Album Review: Dunya by Mustafa
Album Review: Dunya by Mustafa
Mustafa’s engagement with social issues, particularly those affecting marginalized communities, infuses Dunya, presenting a world seen through the lens of personal and collective experiences.
Under the name Mustafa the Poet, Mustafa Ahmed gained recognition at just 12 years old for his heartfelt spoken-word performances. As a founding member of the rap collective Halal Gang, he has long been a voice for Toronto's Regent Park neighborhood. With his debut EP, When Smoke Rises, released three years ago, Ahmed continues to explore themes that have defined his work since his youth: violence, death, and grief.
Transforming deeply personal poetry into appealing pop music can be daunting, but Ahmed handles it with skill. Named in tribute to Smoke Dawg, a fellow Halal Gang member who was killed in 2018, When Smoke Rises translates his poetic narratives into melodic songs without sacrificing their core truths. His bass-rich, warm vocals blend with delicate acoustic arrangements, creating an understated yet powerful sound.
Contributions from producer(s) Frank Dukes, whose nylon-stringed guitars and piano provide a timeless lo-fi backdrop, enhance the album's ethereal quality. In contrast, submarine synths from Jamie xx and James Blake, known for their innovative folk influences, capture the raw immediacy of loss. This fluid movement between different musical moods reflects the oscillation of grief between the abstract and the intensely real.
In recent years, Ahmed has collaborated with artists, including Daniel Caesar and Metro Boomin, narrated a Valentino ad, and written songs for Usher and Camila Cabello. Despite these high-profile connections, he remains deeply connected to his community's experiences and stories, ensuring that his artistic evolution stays true to the themes that have always defined his work.
He introduces his long-awaited debut album, Dunya, which translates to “The world with all its faults” in Arabic. The Sudanese-Canadian singer from Toronto captivates with a unique singing voice that moves effortlessly from one lyrically rich track to the next, often accompanied by charming guitar melodies. Though he occasionally explores other genres, he maintains the precision and structure of a seasoned singer-songwriter confident in his craft. For those seeking a label, “modern folk-pop” might suffice.
Each song comes alive with the emotional depth Mustafa infuses through his relatively soft yet instantly engaging voice. Tracks including “Old Life” and “What Good Is a Heart” carry a dignified tone, while others, such as the closing piece “Nouri” and “Hope Is a Knife,” are deeply heart-rending. Sometimes, a gentle glimmer of hope shines through in melancholic gems like “Gaza Is Calling,” which reflects on the broken friendship of two eleven-year-olds of Arab descent in a Toronto housing project years ago. This style of storytelling strengthens the album, filled with endearing anecdotes. “SNL,” enchanting in its simplicity, perhaps best embodies the tangible working-class romance with lines like “When we ran to the store with everything we made/Three dollars, one bike to last us through the day.” It’s a sentiment many can relate to.
By the time “I’ll Go Anywhere” plays, it becomes apparent that Rosalía produced this track and has discovered a kindred musical spirit from Canada. The album blends elements when Spanish guitars meet American folk, supported by various instrumental samples, creating an intriguing fusion. Interest peaks when these elements merge with Mustafa’s heartbreaking vocals, as heard in “Leaving Toronto,” or culminate in a deep longing for the past in “Beauty, End.” Big emotions play an essential role in this distinctive album, and drawing lyrical inspiration from harsh realities, Mustafa remarks, “I try to preserve and celebrate ordinary life in the ghetto.” Indeed, it succeeds brilliantly, prompting one to wonder when street poetry accompanied by guitar last sounded so exceptional.
Great (★★★★☆)
Favorite Track(s): “I’ll Go Anywhere,” “Beauty, End,” “Gaza Is Calling”