Mounqaliba, the new recording from Natacha Atlas
I feel it important to start off this review by saying that I really enjoyed some of Natacha Atlas' earlier work with Halim and Something Dangerous being my favorites. Ya, there was always an orientalist vibe going on but the "cool" factor in the composition and production always overshadowed any shortcomings. So, in short, I am a fan.

Moving forward.

On first listen it would seem as though Natacha Atlas' latest release, Mounqaliba, is a concept album...which begs the question, what is the concept?

The album consists of 18 tracks, 7 of which are sample-laden interludes or instrumental segues. The numerous excerpts from interviews with social theorists throughout the album hint that the concept might be that human will does not exist, and what we perceive as human will is merely cultural conditioning. Thus, we are all products of our environment.

A bit underwhelming of a concept, but ok, I get it. The real issue I have with this "concept" is its failure to translate into the music. In the song "Batkallim", Natacha sings "I want to speak to today about the past and the future." A compelling lyric...if only the music did this as well. Yet, the majority of the 11 songs on this album delve into a mid-20th century Egyptian style while ignoring the modernism Natacha's career was built upon. And therein lies the disconnect between the concept and the music. The irony is that Mounqaliba is profoundly less cross-cultural than her earlier albums.

Credit where credit is due...

I love a good muwashah, and "Muwashah Ozkourini" puts a big smile on my face. Executed perfectly! Did I mention that Natacha's vocal technique has gotten a lot better?! I suspect that this song may silence those who used to criticize her unorthodox melismatic style. Throughout the countless times I listened to this song I kept thinking of the great Fairouz and the much younger, Aicha Redouane. And that is a great compliment to the development of Natacha Atlas' singing!

Her cover of Nick Drake's "River Man" was another standout track. I'm normally not a fan of "arabized" western songs. Something about the vocal ornamentation rubs me the wrong way. "River Man" is one of the few exceptions.

"Batkallim" is the most modern track on Mounqaliba. It successfully bridges the old with the new, the east with the west, maintaining the modernity that brought Natacha fame all the while embracing the neoclassical direction that she has taken as of late. If only all of the songs on the album had this production value...

Another song I love is "Nafourat el Anwar". This beautifully arranged ballad is a cocktail of near eastern and subcontinental melody coupled with a lush western arrangement. Add some piano and an unconventional form and voila! very nice! When Natacha sings "you are a garden of mystery" I almost forget the shortcomings Mounqaliba has. "Nafourat el Anwar" is the perfect way to end the album and is perfect example of how music can be cross-cultural.

In conclusion, while Mounqaliba has its faults, when it is good, it is quite good. While some listeners will undoubtedly miss the good old days of Amulet and 2003's Something Dangerous, I think Natacha Atlas' star is still bright and I look forward to hearing more from her in the future.

Omar Fadel is an Egyptian American musician and composer living in Los Angeles. Visit his site.