Who’s strong gonna stay strong
aha ya lli fort fort
آه يا اللي فور فور
Doesn’t need explanation
di aayza kalem
دي عايزة كلام
So stay away from us
aha ya weddi 9ilouna
آه يا ودي قيلونا
They hit and run
chachra yedarbouha toul
شاشرة يدربوها طول
Good job
Joli ya Salam
جولي يا سلام
Don’t worry they know who we are
aha ya weddi 3arfouna
آه يا ودي عرفونا
mon amour, quand je suis avec toi.
my love, when I’m with you
حبيبتي و انا معاكي
je ne veux pas vivre une vie sans toi mon amour
i don’t want to live a life without you babe
بتمناش حياة بدونك حبيبتي
tu occupes mon esprit et je n'ai que toi
you’re on my mind and I’ve got no one else
انت على بالي و ما الي غيرك
et je donnerais ma vie pour toi
and I’d give my life for you
وعمري فداك
regarde-moi quand je suis avec toi
look into my eyes while I'm with you
بصيلي و انا معاك
si tu savais tout ce que j'ai fait
if only you knew everything i did
لو عرفتي كل شي عملته
tu ne me verrais plus jamais pareil
you would never look at me the same
حتشوفيني غير إنسان
et je donnerais ma vie pour toi
and I’d give my life for you
وعمري فداك
alors si c'est vraiment nous, bébé, ay ay ay ay
so if we're really meant to be, baby, ay ay ay ay
إذا عنجد مكتوب نكون مع بعض يا حبيبتي آي آي آي آي
si t'es vraiment faite pour moi, bébé, ay ay ay ay.
and if you're really meant for me, baby, ay ay ay ay
وإذا مصيرك تكوني لي، حبيبتي آي آي آي آي
Who’s strong gonna stay strong
aha ya lli fort fort
آه يا اللي فور فور
Doesn’t need explanation
di aayza kalem
دي عايزة كلام
So stay away from us
aha ya weddi 9ilouna
آه يا ودي قيلونا
They hit and run
chachra yedarbouha toul
شاشرة يدربوها طول
Good job
Joli ya Salam
جولي يا سلام
COMME C'EST BEAU
02:26
TRACK 7 OF 8
TRACK 7 OF 8
Performed by Marwan Abdelhamid
Written by Marwan Abdelhamid & Abdelhakim Rouidi
Produced by Khalil Cherradi
Additional production by Abdellah Messous
Guitar by Abdelhakim Rouidi & Nazim Bakour
Piano by Domenico Lorenzo "Buddy" Caderni
Violin by Yasmeen Al-Mazeedi
Comme C’est Beau is a distinctively vibrant track in Saint Levant’s repertoire, offering a rich exploration of personal success juxtaposed with cultural and emotional dislocation. The collaboration with his team— manager Marek Razzouk and creative director Pedro Damasceno— infuses the piece with an intimate, personal feel, while the inclusion of traditional musical elements like the accordion introduces a Raï-inspired energy, enhancing the track’s rhythmic appeal.
Along with many of the tracks of Deira, Comme C’est Beau was born in the south of France in the summer of 2023.
Notably, the song features dynamic guitar work which contributes a textured layer to the composition, complementing the Raï influences with modern production techniques. This fusion results in a lively, yet poignant sound that encapsulates Marwan’s reflections on the costs of chasing dreams far from home.
Lyrically, Comme C’est Beau navigates the complexities of achieving childhood aspirations against the backdrop of leaving one’s homeland—a theme that resonates with many in today’s globalized society. It articulates the bittersweet reality of finding peace and success overseas, while grappling with a sense of loss and nostalgia for one’s origins.
The song also features violinist YASMEEN, whose performance adds an emotive dimension to the track, reinforcing its musical depth. Her contribution live at Coachella, highlighted the song’s ability to resonate with and captivate live audiences.
The track’s pre-release phase demonstrated its potential impact, with audiences quickly embracing and singing along to it at performances. This immediate connection underscored the song’s appeal and Marwan’s knack for creating music that not only entertains but also deeply engages listeners on an emotional level.
Comme C’est Beau is distinguished by its ability to blend catchy musical hooks with deep, introspective lyrics, reflecting Marwan’s adeptness at navigating the intricate dance between maintaining cultural identity and embracing a cosmopolitan life. This song is not just an auditory experience but a narrative journey that speaks to the soul of those who find themselves far from where they started.
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
mais, sans toi
je voyais pas la vie en rose
ما كنت شوف الدنية حلوة
j'ai oublié ta voix
et j'lai remplacé par une autre, j’aurais du -
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
there’s peace in this life overseas
mais j’me sens déracinée
j’viens du pays qui donne vie au olives mais
notre terre à sèche
يا بلادي الحزينة اللي مش قريبة علي
je donnerais tout pour te voir
يا غزة يا ديرة والذكريات القديمة
faites moi visite ce soir
زوروني الليلة
mais, sans toi
je voyais pas la vie en rose
ما كنت شوف الدنية حلوة
j'ai oublié ta voix
et j'lai remplacé par une autre, j’aurais du -
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
كنت بتمنى من صغري الف هالدنية و اغني للعالم
comme c'est beau, comme c'est beau
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
but without you
mais, sans toi
بس بدونك
i didn't see life through rose-colored glasses
je voyais pas la vie en rose
ما كنت شوف الدنية حلوة
i forgot your voice
j'ai oublié ta voix
نسيت صوتك
and I replaced it with another, I should've -
et j'lai remplacé par une autre, j’aurais du -
-و استبدلته بواحد تاني، كان لازم
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
there’s peace in this life overseas
il y a de la paix dans cette vie à l'étranger
ممكن في سلام بالغربة
but I've been pulled up from my roots
mais j’me sens déracinée
بس حاسس خسرت جذوري
i come from the country where olives grow, but
j’viens du pays qui donne vie aux olives mais
انا جايي من البلد اللي بيعطي الحياة للزيتون بس
our land has dried
notre terre à sèche
ارضنا نشفت
oh my nation that is so far away from me
يا بلادي الحزينة اللي مش قريبة علي
mon pays triste qui est tellement loin de moi
i would give anything to see you
je donnerais tout pour te voir
بعطي كل شي بس لشوفك
oh my Gaza, oh my Deira and these old memories
يا غزة يا ديرة والذكريات القديمة
Ô Gaza, Ô Deira et les vieilles mémoires
come visit me tonight
faites moi visite ce soir
زوروني الليلة
but without you
mais, sans toi
بس بدونك
i didn’t see life through rose colored glasses
je voyais pas la vie en rose
ما كنت شوف الدنية حلوة
i forgot your voice
j'ai oublié ta voix
نسيت صوتك
and i replaced it with another i should’ve -
et j'lai remplacé par une autre, j’aurais du -
و استبدلته بواحد تاني، كان لازم
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
i used to dream of traveling and singing to the world
كنت بتمنى من صغري الف هالدنية و اغني للعالم
je rêvais de voyager et de chanter pour le monde
how beautiful, how beautiful
comme c'est beau, comme c'est beau
ماشالله ماشالله
DEIRA
02:49
TRACK 8 OF 8
TRACK 8 OF 8
Performed by Marwan Abdelhamid & MC Abdul
Written by Marwan Abdelhamid
Produced by Khalil Cherradi & Marwan Abdelhamid
Bass by Domenico Lorenzo "Buddy" Caderni
Guitar by Abdelhakim Rouidi
Violin by Moez Bouali
Additional vocals by Zein Sajdi
Deira was created during the same writing camp as Allah Yihmeeki and is a decisive part of Saint Levant’s portfolio and new era as ‘Cheb Levant’ – highlighting his engagement with chaabi-Algerian music, a consistent influence throughout his career. This track combines an instrumental chorus featuring a folk-inspired melody with lyrics developed alongside Khalil in the Maghrebi dialect, enriching the composition with a pan-Arab sentiment, further amplified by MC Abdul’s contribution. The fusion of Algerian chaabi rhythms with Palestinian lyrical themes presents a nuanced approach to cross-cultural musical expression.
The track’s inception, drawing from Dahmane El Harrachi’s Bahja and its distinctive ‘da da da da dum dum’ motif, roots the piece in the chaabi-Algerian tradition while setting the stage for contemporary reinterpretation. This musical foundation, coupled with a looping darbuka rhythm, provides a traditional yet flexible backdrop for the lyrical narrative. The collaboration at Khalil’s residence to overlay Palestinian-focused lyrics introduces a layered narrative approach, melding geographic and cultural elements.
MC Abdul’s involvement, initiated by Marwan’s outreach, alongside Khalil’s “fat fat fat” melody in Moroccan dialect, introduces linguistic diversity to the track, aiming to encapsulate a broader Arab experience. This strategic inclusion of various Arabic dialects and themes demonstrates a commitment to crafting a composition that mirrors a collective Arab identity while employing modern production techniques.
Analyzing Deira underscores Marwan’s methodical approach to integrating traditional Algerian sounds with broader thematic elements. This process reflects not only a respect for musical heritage but also a desire to innovate within this framework, producing work that engages contemporary audiences. The track’s instrumental and lyrical choices reveal a sophisticated strategy to blend cultural traditions in music, pointing to Marwan’s overarching aim of bridging historical musical forms with current expressions.
تركنا المدينة
الغربة الحزينة
سلم لي على أريحا
وسلم على الديرة
يا الطير الي طاير
الأرض الكريمة
بيخدوش الي فينا
بين النهر والجبال
بلاقي انتمائي
بين الشط والرمال
بداية حياتي
آه عليك يا وطن
فرحة ومآسي
آه عليك يا وطن
الغالي فلسطين الحبيبة تنادي
big dreams, heavy nights
praying that my family can stay alive
imagine tryna fly with no wings
but i promise you the cage bird sings in the wintertime
heavy nights, big dreams
praying that we make it to 16
and even though i’ve traveled the world
مش ملاقي زي فلسطين
آه فات فات فات الوقت يا عمري
راحوا سنين ما ناسي
هذه عوام راه الخاطر مجروح
آه فات فات فات الوقت يا عمري
راحوا سنين ما ناسي
هذه عوام راه الخاطر مجروح
we left the city
تركنا المدينة
nous avons quitté la ville
the sad sad west
الغربة الحزينة
l'ouest triste, triste
say hello to jericho
سلم لي على أريحا
salue jéricho
and say hello to deira
وسلم على الديرة
et salue deira
oh you travelling bird
يا الطير الي طاير
oh toi, oiseau voyageur
the generous land
الأرض الكريمة
la terre généreuse
they won’t take what’s inside us
بيخدوش الي فينا
ils ne prendront pas ce qui est en nous
between the river and the mountains
بين النهر والجبال
entre la rivière et les montagnes
i find belonging
بلاقي انتمائي
je trouve ma place
between the shore and the sand
بين الشط والرمال
entre la rive et le sable
beginning of my life
بداية حياتي
début de ma vie
oh my homeland
آه عليك يا وطن
oh mon pays
joy and sorrow
فرحة ومآسي
joie et tristesse
oh my precious homeland
آه عليك يا وطن
oh mon pays precieux
the beloved palestine is calling me
الغالي فلسطين الحبيبة تنادي
la chère palestine m'appelle
big dreams, heavy nights
big dreams, heavy nights
grands rêves, nuits lourdes
praying that my family can stay alive
praying that my family can stay alive
je prie pour la survie de ma famille
imagine tryna fly with no wings
imagine tryna fly with no wings
imagine essayer de voler sans ailes
but i promise you the cage bird sings in the wintertime
but i promise you the cage bird sings in the wintertime
mais je t'assure, l'oiseau en cage trouve son chant en hiver
heavy nights, big dreams
heavy nights, big dreams
nuits lourdes, grands rêves
praying that we make it to 16
praying that we make it to 16
je prie pour que nous arrivions à 16 ans
and even though i’ve traveled the world
and even though i’ve traveled the world
et même si j'ai voyagé le monde
i won’t find anything like Palestine
مش ملاقي زي فلسطين
je ne trouverai rien comme la Palestine
ahhh the time passed passed passed my love
آه فات فات فات الوقت يا عمري
ahhh le temps a passé, passé, passé mon amour
the years passed, but i won’t forget
راحوا سنين ما ناسي
les années ont passé, mais je n'oublierai pas
but all these years injured my conscious
هذه عوام راه الخاطر مجروح
mais toutes ces années ont blessé ma conscience
ahhh the time passed passed passed my love
آه فات فات فات الوقت يا عمري
ahhh le temps a passé, passé, passé mon amour
the years passed, but i won’t forget
راحوا سنين ما ناسي
les années ont passé, mais je n'oublierai pas
but all these years injured my conscious
هذه عوام راه الخاطر مجروح
mais toutes ces années ont blessé ma conscience
SAINT LEVANT
Saint Levant, born Marwan Abdelhamid in Jerusalem, epitomises the rich tapestry of cultural influences stemming from his diverse heritage. With a French-Algerian mother and a Palestinian-Serbian father, Marwan’s upbringing was marked by a blend of diverse traditions. He spent his early childhood in Gaza, a time and place that deeply shaped his identity and artistic expression.
In 2007, Marwan and his family were forced to leave Gaza to Jordan and living in Amman, he forged a profound connection with the Palestinian diaspora, an experience that profoundly influences his music. Drawing from his heritage, Saint Levant seamlessly blends English, French, and Arabic in his songs, creating a contemporary pop sound that resonates with a global audience.
Marwan moved to Santa Barbara, California, for university, where his musical journey began to take a more defined shape. His rise to fame was catapulted by the release of his single Very Few Friends in November 2023. Following its success, Saint Levant released his breakout EP From Gaza with Love in 2023, a heartfelt tribute to his origins. His latest project, Deira, takes its name from the hotel in Gaza where he spent his childhood. This hotel, designed and operated by his architect father, was one of Gaza City’s most beautiful structures before its destruction by IOF bombings during the ensuing genocide currently unfolding in Gaza. Deira serves as a deeply personal exploration of Marwan’s journey from displacement to international recognition, channeling his multilingual abilities and diverse influences to reflect his complex identity and experiences.
DEIRA THE PROJECT
All Palestinian art from the last 75 years, whether Sliman Mansour’s paintings or Ghassan Kanafani’s poetry, always begins before the artist and always at the same point in time: the Nakba of 1948.
Since then, the journey of catastrophe, displacement and exile is one every Palestinian continues to take, constantly dreaming of return and using whatever means of resistance along the way until rooted once more on their land.
All of Saint Levant’s music flows from this journey as it’s source. From his first single to his last EP, From Gaza with Love, music is the art of resistance that chose him – whether sung in Arabic, French or English, it’s the universal language he uses to speak his dreams of return into existence. In his newest project, Deira, that’s exactly what he’s doing.
Deira embodies multiple journeys for Saint Levant. Named after the hotel where Saint Levant spent his childhood in Gaza, it is deeply personal. Exploring his own growth from then to now, from being forced to leave Palestine to loving and losing, confronting trauma and loneliness, as well as his rise to international Acclaim, it brings forth a Saint Levant that has naturally evolved in both sound and image.
While he’ll always be a lover boy, in Deira, he has also grown into something more. Here, he is unapologetically Cheb Levant, channelling his Algerian blood and the legacy of the raï to chabbi icons whose sounds played from his father’s radio during his time at Deira. Born out of opposition to colonialism, these diverse soundscapes are more than just genres or styles, they’ve long been vehicles of rebelling and vocalising revolutionary and political thought throughout the region, pointing to the centrality of music as a conduit to anti-colonial resistance.
In Deira, Saint Levant reintroduces these sounds into the present, bending its sounds with his distinct borderless cadence while also exploring Palestine. Written over the course of two years, Deira brings some of SL’s closest collaborators, and some he would once dream about working with just a few years ago, into a passion project that is collaborative, complex musically and also rich in social commentary and political thought. After all, those are unavoidable principles of Palestinian and Algerian Saint Levant as he continues on his path towards 2048, with Hotel Deira in Gaza as its endpoint.
Visually, the project was lead by the creative direction of Pedro Damasceno (SL’s creative direction), with research done by Sarra Alayyan, design and typography led by Nada Sultan, design and creative contributions by Michael Lewis
GLOSSARY
Deira’s visual universe was developed using a research-based approached. This glossary provides a glimpse into the foundational pillars that directed this journey, providing insight into the rich history and meanings of the images and symbols that orbit the visual universe of DEIRA.
2048
2048 is described as Saint Levant as “the north star.” It is the forward looking & optimistic future for a liberated Palestine and unified world. The name is inspired by a book of short stories titled Palestine +100 edited by Basma Ghalayini that asks twelve Palestinian writers what the country might look like in 2048 – a century after the tragedies and trauma of the Nakba.
Saint Levant wanted to reimagine this not-so-distant future in his own terms, and all that he does is contributing to this journey.
THE JOURNEY TO DEIRA
Beginning in displacement and exile, reaching Deira is a journey that begins with a call to a distant home—a telephone, a postcard—until a map of return is found, which listeners are invited to embark on. Guided by travel motifs like DEIRA airline tags and luggage labels, which represent the beginning of a return, you undergo a transformation marked by longing, loss, and importantly, an optimistic determination to reach home.
Upon arriving at your destination, you will find the white & terracotta doors which bear Deira’s insignia, where return to a reimagined Palestine is actualized. From here, we invite you to step into the enchanting world of Deira Hotel, where the story of Palestine unfolds in every room and corridor.
Deira’s lobby is a tapestry of tradition, adorned with Palestinian motifs The staff, draped in Deira merchandise, welcomes you with robes and gift baskets. As you continue through the hotel there is the Deira book shop – a sanctuary of nostalgia, filled with vintage cassettes, vinyl records, and the Deira music magazine, narrating the story through Saint Levant’s melodies.
Continuing from here, you discover Rashid’s a café, bar, and lounge where music bridges worlds. Malak Mattar’s art adorns the walls. The atmosphere is surreal, an alternate universe of dancing and camaraderie, where cigars and pipes rest beside Deira matchboxes. This cafe represents SL’s live show, a jazz cafe where the audience is not only spectators but active participants in a narrative that transcends boundaries.
In the heart of Hotel Deira, dreams don’t just exist—they come to life. This is more than a dreamscape; it’s a haven where collective resistance prevails, breaking the shackles of exile. Here, return isn’t a mere symbol; it’s a tangible reality, bringing freedom for Palestine within reach.
The Deira Hotel isn’t merely a place to stay; it’s a celebration of Palestinian steadfastness and strength.
With each step, every emotion, and every shared moment, the narrative of Deira unfurls—a beacon of hope marking the path to a liberated Palestine. Welcome to the Deira Hotel, a space where all the displaced come to heal, love, and radically imagine a future where 2048 is not only achievable but very much a reality.
JAFFA ORANGES
Jaffa oranges, originating from the 19th century in Jaffa, Palestine, were renowned for their sweetness and thick skin, making them ideal for export. Historically significant, these oranges symbolized prosperity and were a major agricultural product for Palestinian farmers. Post-1948 Nakba, Jaffa oranges took on a deeper meaning in Palestinian culture, embodying loss and displacement as depicted in Ghassan Kanafani’s literature, particularly symbolizing the uprooted lives and abandoned orchards in his works. Today, Jaffa oranges remain a poignant reminder of Palestinian heritage and the enduring connection to the land.
TATREEZ
Tatreez is the art of Palestinian embroidery, a skill handed down through generations of women, each region featuring distinctive styles that narrate different aspects of Palestinian life. This embroidery, rich in motifs from nature and geometric patterns, is primarily found on traditional thobes. Recognized by UNESCO for its cultural significance, tatreez is a vibrant expression of identity, history, and the artistic legacy of Palestinian women.
THE KEFFIYEH
The keffiyeh, also spelled kuffiya, is a traditional square-shaped cotton headdress characterized by its distinctive checkered pattern, widely worn in the Arab world primarily for protection against the sun. Originating as a practical garment, the keffiyeh gained significant political symbolism during the Arab Revolt against British colonial rule in the 1930s. The black-and-white variant is particularly emblematic of Palestinian identity, symbolizing the struggle for self-determination, justice, and freedom. This association was further popularized by the late Palestinian leader Yasser Arafat, who often wore it folded in a triangle and draped over his head and shoulders. The patterns on the keffiyeh also hold meaning: olive leaves represent perseverance and resilience; fishnet patterns echo the connection of Palestinian fishers to the Mediterranean Sea; and bold lines reflect historical trade routes with neighboring merchants. Today, the keffiyeh has transcended its regional origins to become a global symbol of solidarity with the Palestinian cause, adopted by activists and organizations worldwide as an emblem of resistance and support.
WATERMELON
The watermelon has become an unexpected symbol of Palestinian identity and resistance due to its colors, which echo those of the Palestinian flag. Following prohibitions on the Palestinian flag by the occupation, the watermelon emerged as a creative form of protest, its imagery used in various forms of art and digital communication. Its use, especially in the digital realm, continues to serve as a subtle yet powerful tool for expressing solidarity and circumventing censorship in discussions about Palestinian rights and issues.
MAP OF HISTORIC PALESTINE
The map of historic Palestine delineates the geographic area before the establishment of Israel in 1948. This map is a visual affirmation of Palestinian claims to their land and self-determination, serving as a symbol of identity and resistance amid ongoing conflict and displacement. The map is frequently featured in jewellery, clothing, and art, reinforcing the cultural and national identity of Palestinians both locally and in the diaspora.
THE KEY
The key is a poignant symbol of the enduring hope of Palestinian refugees displaced during the 1948 Nakba. Held as a promise of return, these keys are heirlooms symbolizing the right to return to their homes, a right supported by international law. The key underscores the ongoing nature of displacement faced by Palestinians and their unyielding connection to their ancestral lands.
NOTES
DEIRA was lead by the creative direction of Pedro Damasceno, with research and development done by Sarra Alayyan, design and typography led by Nada Sultan, design and creative contributions by Michael Lewis
The DEIRA microsite website was built by Ali Zogheib, compiled and edited by Sarra Alayyan, and designed by Michael Lewis, Pedro Damasceno, and Nada Sultan. The Deira (single) dove painting was created by Omar Sha3.
From the 2048 Team: thank you to all artists, creatives, directors, photographers, designers, researchers, and producers who brought this visual universe to life with us:
Directors, Creatives & Cinematographers: Carlos Ramirez; Evers Pund; Griffin Voth; Guido Raimondo; Jak Bannon; Lewis Atallah; Mattias Russo-Larsson; Melisse Riahi; Oussama Cherradi; William Chapin.
Styling: Tintein Studio: Aisha & Muna Khalaf.
Creative special thanks: Adham Bayoumi; Ali Zogheib; Basar Ozdemir; Buddy Caderni; Dangy; Danny Cole; Fairdose; Faris Halaseh; Gabriel Zimbler; Hamzeh Zahr; Marek Razzouk; Nour Kolleilat; Omar Sha3; Paolo Grilli Cicilioni; Phillip Youmans; Tamara Soueidan; Tom Stein & the TinyForest team.
ALLAH YIHMEEKI
02:43
TRACK 6 OF 8
TRACK 6 OF 8
Performed by Marwan Abdelhamid
Written by Khalil Cherradi, Marwan Abdelhamid, Mohamed Khafage, Moez Bouali & Victor Martinez and Ben Thomson
Produced by Khalil Cherradi & Marwan Abdelhamid
Bass by Domenico Lorenzo "Buddy" Caderni
Guitar by Ben Thomson & Victor Martinez
Additional vocals by Adham Bayoumi & Zein Sajdi
Allah Yihmeeki was created collaboratively at a writing camp in the south of France in the summer of 2023. The initial spark for the song struck Saint Levant amidst the communal atmosphere of a morning coffee break. It was here, alongside Lana Lubany and a creative ensemble including Ben Thompson, Victor Martinez, Marina Carmona, and Moez Bouali, that the foundational elements of Allah Yihmeeki came to life.
The session’s ambiance, enriched by guitars carrying the distinct timbres of Flamenco and Andalusian music, provided the perfect backdrop for Marwan’s vocal inception of the phrase “Allah Yihmeeki ya bint el nass.”
This spontaneous vocalization served as the foundational element of the track, setting the thematic and musical direction that would define Allah Yihmeeki. Drawing inspiration from the chordal structures associated with Lena Chamamyan, the collaborative effort embarked on an intuitive process of musical creation, weaving together various elements into the track’s initial framework.
The contribution of each artist played a pivotal role in the song’s development. Moez Bouali’s solo performance and Khalil’s dynamic drum patterns introduced a layer of rhythmic intensity, while Victor Martinez’s expertise on the Spanish guitar infused the composition with a gypsy influence, further enriching the song’s sonic palette. This confluence of musical styles not only augmented the track’s complexity but also reinforced its lyrical message centred around the theme of divine protection, thereby creating a multidimensional narrative experience. Hear an early version of the track below:
The decision to collaborate with Kehlani, driven by Marwan’s recognition of her advocacy for Palestinian rights, illustrates the intersection of music with social consciousness within the project. The song serves as a model of interdisciplinary and cross-cultural musical engagement, showcasing the creative process’s role in navigating complex themes of spirituality, identity, and cultural synthesis. Through Allah Yihmeeki, Marwan and his collaborators demonstrate the rich potential of music as a platform for expressing and exploring the nuanced intersections of culture, spirituality, and social consciousness.
مشوار طويل
انسان بسيط
مش عايز كتير انا
فديتك عمري لو حبيتيني
كل فلوس الدنيا ما تكفيني
لو حبك ناقص
اه لفيت هالدنيا كاملة
من ايطاليا للبحرين
قد ما دور
مش حلاقي زيك
i said no matter where I go
i don’t think I’ll ever find
someone like you
يا بنت الناس
الله يحميكي
الله يحميكي
يا بنت الناس
الله يحميكي
الله يحميكي
يا بنت الناس
الله يحميكي
الله يحميكي
يا بنت الناس
الله يعطيكي
الله يعطيكي
يا بنت الناس
i don’t need much i hold it down and protect my space
leave it to God, to lead the way and direct my energy
i’ll be
making sure my lineage proud
i know that my baby gonna wear this crown
uh huh
gonna fight and we won’t back down
مشوار طويل
انسان بسيط
مش عايز كتير انا
فديتك عمري لو حبيتيني
كل فلوس الدنيا ما تكفيني
لو حبك ناقص
الله يحميكي
الله يحميكي
يا بنت الناس
الله يحميكي
الله يحميكي
يا بنت الناس
الله يحميكي
الله يعطيكي
يا بنت الناس
un long chemin
مشوار طويل
a long journey
je suis un homme simple
انسان بسيط
i’m a simple man
j’ai pas besoin de grand-chose
مش عايز كتير انا
i don't need much
je te donnerai ma vie si tu m'aimes
فديتك عمري لو حبيتيني
but i’d give my life for your love
tout l'argent du monde ne me suffit pas
كل فلوس الدنيا ما تكفيني
all the money in the world isn't enough
si je n'ai pas ton amour
لو حبك ناقص
if i don’t have your love
et j'ai parcouru le monde
اه لفيت هالدنيا كاملة
and I’ve been around the world
de l’italie à bahreïn
من ايطاليا للبحرين
from italy to bahrain
autant que je tourne en rond
قد ما دور
as much as I go in circles
ie ne trouverai personne comme toi
مش حلاقي زيك
i wont find anybody like you
j'ai dit peu importe où je vais
i said no matter where I go
قلت ما يهم وين أروح
je ne pense pas que je trouverai
i don’t think I’ll ever find
ما بعتقد أني حلاقي
quelqu'un comme toi
someone like you
حدا زيك
mon amour
يا بنت الناس
my love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te protège
الله يحميكي
may God protect you
mon amour
يا بنت الناس
my love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te protège
الله يحميكي
may God protect you
mon amour
يا بنت الناس
my love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te protège
الله يحميكي
may God protect you
mon amour
يا بنت الناس
my love
que Dieu te bénisse
الله يعطيكي
may God bless you
que Dieu te bénisse
الله يعطيكي
may God bless you
mon amour
يا بنت الناس
my love
je n’ai pas besoin de beaucoup, je garde le cap et protège mon espace
i don’t need much i hold it down and protect my space
مش عاوز كتير، حاتستمرّ واحمي مساحتي
laisse ça à Dieu, qu'il montre le chemin et gère mon énergie
leave it to God, to lead the way and direct my energy
خليها على الله، يهديني ويوجّه طاقتي
je serai
i’ll be
رح أتأكد
je garde ma lignée fière
making sure my lineage proud
إنّو نسبتي بتكون فخورة
je sais que mon amour va porter cette couronne
i know that my baby gonna wear this crown
عارف إنّو حبيبتي رح تلبس هالتاج
آه آه
uh huh
آه آه
on va combattre et on ne va pas céder
gonna fight and we won’t back down
رح نقاوم ومش حنرجع لورا
un long chemin
مشوار طويل
a long journey
je suis un homme simple
انسان بسيط
i’m a simple man
j’ai pas besoin de grand-chose
مش عايز كتير انا
i don't need much
je te donnerai ma vie si tu m'aimes
فديتك عمري لو حبيتيني
but i’d give my life for your love
tout l'argent du monde ne me suffit pas
كل فلوس الدنيا ما تكفيني
all the money in the world isn't enough
si je n'ai pas ton amour
لو حبك ناقص
if i don’t have your love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te protège
الله يحميكي
may God protect you
mon amour
يا بنت الناس
my love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te protège
الله يحميكي
may God protect you
mon amour
يا بنت الناس
my love
que Dieu te protège
الله يحميكي
may God protect you
que Dieu te bénisse
الله يعطيكي
may God bless you
mon amour
يا بنت الناس
my love