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The recent work of mahmoud refat is based on memories of locations and situation that has been experienced between 2002 and 2005.
Working with the raw sound material and field recordings that has been recorded in the past 3 years, and dealing with them in the present time and state of mind. 
” It is is always fascinating what i find in my older sound material, and how i recognize them. it opens all possibilities to those hidden aspects and emotions of one regular reality” Refat says.

in Miramar Refat wants to pay attention to the inconsiderable sounds and patterns that has been part of his/other’s daily life at the time.
as you hear a call for prayer or a voice of a woman passing by, or the sound of a portable power station drifting in through the window in a normal day, then hearing it through speakers after some years. would you react in the same way?.

it is to expand a person’s perception of the surrounding space.

using the drum patterns in Track 3 miramari and track 7 2nd April2006 and keeping them on a repetitive loop. was a slight drift towards the recognizable and familiarity.
in Miramar refat found a new language to present a musical abstraction and make it possible to the common listeners.


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Jason Kahn // analogue synthesizer, percussion, room.

Recorded by Bob Drake May 9, 2003 at Studio Midi Pyrenees, Caudeval, France

Mixing and mastering Jason Kahn