Despite being away from Beirut since October 2020, with a migration plan that had started in 2018, my presence there through sonic anchors is prominent. I composed my upcoming album during my few months stay there between March and June 2020, did several performances with a substantial amount of research work on sound, essentially connected to this city. As a researcher and sound artist looking at extreme acoustics, urban geography, and conflict, Beirut never stopped offering material for investigation that reflected on its sonorous and musical condition. Its complex nature, in all its social, political, and geographic facets would directly translate through auditory means. Seeking to find possible answers to why this city had witnessed such an expansive and disproportionally large scene throughout the years was an inescapable question. Through my personal involvement with the metal scene in the early 2000s, to hardcore electronic music scene and the ongoing experimental music scene, the link between sound and geography transcended the matters of style. My explorations into these entanglements became greatly informed by witnessing violence, particularly its sonic realms. As I lived through two armed conflicts, 1996 and 2006, multiple assassinations from 2005 onwards, and various events where loud explosive violence had shaped a specific mode of listening, my attention had shifted on these sounds’ interaction with urban configuration before it gets absorbed by listeners. A transformation between mediums that mostly elicits a traumatic experience, which was a pivotal subject in the post-civil war Lebanese art. Though the overwhelming experience of loud explosive sound is a recurrent topic in the Lebanese milieu, as well as in different conflict-ridden zones, the structures and mechanisms of this phenomenon remained obscure and unconvincing to me. To that end, and for the last three years, I have dedicated all my academic efforts to unpack this issue. Besides my ongoing musical practice, my commitment to this research had informed my relationship to Beirut. Violence and conflict that encircle this acoustic condition had cemented an anxious state that overrode my longing for Beirut. A state that got intensified while the country was hitting rock bottom, my short stays there had turned more defeating and debilitating until chance had favored the prepared mind. Being in Beirut during the 4th of August blast, while drafting an inquiry into loudness and explosive sound added to the overall shock from this calamity. Interest and preoccupation with sound had turned into a shared experience with everyone. Not only a matter of research but a collective infatuation, possibly stemming from collective trauma.