Walking through the shadow of death

The desire to get home safely motivated Karachiites on December 27 to keep their wits about them and move intelligently. The shock and grief they felt at the sudden death of Benazir Bhutto numbed

Maheen Sabeeh recounts her journey back home after the distressing news broke out and the madness began

At approximately 6:16 pm, (Friday, December 27, 2007), former Prime Minister of Pakistan, Benazir Bhutto is pronounced dead. It is inconceivable. It doesn’t register and it still hasn’t fully settled in. Benazir Bhutto is dead. For a brief minute, I think it is just a big error. Sadly, it isn’t.

In one corner stand those who had been wondering prior to the assassination, what it would be like if she actually died. I am one of them. They have no words. I have no words. To say that any of us is happy would be an overstatement. We were all shocked and couldn’t grasp the gravity of the situation. Who could and who can? Some stood in corners and prayed; others just sat for a few moments, trying to just breathe.

I am at II Chundrigar Road, the busiest street in Karachi on most days, ready to go home, when the news is confirmed. A text message comes a few minutes later: “Come home now.” It is from my sister. My mother calls two minutes later. She sounds broken. For a woman who ordinarily would rather watch Star Plus soaps than wonder what will become of Pakistan, she is shocked and pained. I assure her that I am on my way.

Soon mobiles start ringing endlessly. Everyone who has a cell phone or a landline nearby, is making calls; to friends, family and finding out what the situation is outside. Have riots already begun? Every Pakistani knows that trouble is on it’s way.

Hopelessness has swept over everyone. It is almost tangible.

I venture out to go home along with a friend. We step out and someone turns and shouts out: “Don’t go, it’s packed outside”. We step inside for a few minutes but decide that we have to leave.

My friend’s father is somewhere in Saddar. There are no buses, cabs and rickshaws for him to grab and come home. We know leaving him there is not an option.

I.I. Chundrigar is packed from one side, completely. The area around Shaheen Complex is deserted. For three years, I have come onto these roads, amidst construction and killer traffic jams, in days of strikes and sometimes, even on Sundays. Never before have I seen this street as grief-stricken as it is now.

It is 6: 45pm and my friend’s car is in a parking lot, near Karachi Club. There are no rickshaws and the shuttle service, which takes us to the parking lot daily, is not running tonight.

“Should we walk?” she says to me. I nod. As women in Karachi, we are not accustomed to walking too much. But we do have the habit of noting others around us. Journalism 101: Observe everything and everyone all the time.

On an average day, it is easy to observe Karachiites on the road. They walk in their own world, mostly leisurely. some at snail’s pace, flowing alongside the sea of cars and often coming in front of them out of nowhere, which is usually followed by miniscule arguments, mouthed abuses or simply saying out, “jao yaar”.

Tonight no one is simply loitering along on the footpaths. The choreography of Karachi has changed.

People are not walking, they are rushing. They are walking as fast as they can, a few are even running. We walk past the Jinnah Courts and look around; cars are speeding. The roadside Romeos club forgets to pass lewd comments as we walk past them tonight. They check us out and understand our fear.

The look on everyone’s faces is just this: panic, anguish, anger, hurt and fear. Eyes are teary. Others are not ready to accept the horrible, horrible truth. Benazir Bhutto is dead, murdered in cold blood, 1o days before Musharraf’s ‘free and fair’ elections

As we come halfway, a little before Pearl Continental Hotel, we run into a man, who is surprised at the two of us, walking in this weather of uncertainty. He tags along and we let him. He is scared and so are we. We discover that he is a banker who lives in North Nazimabad. We tell him that we are on our way to the parking lot and then to Saddar. He tries to dissuade us. It might be a hotbed of violence right about now he says. My phone rings again. As I take my phone out, my friend says to shut it off now. It is unsafe to talk on cell phones on the road and especially tonight.

Footpaths are crammed with motorbikes and they are zooming their way out, to anywhere safe. We juggle our steps around them and we want those bikes tonight. We want to rush just like them.

We tell the banker that he should go somewhere nearby and not go to North Nazimabad. He thinks about it and then decides against it. His mother is waiting for him. He is in his early 30s. We walk in silence, faster and faster until we see the black gate of the parking lot.

Around us, more bikes are speeding by. Cars are jammed outside Karachi Club all the way to PC. The guards recognize us and let us in to the parking lot. We ask them to let the banker in. They close the door after him. They ask us to wait. We smile and decide we’re going out again and get in the car.

We sit and immediately take our phones out. My colleague calls her father and asks him to stay put whether he hears from her again or not. The mobile network is overloaded. She assures him that she will get him. The banker calms his mother over his phone.

“What is wrong with you!” screams my elder sister as soon as I answer her call. “You don’t even pick up your phone.” More than anger it is the fear that I will get stuck in some riot that causes her to shout. I speak with my other sister, the calmer one, and tell her that I’m coming home and that it will take time.

We’re off to Saddar. It wears a silent, haunted look. One lone rickshaw is visible. All the shops are closed. I see barely five cars. We pick up my friend’s father. He tells us that riots have begun in Defence, on 26th street, where they live. My friend speaks with her brother. He is an old friend. We went to school together. He is scared. She tells him to get to an aunt’s place and not go home. He says he will go to a friend’s home in Defence.

A text message comes. “Riots at Khadda Market”. I tell my friend who immediately calls her brother and asks him to not go there and just take Mai Kolachi Bypass and off to Barbeque Tonite, where their aunt lives.

We’re near Zainab Market now. It’s closed. There are cars all around us. A bus is in front of us, about to go ahead.

Suddenly, a few men, with PPP flags tied around their arms, come out of nowhere. One of them is armed. We stare straight ahead. Another one has a rod in his hand. He bangs on the bus and gets the driver and conductor out. It looks like they’re about to burn the bus. They bang on other vehicles with the rod. Everyone around us is stunned in dread.The road is blocked. There is no way out.

The man with the rod looks at us. We’re four people in the car. Me, my friend, her father and the banker. He looks again. We go weak in the knees. My stomach is in knots. I am scared. He sees that we’re two women in the front, and my friend is driving. He nods and points us towards a gap at the side of the road. We swish our way out of there. It takes us a few minutes to breathe easy again.

Another phone call. A friend from KDA is stuck in my apartments. I pass on the message for him to stay put. Another phone call. My friend’s brother is at Teen Talwar. I tell her to ask him to just get to my place and stay there. We reach Teen Talwar and turn leftfor my home in Askari I.

Before the cut to my house, we see guys with bikes blocking the roads. We wait and decide to go. They ask us where we’re going and we point to the apartments behind them. They let us go, warning us not to go further. As we enter the gate, we see that Submarine Chowk is up in flames blazing in the darkest night for Pakistan in 2007.

We go inside in a state of shock and relief, both at the same time. My friend’s brother is already inside. The banker is still with us and says he will go to Punjab Colony. We ask him to stay. He refuses politely. I don’t know what happened to him.

I go home with my friend and her family and my parents cling to me for a few seconds. They are relieved. We watch the news and we’re still watching it. I later discover that my father couldn’t believe that BB was assassinated. When he heard it on the BBC for himself, he just sat down and prayed for her as tears fell down his face.

They show the casket in which BB is laid. My father raises his hands in the air and prays for her and Pakistan. We all join in

At midnight, my friend decides to go home. She makes a few calls. I find out from a friend that Gizri is a dangerous road to take. Her brother says, “I’m scared. Let’s just stay for a little while longer.” He confesses that he has never been in such a situation before and is afraid. She assures him that it’ll be okay. They march off as a family as mine prays that they get home safe which they do.

People are still scared. Streets are deserted and shops are closed. Bakeries, shops, restaurants, banks have all fallen prey to the violence. Karachi, no, Pakistan has changed. Many loved Benazir and some were weary of her return to politics. But she was a woman that no one was and could be indifferent to. In the coming days, we will all start to understand the future a bit better. Right now, there is just a fog of uncertainity. In these moments, there is nothing to do but mourn… the loss and the mark that Benazir Bhutto has left on all of us. May she rest in peace. May we all.

The second coming of Jal

Jal are back with Boondh, a solid and mature follow-up to their debut Aadat. Instep takes a close look… By Maheen Sabeeh Artist: Jal Album: Boondh – a drop of Jal*** The mature melancholic notes return. Jal’s debut Aadat was a huge hit. Jal, in particular, the major songwriter of the band, Goher Mumtaz, can create really melodic and melancholic pop tunes. But unlike Aadat, where Jal struggled when creating rock numbers such as ‘Rangon Mein’ and re-singing Atif on ‘Aadat’, here, there is no such awkwardness.Their comeback single, ‘Sajni’ directed by the young and exciting director, Bilal Lashari, is visually beautiful, conceptually works with the tune, and remains the band’s finest visual effort. ‘Sajni’ as a song is extremely catchy. On first listen, it’s one of those songs that you just want to nod along to and it is characteristic Jal. Soft, romantic and tinged with desperation for a beloved. And thankfully Farhan Butt doesn’t struggle at all as a vocalist as he croons, “Sajni pass bulao na ke dil aaj tootha hai/Sajni maan jao na ke woe aaj rootha hai”. And if you like this ‘Sajni’, there is a slower version that comes at the very end of the album, that is also rather nice.

Ali Mustafa does a wonderful job on keyboards and Farhan and gang completely change the pace, making it a lot more heartbreaking.The Jal guys have grown up and they are back with a sharp and solid follow-up. Goher Mumtaz writes and composes most of the love ditties here and it is safe to say that he is a talented musician. He is a lyricist, songwriter and a vocalist to boot. And he delivers on all three fronts with ease, although it was probably not easy, with such high expectations. The mood of this album is morbid love, the age-old universal emotion of heartbreak and that remains a significant factor throughout most songs. From the slow, slightly rockish and haunting ballad, ‘Payal’ where Farhan shows off some varying vocal gymnastics as he croons, “Payal ka shor macha ke/Nindiya se tun jaga ke/Tu kaheen jaaye na’ to the gloomy ‘Moray Piya’ with its dismissive and fatigued soul where Farhan surprises with his voice and chants, “Morey morey piya/Kaisey kaisa jeeya/Rishtey sabhi ban jaate hain/Totnay key liye ek lamha” – the love mood plays a significant factor. It continues with the perfectly blended pop-rock tune, ‘Kia Se Kia’. The only number written and composed by singer Farhan, it’s got a very anguished and aggressive musical character with strong, recurring riffs, and fabulous drumming from none other than Gumby himself! After the success of ‘Woh Lamhey’ and ‘Dil Harey’, Goher Mumtaz returns to the vocal forefront with ‘Mahia’, ‘Chup Chup’ and ‘Hamein Itna Pyar’ and his vocals, which are a lot thinner than Farhan, provide a nice change. On the introspective and vaguely joyful ‘Mahia’ as Goher sings out “Jaana ahi ek din iss dunya se/Jee lein pal do pal hum yeh zindagee”, it is a tune that brings some hope and subtle optimism. And this feeling of optimism is present on the mid tempo ‘Chup Chup’ with its “Raasta Kathan/Manzil nahie/Phir bhi main kyun rukta nahie”. And finally there is ‘Humain Itna Pyar’ which Goher sings but it is the most average number on the album. Plagued with lyrical clichés such as “Dekha har mausam teri ankhon mein/Yeh teri sansen too teri tau amanat hai” – it just isn’t enough catchy enough to stick for too long. Oddly enough, the slower version of this track, that starts off with a lone, moody piano and one-off riff completely works, clichés notwithstanding. True rock elements come with ‘Raatein’, ‘Main Mast Hoon’ and ‘Yeh Mera Pakistan’ ‘Raatein’ that initially reminds one of Roxen’s rocking ‘Sapnay’, is a solid rock track. As Farhan sings in many constantly changing undertones, “Yaad hai woh sari baatein/Raaton mein din thay/Din thee raatein/Toe kya/Yeh Jeevan aisa na tha/Jaisa hum nain socha” – it remains a decent, bustling tune. In the same element, one finds ‘Main Mast Hoon’ that is the only Punjabi track on the record. But it is not mysterious Punjabi that is synonymous with Abrar but rather simple as the wordplay goes, “Teray naal hee jeena/Teray naal he marna/Main mustt.. Main mast hoon”. And musically, it has a percussion heavy sound, which is a welcome. Another good number that should do well at live shows. While the former tunes are very good, the latter, ‘Yeh Mera Pakistan’ is a strange addition to the album. In these strange times, one really doesn’t fall for a number that goes, “Yuhein hastey gaatey rahain/yuhein geet sunatey raahein/bazi har ik le jetay rahain/khushiyan hum nibhatey rahein… Yeh tera Pakistan/Yeh mera Pakistan” – ‘Yeh Mera Pakistan’ is unwarranted and a tad boring. Rewind a little… Jal’s album couldn’t have come at a better time. Boondh – a drop of Jal has come out as emergency was lifted in Pakistan. Every major album by the big guns as well as budding young comers has been shifted to 2008. Even as Rahat Fateh Ali Khan’s Charkha has released in India, there is still no word on when that album will officially hit markets in Pakistan. Music channels are looking to run big videos – not necessarily shot on big budgets or conceptually grand – by major artists. Barring runaway hits like OST of Khuda Kay Liye, even albums from well known veterans like Ali Haider (Jaanay Do), Abrar ul Haq (Naraa Sada Ishq Aaye) and Hadiqa Kiyani and Aamir Zaki together (Rough Cut) have all failed to create massive stir amongst fans, concertgoers and perhaps even the industry itself. Add all this to the fact that Jal’s Boondh was not even expected to come out this year by most. Goher Mumtaz, Farhan Butt and Shazi had been AWOL from the live circuit, too much media presence, television interviews and appearances for the past year now. Hence, this release has come unexpectedly as a nice surprise. 2007 was a dull dud and with Pakistan going through a tremulous phase that still continues to haunt us, this album is happy news for the entertainment industry as well as fans at large. Alas! Something to rejoice about… 2004 was the birth of two separate names of music. Back then, we never knew this but slowly it became clear as Atif Aslam and Goher Mumtaz separated from each other. Atif showed more promise because he was the vocalist that shone out. And as far as compositions grew, one still doesn’t know who they came from. Atif came out last year with Doorie and wooed the crowds all over again, perhaps even attracted newer fans while critics remained stunned by Doorie’s lack of character and filmi-ness. Hence, there is no comparison between Jal’s Boondh and Atif’s Doorie. Because and as strange as it may sound, Atif is coming out with another album, possibly next year, that he claims is the actual sequel to Aadat, titled Meri Kahani. When that record hits stores, only then one can make the inevitable comparisons between Atif and Jal. The verdict But for now, Jal are here with an album that is signature melancholic pop that is the niche of Jal. It is sharper and far more melodic in sound than Aadat and as a sequel, it is impressive. It also dabbles in rock without being clumsy in sound. Goher has repeatedly said that this album is testament to the growth and maturity of Jal as musicians even as it stays true to their sound and he is right. Have we heard it the words before? In some way or the other, yes. Love is a common, perhaps the most common emotion running through music, especially in Pakistan. Paradoxically enough, it is the album’s weakest as well as strongest trait. Weakest because it is predictable and strongest because Jal can create music that matches the heartbreak feel superbly and rather intelligently. And this time around, there is no discomfort when the rock element slyly comes in and mixes with quite a few melodies. Is Boondh groundbreaking? No, but groundbreaking comes every once in a while. Strings’ Duur (2000), Fuzon’s Saagar (2002), EP’s Irtiqa (2003), Mekaal Hasan Band’s Sampooran (2004), Ali Azmat’s Social Circus (2005), Rushk’s Sawal (2006), Hadiqa Kiyani and Aamir Zaki’s Rough Cut (2007) – these are records that are musically astounding and have broken new ground as far as character and the invention of a brand new sound is concerned. There is maybe one album every year that manages to do so. Jal may not be breaking too many experimental boundaries with Boondh but they do manage to live up to all the hype and expectations. Sequels really are a tricky business, in Pakistan, just like anywhere else in the world. Fortunately, most elements work on this record. Farhan Butt finally arrives as a vocalist. He has improved phenomenally as a singer. Mekaal Hasan’s acumen as a producer shines throughout, Gumby and Salman Albert do a fabulous job with drums and Shazi manages to string bass lines with ease. And the band leader Goher Mumtaz has proven that he is a definite asset to the music industry. Jal are a talented unit. But they have to be more careful of lyrics. Simplicity is a welcome, clichés aren’t. And that is what will define them in the coming years. For now, grab a copy of Boondh! *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

Music Mix

Hashim gets animated with ‘My Moment’ while Zeeshan Parwez gets the most romantic he’s ever been!

 Maheen Sabeeh

Hashim Saeed aka Hash is back with another spanking song after ‘Load The Cannon’. This time, it’s ‘My Moment’ and instead of dancing, Hashim plays with animated guns to protect his lady, played by VJ Natasha Campbell.

Even though ‘My Moment’ first hit airwaves somewhere in 2004, Hashim has re-done the track while animation guru Zeeshan Parwez has directed a brand new video for the updated version. The result predictably, is fabulous.

There is little argument to defend the concept. It’s been done umpteen times but what makes it work in this particular case is the animation. A girl, a boy, bad goons – all animated in the classic Zeeshan Parwez style.

This is not Japanese anime that has Overload tried with ‘Storm’. This is animation that is totally Pakistani. And it may not be as slick as the rest of the world, but at least it is an original look.

90 per cent of the video is animated while a few shots in between are real but they gel well with the video.

Come to the song and Hashim has really changed gears this time. The first time around, ‘My Moment’ registered but barely but all that has changed.

Simply put, this updated tune is funky and extremely groovy in sound.

“It has a beat,” says one listener. And that is exactly what Hashim’s biggest USP is.

Be it ‘My Moment’ or his other tune, ‘Load The Cannon’, what strikes one instantly are the catchy hooks that Hashim’s music offers.

“I call it hyper pop,” laughs Hashim. This may not be a genre that one has heard of before but it is one that will add a punch of variety to the local music business.

“I can’t be following trends. It’s up to me as an artist to do something that is unique to me alone. And I don’t think anyone is doing this kind of music in Pakistan,” says Hashim confidently. And here one has to agree with him… Hyper pop is a genre alien to our scene. In fact, we haven’t even ventured out into electronica as yet barring a name like Rushk. But Rushk have never performed live ever and the lead vocalist doesn’t reside in Pakistan.

The bottom line is that these genres have not been explored fully (if at all) in Pakistan.

An effort was made by Zoheb Hassan who returned with his solo album, Kismet, in 2006 but that sound belonged to the eighties and was neither contemporary nor fully dance but somewhere in the middle.

Hashim, too, is inspired by the eighties. But he uses it as an inspiration to create a sound that belongs to this era.

“My music definitely has influences from the ’80s. I admit but I am not imitating anyone. It is music that is made with this day and age in mind. For the last four years I’ve worked on this record and refined it so it doesn’t sound dated,” says Hashim.

Being influenced by a particular era or an artist is never, ever bad as long as it is not imitation.

Our biggest examples are Junoon and Vital Signs. Salman Ahmed decided to go the musical way after he saw Led Zeppelin live and was deeply inspired. And for many years, he made music that was original and it was the creation of Sufi rock.

Former Vital Signist Rohail Hyatt was inspired by Pink Floyd but instead of imitation, he used this inspiration to create an album like Hum Tum. To this day, no album can match the haunting mood of that record.

Coming back to Hashim, another plus for him is that he doesn’t struggle with the English language, which is the one and only reason why Hadiqa Kiyani and Aamir Zaki’s Rough Cut was flawed.

“I’m more comfortable in English. Through my music and performances, I will make the language irrelevant,” says Hashim.

It might just happen. Annie’s ‘Mahiya’ rocked the nation, from truckers to rickshaw drivers to the youth. And it was the beat that did the trick.

Look at music globally. The beat of Timbaland made Justin Timberlake and Nelly Furtado into two brightest shining stars of music in the world.

If they can do it, so can Hash. But in the meantime, look out for ‘My Moment’. It is definitely worth watching and listening!

Jal are back!

Their new video ‘Sajni’ and brand new album Boondh is out now

By Maheen Sabeeh.

Just as one thought that no major artist would release a new album this year, out came Jal with their brand new album, Boondh after a break of almost 3 years and with the video of ‘Sajni’ – which has just hit airwaves nationwide.

Instep Today caught up with the brainchild of Jal, Gohar Mumtaz on releasing the new album, upcoming plans and the response this album has generated…

 

Instep Today: Congratulations on finally releasing Boondh…

Gohar Mumtaz: Thank you.

Instep Today: Boondh was officially launched on December 15 but the album hit markets before that… out of the blue?

Gohar Mumtaz: Yes. That often happens. The album comes out a little before time but we’d rather have it early than late.

Instep Today: This album was slated for a release in November. Why the delays?

Gohar Mumtaz: Farhan, Shazi and I are all so relived that it’s finally out. We had planned to release it in November but the political situation as well as problems with record labels pushed it but now it’s all settled.

Instep Today: Aadat was a huge success. You guys picked up awards everywhere and went onto become one of the biggest bands of the country. It is always hard to match a big debut record…

Gohar Mumtaz: We know the feeling! This is why it took us three years to release a new album. The expectations were huge. And at the same time, no one wants to listen to the same sound. With this record, there are some tunes that are totally experimental. We’ve worked very hard on the sound of the album. This entire record was produced for about a year at Mekaal Hasan’s studio. And it was a pleasure working with him.

Instep Today: You’ve done the major chunk of songwriting on this record. How different is it from Aadat?

Gohar Mumtaz: It’s always a challenge to create something new and yet not so eccentric that people can’t relate to it. When anyone who knows Jal’s music will listen to the album, they will instantly identify us but they will also hear that as musicians we’ve matured and that reflects on the record.

As far as lyrics go, I have tried to keep it simple. The best mode of communication between fans and an artist is the music itself. I have kept the words simple deliberately because when one gets too poetic, often it is hard for most people to understand or relate to it.

Instep Today: Your new video, ‘Sajni’ looks very slick. Who directed it?

Gohar Mumtaz: Bilal Lashari – ‘Islamabad’ and ‘Dhamaal’ fame – and he’s done a fabulous job. Part of the reason why the album has come out late is the video. We kept bugging him that make it fast but he took 3 months to finish it and in the end, I think the result is worth it. The DOP was from Hollywood and the video is unusual in many ways.

Instep Today: Is Boondh releasing in India anytime soon?

Gohar Mumtaz: The plan is to release the album there but in a few weeks. We’ve released it here and we’ll start Boondh Pakistan tour first. Once the album is out in India, we’ll tour India and then go for a world tour.

Instep Today: When does the Pakistan tour start?

Gohar Mumtaz: We start off with this tour right after Eid. The idea was to go to Karachi, Islamabad, Lahore and Faisalabad and if possible small cities as well. But we haven’t been able to get permission to perform in Karachi as yet. So we’ll perform in the rest of the cities for now and hopefully perform in Karachi at some point.

Grammy Nominations Rock!

The million dollar question is, who will be nominated for music awards in Pakistan for a year that hasn’t seen many major releases!

As the Grammy nominations are out, Instep takes a look at albums that released and didn’t release this year in Pakistan and which artists should make the nominations list as the award season comes calling in the coming months.

By Maheen Sabeeh

It is ironic. 2007 is the best year international music has had in years. Yes, there was no U2 but there was the troubled British soul diva Amy Winehouse, the “King of Sex” (according to Rolling Stone) Justin Timberlake (not even Robbie Williams has been this successful since breaking up with Take That!), there was the prog-rock genius of Tokio Hotel (all the way out from Germany), rapper and hustler Kanye West with his latest high school trilogy record, Graduation.
And the Grammys honour roll carries on…. Bruce Springsteen returned with Magic, on which he went back to old-school classic rock. Throw in the king of reinvention Timbaland, who’s been a guiding force for Justin Timberlake and the man who reinvented Canadian singer Nelly Furtado into an international superstar with Loose and also released his own record, Timbaland Presents Shock Value and you have a fascinating year. Also throw in Babyshambles, the Pete Doherty band that returned with the punk garage Shotter’s Nation and Foo Fighters, the American rock heroes who came out with a new mature record. The more seasoned musicians become, the more nuanced their music gets. Hence, it isn’t surprising that most of the above-mentioned artists have picked up nods at the Grammy Awards.
But flip the map and return to Pakistan and it is a sad situation. As Amy Winehouse went onto impress everyone from Adam Levine (Maroon 5), Fergie to Mick Jagger (Rolling Stones) and Sir Elton John, here it was the constant flux in the never-ending political soap opera (judicial crisis, emergency, black out of television channels… we all know the story) record label battles and lack of funds that led to delays in album releases from the big guns as well as impressive new artists who were expected to make their debut on the music scene.The consequence is, all major music award ceremonies will have a hard time in finding the right names to nominate. In other words, not all albums that have come out this year are worthy of nominations for Best Music Album at the Lux Style Awards and at the various awards shows hosted by various channels. Here’s why…
Strings, who were supposed to release their album (Dhoop) in September, are now looking at a 2008 release. Atif has yet to release his “actual” sequel to Jalpari, Meri Kahani (initially being touted as Hungami Haalaat). Jal are still not out with their new album Boondh. Meanwhile Mauj’s long-awaited debut has peen pushed to 2008 too and God only knows when Rahat Fateh Ali Khan’s Charkha (produced by Rohail Hyatt and Faisal Rafi) will see the light of day.
The new Fuzon are still nowhere in sight; if you remember, Shafqat had departed and some Rameez Mukhtar had stepped in. Fuzon never released his picture because they wanted him to be a surprise element, but it’s been a long time since then and we’re still waiting to be surprised! Then there are the promising newcomers – the melodic boys of Kaavish and the impressive foursome Siege whose debuts are nowhere in sight before 2007 draws to a close.Let’s get to the others… drum masters Overload, the phenomenal Mekaal Hasan Band and the metal men of Mizraab – no one released an album this year. Noori have disappeared altogether. Ali Noor had surfaced on Music Mastermind and Ali Hamza is still missing in action. Rumour has it that he has left the band, but the Ali brothers remain tight lipped. However, the last time Noori played in Karachi at a concert for Geo, Ali Hamza was conspicuous by his absence.
Ali Azmat might release his second solo album, Klashnifolk, in December, at least that is his plan. And should he take the plunge, his second effort may well be the saving grace of 2007. After all, we need our big guns as much as we need the young new budding musicians in-the-making.As the Grammy Awards nominees just released, one is reminded of what an incredible year 2007 has been for global music. Amy Winehouse walked away with six nominations including the four big ones – Album of the Year, Record of the Year for her album Back to Black, Song of the Year for ‘Rehab’ and Best New Artist – and Kanye West went onto pick up eight nominations including the most prestigious of all categories (behold: Kanye has done it again) for Album of the Year for Graduation
In comparison, our year in music was dull, dull, dull! Haroon and Mizmaar both returned with Haroon Ka Nasha and Sitara after years but their albums are average at best. Yes, these are albums that one can listen to but that groundbreaking quality, the beat and change of sound that came out from artists like the most lauded musician of the year Amy Winehouse as well as Kanye West, Babyshambles, Justin T, Nelly Furtado, Timbaland as well as others is missing.Music is at its best when it’s either raw and/or diverse. 12000 members of the National Academy of Recording Arts and Sciences (who decide the Grammy nominations and wins) went for the most creative of names. And it wasn’t because these artists were constantly in the news for misdemeanours or because they are gorgeous. The Academy went for them because the whole point of the awards is to recognise talent that is creatively diverse even as it is contemporary.
But in our case, we weren’t really shocked, rocked, inspired, and awed with music releases this year. And surprisingly enough, out of the four interesting albums of the year, two were in English.The four interesting albums were Rough Cut by Aamir Zaki and Hadiqa Kiyani, Volume I and II by Co-VEN (Company of Vicious Earth Navigators), Naraa Sada Ishq Aye by Abrar ul Haq and Jaanay Do by Ali Haider.While Aamir made the bass guitar weep, the guitar wrench and topped his own debut by miles, it was sadly not accepted enough. This is partly because Hadiqa Kiyani singing in English hasn’t gone down too well with fans and also because neither of the two have held concerts to promote their effort.
Co-Ven – whose sound can be simply defined as summer grunge – on the other hand, have regularly performed and are just out with a phenomenal new video, ‘Broken Boundaries’ that has been directed by wacko, off the wall and ingenious director Uns Mufti. Co-Ven have definitely developed a cult following. Abrar ul Haq returned with tongue-in-cheek bhangra that is his forte and with the often mysterious lyrics, it may not have been one of his finest efforts, but it got a listenership, especially after he was taken to court for calling some girl Parveen, namkeen! Controversies do wonders for album sales. Same is the case with Ali Haider who returned to his pop roots with Jaanay Do and composed mature pop ditties in all his glory. But neither Abrar nor Ali Haider were accepted as wholeheartedly as they usually are, even as they continue to have a following in and outside Pakistan.

Dhan Dhana Dhan Goal****

*ing: Arshad Warsi, John Abraham, Boman Irani and Bipasha Basu
Directed by
Vivek Agnihotri
Tagline:
Heroes Will Rise

The official tagline of Goal is “Heroes Will Rise”. And to their credit, the filmmakers manage to do that. Heroes do rise in this film and they manage to evoke the right emotions in the viewers. Sports are now becoming a favourite theme for Bollywood. This is the second film from Bollywood this year (after the brilliant Chak De India) that has been dedicated to a sport. Goal is a simple story but it works because it is (a) well-told (b) is shot spectacularly and (c) deals with racism and fanaticism as undertones. Goal is nothing like Bend It Like Beckham. And this film plays testament to two things: (1) John Abraham is more than a hunk and is the star of the show here and (2) Arshad Warsi is a versatile actor capable of much more than just comedy
The film opens with the story that The South Hall Football Club is facing its biggest crisis. A ground and a team that was once brilliant has now become shoddy in every sense. Its players are really bad footballers. And barring the captain Shaan (Arshad Warsi), they simply suck. The ground is home to Asians, who face racism from every other club because of their colour.A championship is on its way and if the team wins, they get to win 3 million pounds – a sum enough to pay the lease for the next 30 years – or lose the ground, the club and the game.
Two men can make it happen: Tony (Boman Irani), an ex-footballer who becomes the coach and Sunny Bhasin (John Abraham), a fabulous striker of the ball, who is as fast as lightning on the field. The catch is, he plays for Aston Club. And so begins the story.As a film, Goal keeps the story simple. It is about saving South Hall Football Club, becoming champions and fighting back.The film, which is shot primarily outside India, addresses some serious issues. Racism in UK is still a big problem for Asians. And it doesn’t matter if you’re a British citizen and born and bred there, you are still an outsider if the colour of your skin isn’t white.
It also addresses that men who go onto become international sportsmen and heroes for generations have to fight long and hard. To become a champion, you have to act like one and rise above it all.The promos of the film make it look like it is a John Abraham film. But that is just a marketing tool because he is the biggest star in the film. In reality, the biggest role belongs to Arshad Warsi who shows that he has many shades as an actor. This is perhaps the most serious and by proxy, the most important role of his career yet and he performs superbly.The captain, the man who takes it upon himself to make sure that South Hall is saved for other generations of Indians, Pakistan and Bangladeshis, has a hard role to play. And his face off with Sunny Bhasim is fabulous. Their disdain for each other that slowly takes a twist is a gripping subplot. Arshad surpasses expectations.And then there is John Abraham. He is the only one who fits the physical description of a footballer. But his is the most complicated character. An estranged relationship with his father, the need to be accepted and the self-confidence that is crucial to a great player. John does not have the biggest role but he has the most significant part. It is him who can save this legacy.This is the first time in over two years that John Abraham has a film that has managed to rake in decent bucks at the box office. And for this film, John goes for shorter hair that makes him look the part. Boman Irani is an exceptional actor. Here he gives another unforgettable performance as Tony Singh, the man who needs to build players into a team. And play the pacifier for Sunny and Shaan. The only disappointment is Bipasha Basu. Unlike Jism, there is little chemistry between her and John. And to top it off further, her role is boring. She is too cheeky and a cut between a complete airhead and a sentimentalist. It really doesn’t work. Another gripping, in fact stunning part of this film is its cinematography. It is not easy to shoot a football movie. But the way Atrasingh Saini captures UK, the fields and those goals is awesome! To some extent, the first half is a little slow but come intermission and the equation changes. It draws one inside and the finale of the film is a killer. It is fabulous, well-timed, full of suspense and nail-biting drama. Brilliant. After the awful Chocolate, Vivek Agnihotri has come back fighting hard and it is visible in the film that is Goal. Now one can say, watch out for this young new director on the block. In a nutshell, this is one rocking film. If you haven’t seen it yet, go see it now. It is playing in cinemas in Pakistan and comes highly recommended! -Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

No longer in shambles

Supermodel Kate Moss writes on this record, Peter Doherty no longer mumbles and actually sings. On Shotter’s Nation, there is poetry, punk garage sounds that British music is famous for and ultimately it is a record that reflects the life and times of Peter Doherty.

By Maheen Sabeeh

Artist: Babyshambles
Album: Shotter’s Nation****

Babyshambles front man Peter Doherty often makes more noise in tabloids and gossip columns for his never-ending smack ‘n’ crack habits, little visits to jails or rehabilitation centers and the inability to show up at gigs than for his music. His relationship with supermodel Kate Moss (which is now over) only amplified his celebrity status.But despite his shortcomings, Pete Doherty is one talented artist. And it’s this reason why it is easy to stick by him. After all, his former band The Libertines, through which, Pete went onto release two fine indie-punk records, (Up The Bracket and The Libertines) and it was then that he first caught attention of the media, critics and slowly America. But since Babyshambles has begun, it seemed for a long time that all this attention was not worth it. Babyshambles’s first record, Down in Albion, barring tracks like ‘F*ck Forever’ and ‘In Love With A Feeling’ did not even come close to the genius of Pete, the musician one first fell in love with back in his The Libs days. Down in Albion was shoddy, in terms of production and it was as if the entire band had a non-serious approach to the record. It was in shambles, literally. At the same time, perhaps this was bound to happen. With two fabulous albums in his bag, a supermodel girlfriend, in centre of media attention and a major drug habit, what else would this record be? Nevertheless, the sophomore effort of Babyshambles comes as a little surprise. It’s production surpasses Down in Albion in every manner possible, Pete is a lot more composed as an artist and the album is still spontaneous and loose all the same. Pete sings, he no longer mumbles. After this album, it becomes difficult and perhaps even impossible to separate the myth of Pete and the man himself. There is no such thing as a perfect rock star, there never was and there never will be. It is this reason why rock stars are loved so much; they are the unpredictable wizards of music, even as they are often tortured artists and in Pete’s case, their own worst enemies. We’re talking about the album here and yet it becomes difficult to not bring Pete’s personal shenanigans in the mix because on Shotter’s Nation, you see everything there is to the man. Themes from and for former lover Kate Moss, check, drug addictions, check, superstar lifestyle, check, poetry, check, and everything else in between, check. Unlike Down in Albion, which felt like never ending, Shotter’s Nation is shorter and has minuscule lackluster moments. Mostly it is just brilliant and poetic. Shotter’s Nation, the title means, ‘a drug dealer’s nation’. And it would’ve been perfect rock clichés had someone else been singing and writing it. In this album, it applies to the man who writes the major chunk of this album. The punk moments begin with ‘Carry Up On The Morning’, which gives one a window into yo-yo moments of coping with unprecedented success and emotional turmoil in relationship, possibly with Kate. “Now in the morning where does all the pain go? /Same place the fame goes/Straight to your head /And it’s not easy /Getting it out your head/”. You bet it isn’t. And then comes the big gem, reminiscent of early The Clash music (‘All The Young Guns’, ‘London Calling’) and even The Libs that seemed impossible at one point. And even then there is something unique about ‘Delivery’. Riveting guitars, a melody that hits you sharply and a shift from outright garage punk to an almost poppy moment, with a sing-a-long chorus to it. There is a lot of honesty here as it goes, “Here comes a delivery/Straight from the heart of my misery/Yeah you, now you, now you/You’ve finally left school/Oh what on earth/Do you intend to do?/See if you can/Take the man, go round town/You get together/Make pretend”. The wall of sound gets a lot more meatier and spontaneous with ‘You Talk’. The singing here is sarcastic and fun, as it goes, “You talk, yes you talk a good game/Won’t you teach me the same/Oh I’d love to explain, like showing your hand and all about/Oh well I know/I never said it was clever” and then in the moment of fun comes with an admission of drug abuse, “I just like getting Leathered/Looking for the light the light behind your eyes” and there is no apology. These are the moods that shifts and with them changes the album, playing a notebook to a figure in music who has been tagged by many as the saviour of rock ‘n’ roll, at least, in Britain. The wonderfully blue poppy punk element continues with ‘Baddie’s Boggie’ musically even as the words sympathise with the wife of a drunk. “Oh you’ve been here before, you fell in love and carried her over the threshold/Thinking, she’s far too good looking to do the cooking/Now, but that’s twenty years ago…twenty years ago/And now she’s thinking/It’s a lousy life for the washed up wife of a permanently plastered, pissed up bastard”. At the same time, this is another nod-your-head-along kind of blue tune. A stellar sound mixed with Pete’s melancholia comes through with ‘Deft Left Hand’, easily one of the finer moments on the album. It’s a definite departure from poppy blues and leans towards simply punk, reminiscent of The Clash yet again. Written by Pete Doherty and Kate Moss, the former love of his life, it is a heartbreaker. The riffs shine, and the words play out what once Moss and Pete meant to each other once. “Weaker vessel or better half?/That Woman’s tears could be the death of me…oh dear/You know when she’s had a few she’ll be onto you there’s no letting up/But, I want to lay by your side/Oh, I will lay down and die if I can’t lay by your side”. Kate and Moss had a tremulous relationship and yet the feelings were really real, more than a stunt. This record proves it. The two continue to compliment each other as writers further on ‘French Dog Blues’ even though musically this is one of the weaker links on the album. But just for its lovely words, I’d give it a listen. Together Moss and Pete say, “I model lacklustre panicky in vain search for the remedy/No words only melody come so I take the day off/My love,My love she sits with me I love I love her company/Raindrops on roses and dust filled trinkets”. And then the moods shift again and for the first time there is self-analysis, and the same beauty that one first found on ‘F*ck Forever’. ‘Unbilotitled’ is inspirational and aching all the same as Pete croons, “He is stronger than the walls/That you tried to build around him/To dumb and dumbfound him/For 2000 years they have waited for his call/Screaming from the windows/Screaming bloody murder/The more that you follow me/The more I get off/You think that you know me/You’re pissing me off”. And speaking of reminders, a huge reminder of the great raging days of The Libertines comes through with ‘Side of the Road’. It is more than a song, it is a punk anthem, that takes one to The Doors’ ‘Break On Through’ and The Clash’s ‘London Calling’ but just for its sheer rage, yells and power and not cheating of any sort. Pete yells out, “With the bands and the fans and gangs/and the clan with the monkey man high with a little girl at his side/Well I’ll never, never, not once when we’re together, waiting on the dole/As he’s queuing up inside … innnnnside … graveyard”. The last track on this record is ‘The Lost Art of Murder’ which captures Pete in his most vulnerable state of mind. It is the most beautiful song on the album with Peter on acoustics. As Pete sings, “You call yourself a killer but the only thing that you’re killing is your time/There’s nothing absurder/A bird is just a burden/To your heart your soul your body spirit and mind/Oh don’t look at me like that/She won’t take you back/You said too much, you been too unkind/Get up off your back/Stop smoking that/You could change your life” – it is here that he admits to a change and to his own faults. Part of Shotter’s Nation credit must be given to Stephen Street who plays producer to this record and makes the entire album clean and crisp even as he lets the band be spontaneous, fun, blue all the same. Michael Whitnall doesn’t fall prey to the traps of riffs. He play punk riffs but lets the rhythm flow without being too ambitious. Drew McConall and Andrew Fick do justice to bass and drums respectively. Kate Moss proves there is more to the woman than being a supermodel. And ultimately this is Pete’s moment, his startling achievement at a time when no one believed he would even return with a new album. This is what music is about, it is about experiments, passion and the person. The person that Peter Doherty is shines through on Shotter’s Nation. – Shotter’s Nation is available on I-Tunes and for free download on torrents. *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME