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Mish Maoul
     

Mish Maoul

by Natacha Atlas
 
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

Overview

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.

Product Details

Release Date:
04/25/2006
Label:
Beggars Uk - Ada
UPC:
0609008103821
catalogNumber:
81038

Tracks

Album Credits

Performance Credits

Natacha Atlas   Primary Artist,Keyboards,Vocals
Bernard O'Niell   Piano,Cello,Double Bass
Neil Sparkes   Percussion,Drums,Keyboards,Tambourine,Thumb Piano,Bells,Darbouka,Bendire,Shells,Hand Clapping,Shaker,Zil,Riqq
Ibrahim el-Kawala   Kavala
Hamid Mantu   Drums
Timothy Whelan   Bass,Guitar,Bass Guitar,Keyboards
Marc Eagleton   Guitar
Abdullah Chhadeh   Qanoun
Yazid Fentazi   Background Vocals,Oud,Zourka,Bendir,Karkabou
Hamid Belmenouer   Background Vocals,Rap,Hand Clapping
Clotaire K   Rap
Princess Julianna   Vocals
Aytouch   Kanoon,Ney,Qanoun
Brother P   Drums
Gamal ElKordi   Accordion,Keyboards,Background Vocals
Ali ElMinyawi   Percussion,Background Vocals,Darbouka
Golden Sounds Studio Orchestra of Cairo   Strings
Louai Henawi   Ney,Kavala
Nizar Husayni   Oud,Spoken Word
Sofiane Saidi   Vocals,Background Vocals
Sofiani Saidi   Vocals
Dubulah   Acoustic Guitar,Strings,Bass Guitar,Keyboards
Bernard O'Neil   Cello

Technical Credits

Natacha Atlas   Composer,Producer,Audio Production
Philip Bagenal   Producer,Engineer,Audio Production
Neil Sparkes   Composer,Programming,Producer
Timothy Whelan   Composer,Programming,Producer,Audio Production
Marc Eagleton   Composer,Producer
Temple of Sound   Audio Production
Mika Sabet   Composer
Yazid Fentazi   Arranger,Programming
Hamid Belmenouer   Arranger,Producer
Youssef Nabil   Poetry
Gamal ElKordi   Arranger,Composer
Ali ElMinyawi   Contributor
Hamid Benkouider   Audio Production
Dubulah   Programming

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