Natacha Atlas steeps her sound with traditional Arabic instrumentation on Mounqaliba. Gone are any electronica or pop-inklings but what is left is a delicate album with Atlas’ voice mesmerizingly beautiful. It isn't a radical shift in sound as much as a refining of style using acoustic instruments and the occasional studio treatments to enhance the experience.

1. Intro
2. Makaan
3. Matrah Interlude
4. Bada Al Fajr
5. Muwashah Ozkourini
6. River Man
7. Batkallim
8. Mounqaliba
9. Le Cor, Le Vent
10. Direct Solutions Interlude
11. Lahazat Nashwa
12. La Nuit Est Sur La Ville
13. Fresco's Interlude
14. Ghoroub
15. Evening Interlude
16. Taalet
17. Egypt Interlude
18. Nafourat El Anwar

Some would categorize this as world music. It is not. It is an expert presentation of the beauty in Arabic music that the casual listener might dismiss as foreign. But that is the magic. It is foreign. It is unusual. Atlas sounds as wonderful now as she did when first gaining recognition in the 90's.

The music of Mounqaliba is perfect for the mature listener, the seeker, the lover of great music of any definition. The compositions make you perk up and lean forward in your chair to seek communion with the mix of classical music and Arabic percussions. Makaan is a great example and perfect start to the album. Swelling strings, tabla taps and oomphs, jazz piano, and pleading vocals by Natacha had me singing along subconsciously.

Muwahash Ozkourini features captivating rhythms that start and stop in a very non-western timing but the herk and jerk are balanced by soaring strings, pizzicato plucks and smooth chanting vocals lines. Riverman, a Nick Drake cover, follows and is sung in English and Arabic. It feels like it was recording in a dark nightclub and performed by seasoned jazz players.

There are no filler tracks. Each one is placed in the track listing with a purpose. But one to check out is Taalet and is built with complex percussion patterns that would satisfy any lover of broken beats or drum & bass. And album closer, Nafourat El Anwar, is a perfect way to wind down the album with its dreamlike pace and gentle progressions.

Interspersed between the songs are field recording sound, quiet jazz piano interludes provided by Zoe Rahman, and radio announcer messages. These weave the album into a documentary-style narrative that set the stage for each new passage of music. Again, this album requires effort from the listener to engage in the experience. Turn off cell phones, internet, multitasking etc… and turn the album up. It is a fantastic and rewarding experience and worth going back to often.

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