An improvised oud performance and intimately recited poem make up Eissa's visceral new album.
Egyptian composer and oudist Aly Eissa has spent years building a reputation as one of the more vital figures coming out of Cairo’s music scene, both as a solo artist and as a third of The Handover. Eggshells, his new solo release, strips his musical philosophy down to its most essential form: oud, voice, and intimacy.
The title track takes up the bulk of the record, and it’s a solo oud performance, largely improvised. What stands out first is how alive the playing feels. Precise without ever sounding rehearsed, each phrase responding to the one before it and building on what it suggested. Eissa moves through a sequence of maqamat, developing motifs as he goes rather than stating and abandoning them. Some passages flirt with phrasing that recalls Western classical music, brief and almost incidental, but the core of the piece is a sustained exploration of maqam logic.
That patience carries directly into ‘Sukr At-Taganni’, where Eissa’s oud is joined by his own voice, reciting poetry by the 13th-century Arab poet Baha’ al-din Zuhayr. The vocal sits slightly back in the mix, with a roomy, almost distant quality, but it never loses directness. There’s a weathered warmth to his voice, intimate and longing, that suits the poetry’s register. The same qualities that define the title track – patient, unhurried, visceral – hold here too, with the voice now woven into that same exploratory fabric.
Eissa was mentored by composer Abdo Dagher and oud master Hazem Shahin, and Eggshells reflects that lineage without entirely leaning on it. This is not an album interested in proving its roots, but in freely growing out from them.
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