Natacha Atlas - Mish Maoul (2006)

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Natacha Atlas - Mish Maoul (2006)

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Even when paying homage to the Moroccan music she grew up with, vocalist Natacha Atlas can't help but let the multicultural and modern seep in. With bossa nova, Western pop, and just a thin slice of electronica figuring into the mix, the "back to my roots" album Mish Maoul is a rich collection of music that doesn't sound decorated but natural coming from an artist who prides herself in being a musical nomad. Easy to believe a nomad's memories of her homeland would be foggy and sentimental, and easy to believe the modern nomad's soundtrack would sound something like this – only something like this because this is far and away Atlas' most personal album. Suitably, she seems totally in charge of its construction, making interesting production choices with the help of Temple of Sound, Timothy Whelan, and others. For someone who has worked with Transglobal Underground, Art of Trance, and Jah Wobble in the past, the restraint Atlas uses on the rhythmic and ritualistic "Hayati Inta" is surprising and creates an intoxicating tension with only a slight bit of electric guitar revealing this isn't a field recording. Minor bits of studio trickery decorate the otherwise earthy "Bathaddak," while the playful "Haram Aleyk" lazily strolls from organic to electronic and back again. Pulling out the stops are the Massive Attack-by-way-of-Bollywood "Lil Khowf" and the much more pop "Feen," which could be considered the album's lone stumble depending on your tolerance for sweet "You can do it!" songs. With only a Brazilian-flavored acoustic guitar supporting Atlas' entrancing voice and heartfelt delivery, "Yariet" brings the album to a soft, organic close and suddenly it becomes apparent that despite the electronics and genre blending heard previously, Atlas music isn't so much "otherworldly" now as "worldly" in the most eye-opening sense of the word.

Review by David Jeffries, Allmusic.com

One of the original global pop divas, Natacha Atlas has long combined Middle Eastern and Western musics. Her sixth solo album is very much a continuation of works past. She continues to maintain links with her old band (Transglobal Underground's Count Dubulah produces), and she continues to add traditional and modern influences as need be. One particular standout moment is Atlas's sensual performance as she rides a straight-up bossa nova groove on "Gnanwa Bossanova," but equally strong is the slightly cheesy "Bathaddak," which sounds like it could be piped out of a cassette stall in a North African casbah. Those looking for her cosmopolitan trip-hop vibe certain will be satisfied with opener "Oully" or the menacing-sounding "Hayati Inta." No matter the genre, however, the singer really sounds best in the stripped-down arrangements here where it's her voice that exudes nuance and mood instead of counting on the accompaniment to fill in those blanks.

Review by Tad Hendrickson

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Natacha Atlas - Mish Maoul (2006)

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Natacha Atlas - Mish Maoul (2006)

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Natacha Atlas - Mish Maoul (2006)

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