MOUNQALIBA by NATACHA ATLAS- Classic Arab on Rai, a la Francaise s.v.p.

Though Frau Merkel may have unilaterally declared ‘multi-kulti’ to be dead, the reality at ground zero of world music would hardly agree. We’re just getting started. You ain’t seen nothing yet. If we ever run out of ex-pats and immigrants, then we can always go to remote foreign countries themselves. And if their particular home-grown genres don’t especially appeal to us, then we can just chop their music up into bite-size chunks for use by DJs and avant-garde producers. Natacha Atlas (نتاشا أطلس) can go either way, something of a perfect example of the macro- and micro-cosm of world music. Of mixed roots primarily combining English with Middle Eastern, she was born in Belgium and has lived in England, speaks five languages (while dreaming in two) and has worked variously as a belly dancer and lead singer of a salsa band, in addition to her main role as a proponent and agent provocateur for the musical sub-genres of ‘world fusion’ and ‘ethno-techno’. That’s about as ‘multi-kulti’ as you get. And oh yeah, her career includes major stints with UK-based Jah Wobble and Transglobal Underground.

Now like haze from a machine, Natacha Atlas emerges from the mists of buzz and rumors to finally arrive on the US stage… she’s long been on the world stage. Considering that we have no shortage of our own music, that’s not so easy, and usually involves at least a short-term sublet in LA (or NY). So her name pops up frequently on the entertainment ‘zines around here with gigs ranging from the Skirball summer series out in the hills to her most recent at the Conga Room downtown. She has a new album out, you see, and is anxious to claim some turf in our collective subconscious. It’s called Mounqaliba.

If her past and her palette seem something of a confusion of styles and sensibilities, then Mounqaliba is anything but. This is a newer more mature Natacha Atlas. Gone are any vestiges of her previous life as a dub/techno artist. When she’s not reconfirming her staus as one of the pre-eminent female Arabic-language pop singers, she’s leaning heavily toward the slower classical Arab songs, lush with strings but not so over-produced like much Arab music. Add to that some English laments and slow French-language jazz and there’s plenty of room for Natacha to spread her wings. And that’s just the beginning.

After a nice piano instrumental as introduction- the nice Zoe Rahman piano refrains weave in and out throughout- the album goes into the song ‘Makaan’, a nice slow Arab number infused with flute and strings. ‘Matrah Interlude’ is a spoken-word monologue on the subject of free will, while ‘Bada Al Fajr’ returns to the soft piano instrumentals that almost define the album. ‘Muwashah Ozkourini,’ a classic Arabic standard, with its piano AND lush strings, DOES define the album. For her one English pop interpretation, she makes a definite departure from previous takes of James Brown and Screamin’ Jay Hawkins, instead opting for ‘Riverman’ by Nick Drake. The melancholy fits the mood perfectly.

‘Batkallim’ returns to the Arab theme, but a bit electronica in style, to deliver a heartfelt denunciation of hypocrisy. The title song is another lovely piano/flute soliloquy, the perfect lightweight counterpart to the album’s predominant classical Arab- sometimes heavy- feel. From there it goes into its other minor theme- French chansons, slow jazzy laments- with ‘Le Cor, Le Vent’, a theme echoed with ‘La Nuit Est Sur La Ville’. ‘Ghoroub’ is about as slow and mourning as an Arab song can be, while ‘Taalet’ is more like rai, quick and full of joy. ‘Nafourat El Anwar’ returns to the soft piano and dreamy vocals format to close the album, an overall highly pleasant range of songs.

What makes Mounqaliba stand out as a great album- for me at least-are all the intros and interludes that punctuate the album from start to finish, a full half-dozen of them scattered throughout. In an era when songs go for a buck a pop as often as not, this is significant. These include spoken word, sparse instrumentals, calls to prayers, and market and street sounds. They serve to set a tone for the songs to come. They serve to explain the songs that have just gone. They help to make an album more than just a collection of songs. They help to lift the album from the realm of the ordinary. That’s ‘Mounqaliba’ by Natacha Atlas. Check it out.