A quiet journey in sound. Oud & guitar guide you like a compass through gentle moods—sometimes solo, sometimes sharing the same line—always warm, close, and unhurried. Think evening light, soft steps by water, and conversations that breathe. Perfect for reading, late coffee, or letting the room exhale.


String of the Compass (Oud & Guitar Instrumental Lounge Fusion)

The Widow’s Oath – Aria da Concerto is a tragic scena for mezzo-soprano, baritone, and orchestra. It begins in hushed tones, with the sea rising like a distant memory, before unfolding into a fierce vow against the tide.

The mezzo-soprano carries the widow’s grief and rage, while the baritone voice answers with depth and shadow, amplifying the drama through dialogue. The music moves through recitativo, arioso, and cabaletta forms, storm-driven by strings, harp, low winds, and percussion.

What begins as whispered mourning swells into fiery defiance, and closes on a fading coda — a vow suspended, unresolved, yet unbroken.

This is music of loss, rage, and resilience: the widow’s cry against the storm, now echoed in two voices.

[LYRICS]

’Tis said the sea forgets its dead…
But I recall each thread once bled
He kissed my cheek at break of day
then turned and sailed his soul away
I kept the hearth, I bore the strain…
now wind and wave shall taste my pain.

The dawn was pale; the gulls were keen;
his shadow thinned against the green
I warmed the fire; I held the door
the silence settled to the floor
No ring of rope, no clink of oar
the house remembered… nothing more.

Nothing more… nothing more…

O sea that takes and never weeps,
O tide that drags the deepest deeps—
You took what once was mine; take heed,
I brand your foam with grief and flame.
I salt your depths with tears and brine,
and curse the stars that watched him shine.

Tears and brine… iron vows…

They brought back neither rope nor bone
just tales of foam and voices blown
No grave to tend, no name to stone
thus howling gales shall heed my moan
I wear no black, I hang no shawl
I stoke my rage— I shall not fall
Each wave that breaks upon the shore
shall feel my grief… and hear me roar.

Hear her roar… hear her roar…

Blow, ye winds, blow— you took what’s mine!
I salt your depths with tears and brine!
Though fate may grant what storms allow
I hold fast, no storm can douse!  

Blow, ye winds, blow— return what’s mine!
Let ragged stars record the sign!
No swell shall rise ere I reclaim—
I hold fast, no storm can douse!  

So mark my voice— and mark my name…
I damn the tide; I brand the frame.
Until the deep yields what’s denied,
I stand, and hold, against the tide.
Blow, winds… blow… ye took what’s mine…
The sea is vast—
yet I… remain…

Remain…

A3-S1 The Widow’s Oath – Aria da Concerto (Mezzo-Soprano & Baritone • Operatic • Tragic • Storm)

A lo-fi Flamenco confessional about grief, truth, and raw testimony. Close-mic, smoky alto vocals half-sung and half-spoken weave tightly with nylon-string guitar, palmas, and cajón. The performance trades polish for passion — aching pauses, sighs, and sudden cries shaping the flow. Sparse saturation and the hush of a late-night tablao give it torchlike intimacy, ending in a whispered fade, a confession left hanging in the shadows.

[LYRICS]

Lost and found, funny place
you never know till you do

I’ll be your glasses
when the world’s a blur.
I’ll be your small lighter
when the power’s out
your calm in the thunder
when you’re full of doubt

They say what’s lost
ain’t always gone
sometimes it waits
to lean on.

I’m your lost and found
when the world spins round
a friend at your side
when you’re feeling down
button for your coat
when it will not close
the flower you pressed
in a book no one knows

That one glove you lost
yes sir, I’m her
I’ll be your map
when you lose your street
that lucky coin
waiting under your seat
I’ll be your charger
when your spark runs weak

I’ve been forgotten
and I’ve worn some dust
still I’m your mirror
when you need to trust

I’m your lost and found
when the world spins round
come find me again
when you’re feeling down

I was yours all along
just out of sight

Just out of sight

Lost and Found (Midnight in Córdoba)

A lo-fi late-night lounge confessional — smoky vocals and sparse piano drift through an intimate haze. Every note lingers like a whispered aside in the dark, carrying torch-song grief and quiet resilience. Minimal, hushed, and deeply human.

[Lyrics]

Lost and found, funny place
you never know till you do

I’ll be your umbrella
when the sky lets go
I’ll be your glasses
when the world’s a blur.
I’ll be your small lighter
when the power’s out
your calm in the thunder
when you’re full of doubt

They say what’s lost
ain’t always gone
sometimes it waits
to lean on.

I’m your lost and found
when the world spins round
a friend at your side
when you’re feeling down
button for your coat
when it will not close
the flower you pressed
in a book no one knows

That one glove you lost
yes sir, I’m her
I’ll be your map
when you lose your street
that lucky coin
waiting under your seat
I’ll be your charger
when your spark runs weak

I’ve been forgotten
and I’ve worn some dust
still I’m your mirror
when you need to trust

I’m your lost and found
when the world spins round
come find me again
when you’re feeling down

I was yours all along
just out of sight

Just out of sight

Lost and Found (Late Night Lounge)

A reflective, modern pay-it-forward song with intimate vocal, acoustic guitar, soft piano, and brushed drums. Rolling 6/8 sway, lyric-led verses, and a gentle lift in the refrain. Pop-friendly polish, nature imagery, and a warm, optimistic arc.

[LYRICS]

When the night draws down her curtain,
stars keep faithful count of light;
paths are veiled yet sure and certain,
as orbits sing in ordered flight.
Watch them move with steady measure,
wax and wane, then turn again;
so the heart can find its treasure,
of mercy falling like the rain.

Lo, it flows, it flows forever,
turning mist to kindly cloud;
then fall in grace that none can sever,
to make deserts bloom aloud.

Ask the Bees of their patient labor,
of how that nectar comes and goes;
ask the flowers, ask your neighbor,
of what your tender silence sows.
If a heart is bowed and grieving,
wipe that tear and tarry nigh;
we will reap by gentle leaving,
gentle good beneath the sky.

Lo, it flows, it flows forever,
turning mist to kindly cloud;
then fall in grace that none can sever,
to make deserts bloom aloud.

Like sunrise to sunset turning,
Wandering souls shall soon return;
you who read the sky by tracing,
we learn to love as seasons turn.
Unto thee is beauty granted,
When thy Yes is true and free;
Rooted, watered, kindly planted,
You’ll grow in love that others see.

Lo, it flows, it flows forever,
turning mist to kindly cloud;
then fall in grace that none can sever,
to make deserts bloom aloud.

Ye Who Would Read the Sky (Pay It Forward)

This track is a quiet conversation between two voices. The oud speaks first with a shy hello. The guitar answers with a smile. They trade lines like two people walking slowly through a courtyard at dusk, not rushing, just enjoying the moment. Nothing loud. Nothing busy. Just soft light, easy breath, and a feeling that love knows how to listen.

Play it while the evening settles. Let it fill the room without taking it over. It is music for candlelight, for coffee cooling on the table, for reading a page twice because the mood feels better than the words. When the last notes fade, the silence feels friendly.

Oud & Guitar in Saba Romance - Instrumental Lounge Fusion

Two voices walk beside a quiet river. The oud speaks first, easy and low, like water touching stone. The guitar answers with a warmer light. They take turns, unhurried, trading small phrases the way close friends trade memories. The mood stays gentle and close. Nothing pushes. Nothing crowds. It feels like dusk settling on the banks, a soft breeze, time moving in slow circles. Put it on while you read, think, or share a calm evening. When the final note fades, the silence keeps the feeling company.

Saba by the River - Oud & Guitar Instrumental Lounge Fusion

Andalusian Courtyard (Final Edit with Ambient Effects)

An ambient cinematic piece that follows the quiet arc of first light to full day. Soft textures, spacious harmonies, and gentle motion create a calm rise in energy without abrupt peaks. Built for reflection, focus, and warm beginnings.

First Light in the Alhambra (with Stone and Water)

The day slows, and the courtyard fills with gold. The oud speaks first—unhurried, close—then guitar answers like warm light on stone. They trade gentle phrases while the evening gathers: small smiles, soft steps, the hush of a garden at dusk. Nothing rushes. Nothing crowds. It’s music for candlelight, for a last cup of tea, for letting the room breathe. When the final notes fade, the quiet feels friendly.

Sunset in the Alhambra (with Ambient Fountain)

A soft rain finds the courtyards of Granada. The oud speaks in warm, unhurried phrases; the guitar answers like light on wet stone. Small echoes, quiet smiles, and the hush that comes after the first drops. It feels like walking slow under arches, listening to the city breathe. Put it on for reading, late tea, or a calm evening—when the rain is part of the room.

Rain Over Granada (Jadaka al-Ghaithu)

An exploratory adventure that begins in hush and lantern glow, then steps into the deeper chambers of a hidden world. Strings carry a guiding motif while oud and nylon guitar trade soft replies. Cajon and palmas keep a quiet caravan pulse. The piece is a folklore tale told without words, each section revealing another turn in the path. Inspired by the classic tale of the forty thieves, reimagined as an instrumental that favors melody, mood, and movement over literal quotation.

[STORY ARC]

- Opening: first light on stone and dust, a cautious walk past market stalls, the lantern motif appears.
- Discovery: the passage narrows, echoes answer the strings, oud sketches the path forward.
- Crossing: rhythms gather, the compass steadies, the motif grows bolder.
-  Hidden chamber: textures thin, a quiet spark, then a gentle bloom of harmony.
- Return: the pulse softens, the theme circles back, the cave breathes out and the journey closes in calm.

[NOTES]

Reimagined from the story of the forty thieves as an instrumental. No direct melodic quotes. The focus is on atmosphere, pacing, and the feeling of steps taken into the unknown and safely home again.

Cave of Lanterns (Instrumental)

An orchestral re-imagination inspired by Kuwait’s Al-Nashid Al-Watani (national anthem) and the cherished communal song Watani Al-Nahar. Between the two themes lies a single heartbeat moment, a reflection on the difficult days of the past and the spirit of renewal that gave Watani Al-Nahar its voice after liberation. Strings lead the performance, supported by oud and nylon guitar filigree with subtle flamenco flair. Percussion remains soft and human, shaping the arc from reverence to communal warmth.

[HISTORICAL CONTEXT BEHIND THE PRODUCTION]

For those not familiar with the history, some ebbs and flows in the orchestral direction may feel unusual, but each has intent. From 1:10 to 1:56, a steady heartbeat-like pulse carries the melody. This symbolizes the memory of the invasion, a time of tension and endurance. As the piece unfolds, the pulse turns brighter and more open, marking the moment of liberation and renewal. The music moves from struggle to resilience, from darkness into light.

This reimagined version of Watani Al-Nahar flows through multiple melodic stages:

- Shock
- Confusion
- Realization
- Resilience
- Resistance
- Solace
- Hope
- Unification

The closing call of the tar (frame drum) serves as a familiar and welcoming motif, a sound long associated with greeting and reunion, signaling the return of those who were once displaced.

To Kuwait with Love (August 2 Heartbeat Remembered)

A gentle, Andalusian-tinged instrumental where a graceful string lead meets oud and nylon guitar in quiet dialogue. Inspired by a Kuwaiti folklore song and shaped as a modern re-imagination, it favors modal melody, simple pulse, and a calm rise in energy. Reflective and warm, suited for quiet mornings and focused listening.

This piece was first imagined during a creative morning in Richmond Park (United Kingdom), while watching deer up close. In that moment I wished I could keep walking while listening to an instrumental version of Maftoon Qalbi. That feeling stayed with me until I shaped it into this work.

Enjoy.

Gazelle at Dawn (Kuwaiti Folklore Reimagined)

This track is a journey piece. A clear, memorable theme leads from the first bar, patient and sure. The strings answer like friends on a long walk, passing the tune back and forth while the rhythm keeps a calm stride. Small swells arrive like landmarks and each one says keep going. Set your bearing and move. The melody begins as a soft thought, then firms into a line you can follow. Each return feels like a step that lands right. It gathers strength by repeating what matters and trimming what does not. You hear resolve, not rush. The strings guide, the pulse steadies, and the horizon comes closer. When it settles, there is open air ahead and a quiet pride in choosing your own way.

Where I Set My North · Strings and Compass

An Andalusian walk in a calm, mid-tempo stride. The oud leads with a clear theme, circling back with quiet warmth like turning a familiar corner into light. Nylon textures and a soft pulse keep the path steady while the melody does the traveling. Think courtyards, arches, and tiles after the first breeze. It is reflective, unhurried, and made for long listening. Add it to playlists for focus, evening drives, slow mornings, and reading sessions. “Return on the Breeze · Andalusian Oud Instrumental” sits within String of a Compass as a moment of arrival, where distance closes and the heart rests.

Return on the Breeze · Andalusian Oud Instrumental

A calm shoreline walk in Andalusian colors. The oud leads a clear theme while a soft pulse keeps a steady pace. Think arches, sea light, and wet sand under hoof. Reflective, unhurried, and built for long listens, reading, evening drives, and slow mornings.

You step onto the shoreline and the day is just beginning. A single oud line draws the first path in wet sand, simple and sure, with the sea breathing close by. The rhythm settles into a steady walk and the theme returns a little warmer, like sunlight lifting off the water. You pass white walls and narrow lanes that open to blue. The melody looks farther out, widening its curve, then finds its way back to the clear refrain that started it all.

Midway the coast opens. Phrases lengthen and the oud rides higher for a short stretch, a quiet canter beside the surf, then settles again into the walking groove. Small replies answer from the edges, not to show off, but to mark the distance you have covered. The harmony shades for a moment, a nearby color that changes the light, then the air clears and the main path comes into view once more.

As the shore bends the theme returns with calm resolve. It lands more deeply in the pocket, footprints beside your earlier footprints, straighter and more certain. The final bars ease the pace, the surf draws close, and the last tone stands in open air. This is an Andalusian coastline in sound. Freedom with direction. Motion without rush. Music to walk by, to read by, to find your horizon and keep moving toward it.

Andalusian Coastline · Oud Lead Instrumental

I’ve always lived at the crossroads of music and poetry — where feeling becomes form, and melody turns memory into meaning. Whether it’s a lingering jazz note, a well-placed rhyme, or a shift in tempo that tells a deeper story, I’m drawn to that quiet magic where art reflects life with a little more style.

My roots are in classic music — the kind that doesn’t chase the moment but lingers with you long after the last note. Over time, that love expanded into poetry writing and jazz — especially the kind that swings, speaks, and smirks all at once. Jazz, to me, isn’t just a genre; it’s a personality. A conversation. A little tilt of the head and a grin that knows more than it says.

When I set out to create an album, it’s rarely just a collection of songs. I approach it like a personal playlist — one that drifts and flows as if the entire tracklist were one long, uninterrupted piece. Each track leans into the next, shifting mood, pace, or voice, but always carrying the same thread of feeling. I want you to listen the way I do — not as a shuffle of moments, but as a cinematic arc. One breath that lasts an hour.

Lyrically, my work is rooted in lived experience. Sometimes it’s obvious. Other times it’s just the skeleton of a memory, dressed up in wit, irony, or longing. I draw from real-life events, then let the poet in me twist, stretch, or sweeten them to taste. Depending on the tone of the album — playful, romantic, nostalgic, or something in between — I try to keep the emotional truth intact while giving it a fresh coat of creativity. A little humor where it fits. A deeper dive where it hurts.

My newest jazz album continues this tradition — short-lined swing tracks, conversational duets, and tongue-in-cheek storytelling. It’s an homage to late-night alleyway ballads, rooftop serenades, and train station goodbyes — all bound together with a sense of charm and cohesion. Each song is its own little scene, but together they tell a story — one you can revisit with each replay.

Thanks for stopping by my profile. I hope you find something that earns a spot on your repeat-play list — a melody, a lyric, or a moment that feels like it was written just for you.

Gazelle at Dawn (Kuwaiti Folklore Reimagined)

Dikheel Aldikheel

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