The big five

From bluesy, pop debuts to rock galore, the second half of 2008 is promising to be an even bigger bang. As the newcomers and giants of the music industry gear up for album releases, Instep gives you the five albums to watch out for this year!

By Maheen Sabeeh

Artist: Ali Azmat Album: Klashinfolk Release: September 2008
If the first half of 2008 was made excited by Strings and their return with Koi Aanay Wala Hai, the second half belongs to Ali Azmat. In 2005 he stunned some of the harshest critics of Junoon with his solo record, Social Circus. But if Social Circus was about introversion, Klashinfolk is about extroverted side of life. Recorded at Mekaal Hasan’s Digital Infidelity studio, the album sees Ali Azmat don the role of producer, singer and songwriter for a second time. Composition credits belong to Ali while he has jolted some of the lyrics himself with a few others with noted lyricist Sabir Zafar. As for the sound, it really is a 360 degree turn for Ali. Having heard a few ditties such as ‘Sawaal’, ‘Gallan’ and ‘Balaman’, it is clear that the electronic wizardry, one first heard on Social Circus, has disappeared altogether.
And this time Ali Azmat has attempted an edgier and raw sound. The influences range from Steely Dan to Coldplay and Radiohead among many others. “I call it urban folk music,” explained Ali Azmat while speaking on his hotly-anticipated new album. “The name Klashinfolk is not just inspired from the gun culture we live in but the general chaos and the uncertainty that surrounds us,” concluded Ali. While one driving force behind Social Circus were the synthesized sounds, on Klashinfolk it is all about live music. “We rehearsed and then played the album out and it took us three days to do it. It is a live album and nothing like Social Circus,” clarified Ali about the sound. Another interesting development on Klashinfolk is the line-up it includes. Other than Ali Azmat, the players on Klashinfolk include Omran Shafique on guitars, Kamran Zafar aka Manu on bass guitars and lord of drums himself Gumby. With two videos, one with Zeeshan Parwez and another shot in India, Ali is looking at September as his release. And we can bet, Klashinfolk will be as unpredictable a record as the man behind it.
Artist: Shafqat Amanat Ali Khan Album: Untitled Release: September 2008
The last time we heard Shafqat, he was singing the tunes of Ramchand Pakistani and proving yet again that when it comes to vocal magic, he is unbeatable. Post-Fuzon, there have been a number of stories about what Shafqat will be doing. So for the record, the big man with the bigger voice is not doing an album with Rohail Hyatt and neither is he planning on releasing a Sufi album. Shafqat is picking up from where Fuzon left off. But he promises that it won’t be another Saagar. It’ll be different and hopefully better. In between offers from Bollywood, Shafqat has been wrapping up his solo album and he will wear the hat of singer, lyricist and songwriter on the album.
“I haven’t decided on a name yet but I am definitely looking to release my album in September 2008,” Shafqat confirmed to Instep. Even though the album is being backed by an Indian record label, Shafqat is still working with musicians from this side of the border, to make sure that the signature Bollywood sound doesn’t creep in from the side. Shafqat has revealed that even though most of the album will be sequenced, the live sound has contributions from Imran Akhund, famous for collaborations with Shehzad Roy, plays the guitars while Sajid is on flute and Shani takes on the role of the producer. “I was planning a Sufic album but as I went along, I realized that it was something else so I won’t call it a Sufi album,” explained Shafqat. As for the sound, it’ll tip towards the softer, mellow side with concentration on melodies. Here’s one solo effort that’ll definitely be something. With Shafqat’s classical background and understanding of the reach of pop, this record will be one hell of a listen!
Artist: Kaavish Album: Gunkali Release: 2008
The three youngsters from Kaavish, Jaffer Zaidi, Maaz Maudood and Raheel, first shot to the limelight with their beautiful single, ‘Bachpan’ and since then there has been no looking back for this trio. Now in 2008 we will finally see Kaavish release their debut record, Gunkali. For those unaware of the meaning of their title, it refers to a morning raag, which Kaavish interpret as a beginning for them. Their name Kaavish meanwhile means struggle. Yes, these boys have struggled but they haven’t compromised on their songs.
Teaming up with music producer and engineer Faisal Rafi – who co-produced Rahat Fateh Ali Khan’s Charkha and played engineer to some tunes on Strings’s Koi Aanay Wala Hai – Kaavish have aimed for complete live instrumentation on their album. While front man Jaffer Zaidi dons the role of composer, Maaz, Daniel alongside Jaffer and various others including Nayyara Noor (Jaffer’s mother) and Anwar Maqsood have penned the lyrics. As for the music, it’s definitely different. Having heard the rough cut of this album, it has to be said that Gunkali is for 2008 what Fuzon’s Saagar was for 2003, a purely delightful melodic record. Kaavish have even re-done their released singles, ‘Bachpan’, ‘Choti Khushiyan’ and ‘Tere Pyar Mein’ to make sure that these tunes get the right treatment under the watchful eyes of their producer Faisal Rafi. Some of the biggest names from the music industry have played on this album. They include drummer Gumby, guitarists Omran Shafique, Aamir Zaki, Abbas Premjee, Shallum Xavier as well as the band itself. One interesting bit about this album is the concentration on soft, slower melodies and the focus on piano, an instrument that somehow gets neglected in our music scene. Heartbreaking, melancholic and truly beautiful, we bet Gunkali will be one of the best albums you’ll hear… ever.
Artist: Zeb Bangash and Haniya Aslam Album: Chup Release: July 2008
As far as female voices go in the mainstream music scene of Pakistan, we’re sorely lacking behind the world. Not since Nazia Hassan and Hadiqa Kiyani have we been so excited by two female musicians. And they are Zeb Bangash and Haniya Aslam, the two girls who first made buzz with their single, ‘Chup’. With a couple of shows behind them, industry insiders are already impressed by this duo and they include the likes of Rohail Hyatt, Shahi Hasan, Zeeshan Parwez as well as countless others. Between the two of them, they can channel voices that touch other singing prodigies like Tina Sani, Janis Joplin, Sarah Mclachlan and Lene Marlin. “Our songs are about universal emotions such as longing, love, desire and loss,” explained Haniya while speaking on their upcoming album.
Chup not only sees the debut of Zeb and Haniya but unites them with Mekaal Hasan who has produced the album. Other artistes involved in this album include Gumby, Shallum Xavier, Kamran Zaffar, Co-VEN men Hamza Jaffri, Sameer Ahmed and Sikander Mufti as well as Mauj man Omran Shafique. What separates this album from a plethora of other is its bluesy feel. Most of the songs on this record, have, after all been composed on the acoustic guitar. “It has a varied flavour and mixed genres. From Eastern and folksy songs to even Bollywood, the inspiration is drawn from a number of musical styles,” Haniya stated explaining the sound. So inspired by their music that Saqib Malik has taken the task of directing their first video, for the single, ‘Aitebaar’. Their tunes, ‘Chup’ and ‘Chal Diye’ that have been available for download from their website has further increased interest in these girls. By the time this article goes in print, Zeb and Haniya’s Chup should be out in markets. So grab a copy now!
Artist: Mauj Album: Mauj Release: 2008
Its funk, its punk, its groovy… it’s Mauj. Even though Mauj have been around for a few years now, their self-titled debut record hasn’t been able to see daylight… until now. With a record deal in hand and a video (set to be directed by Zeeshan Parwez) in the pipeline, the band spearheaded by Omran Shafique is all set to release their album later this year. With tunes like ‘Khushfehmi’ and ‘Paheliyan’ and gigs all around town, Mauj have managed to do what few others can: establish a loyal listenership and win critics over.
Omran Shafique remains the band’s most credible asset who shares lyrical responsibilities with Mohsin Atif and dominates the songwriting aspect of the album all by himself. Having heard their singles like ‘Mona’, ‘Baat Barti Gayi’ and ‘Awaaz’, it is clear that this is not a one-hit or even two-hit wonder band. With solid compositions, rock and funk galore, Mauj are hugely different from the other rock acts. Their songs have the kind of punk fun that reminds one of British acts like The Libertines and The Kills. The words can be sarcastic at times, solemn and introspective at other times, just like the tunes. Their live shows – with Omran Shafique on vocals/guitars, Sikander Mufti on drums, Hamza Jaffri on rhythm guitars and Sameer Ahmed on bass – are fiery and with their record coming out, these shows will become even more exciting. Mauj don’t make kill-yourself-depressing music, but even so they attempt the more restrained and complex of emotions as far as songwriting goes. It is this treatment of each song that sets them apart and this is exactly why we think that their debut will be one album to watch out for.

Love Story 2050

Love Story 2050**
*ing: Priyanka Chopra, Harman Baweja, Boman Irani
Directed by Harry Baweja

The pre-release media frenzy surrounding Love Story 2050 was enough to demand a watch. Even the story seemed interesting enough. Time travel. We were set to see Mumbai in the year 2050 and a whole bunch of special effects to boot. Plus there is the Harman-Priyanka pair, the off-screen couple were set to sizzle together for the first time.Sadly, neither time travel nor the pair of Harman-Priyanka can save this film. In a word, it is painful. While Harry Baweja, the filmmaker behind this magnum opus OTT drama has embellished the second half of this film with some seriously stunning effects, the story fizzles out within 15 minutes of the film. There is Karan Malhotra (Harman Baweja) a 23-year-old guy who lives life a bit too dangerously. Fast cars, fast life, Karan pushes his luck every time and manages to survive always. There is Sana (Priyanka Chopra), sweet, innocent and shy. The two meet, fall in love (way too quickly) and plan to live together, forever and ever. An accident changes everything.
Mumbai 2050. Flying cars, skyscraping building, robots and a chance to find the one again is, in a nutshell, Love Story 2050. But this is one of the worst films Bollywood has splashed millions on. Firstly, there is the awful story. It is a love story but one that is not well thought out and executed. From falling in love to separation and conquering love again, it fails to stir any emotion. Dilwale Dulhaniya La Jayenge, Hum Dil De Chuke Sanam, Kuch Kuch Hota Hai, Dil Se – those were love stories that touched hearts. What comes across here is shoddy writing.
Then there are the songs. Far too many even by Bollywood standards and barring ‘Sach Kehna’ sung by the very talented Kunal Ganjawala, all other tunes are mediocre. Anu Malik disappoints horribly. Plus Harman Baweja moves way too much. Whether it was an attempt at futuristic dancing or just to show off his flexibility on the dance floor, we’ll never know. But moving too much is as bad as being stiff. Then there is the acting. Priyanka Chopra is a delightful actress to watch. As the seductress in Aitraaz, she was incredible. In Bluff Master, she was wonderful as the heartbroken girl next door. It is a given that this girl can act but she has to be given a role that brings out a performance. In Love Story 2050 she is simply adequate. There is no role. Just a whole lot of drama that you can find on Star Plus and between Love Story 2050 and Star Plus sagas, my money is on the sagas. Boman Irani’s character is lifted from Albert Einstein. The hair, the wackiness, it seems heavily inspired from the brilliant scientist. He is, by far, the most entertaining part of this film. Now for Harman Baweja. He was one of the two bright new sparks for Bollywood – the other being Aamir Khan’s nephew Imraan Khan – and Harman definitely has talent. In Love Story 2050, one can validate his talent in some scenes, the one with the accident, and the entry into the future. And that’s about it. As for the rest of those never-ending three hours, Harman overacts. It’s too over-the-top and completely bizarre. The second half with robots and Mumbai with flying cars is completely unrealistic. Robots are still a possibility. Tokyo already has robots with artificial intelligence and with India’s economy moving at a rapid pace, robots may even happen. But flying cars, it all looks superb but you never fall for it, not even for a second. And that brings us to the science of time travel. Whether in films or on television, the West has explored this theme before. But they have always done it intelligently. Here it’s all superficial and honestly, a bit too boring. The only two things that make this film slightly watchable are the special effects – that is if you get past the unrealistic science of it all – and the cinematography. The futuristic tune, ‘Hey You Lover Boy’ that features a redheaded, sultry-looking Priyanka Chopra atop a moving stage in the skyline is fabulous. Nothing worthy about the song but it looks incredible on screen. Priyanka and Harman caught in the rain, or running around on the tune, ‘Meelon Ka Jaisay Faasla’ – its shot extremely well and looks beautiful, especially when one sees these scenes on the big screen. And that sums up this huge, over-hyped and truly unfortunate love story. 2008 has been an incredibly negative year for Bollywood. Except for Race and Jannat, all the other films have failed to make a mark with audiences. Initial numbers reveal that Aamir Khan’s Jaane Tu Ya Jaane Na may be the third big film of the year while critics have already panned Love Story 2050 as a weak film. Even with a budget of 80 crores, this film is a complete waste of time. Only watch this film for the special effects. It is a telling sign of how far Indian cinema has come in technology. Otherwise, skip it. – Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

The Ramchand Pakistani OST is a triumph

If Ramchand Pakistani is to be judged by its soundtrack – as many south Asian films are – then it has already moved hearts with its poignant background score, released in Pakistan this week.

By Maheen Sabeeh

Ramchand Pakistani, the upcoming and much anticipated film from Mehreen Jabbar has already created enough buzz to become the next best thing happening in Pakistani cinema post Khuda Kay Liye. Thankfully, there is someone like Mehreen to follow in Shoaib Mansoor’s footsteps with a thinking film as opposed to a commercial one.
The human drama that has been screened at international film festivals such as Tribecca and Seattle (among others) has managed to win universal acclaim. BBC, Variety, New York Times, Film Journal International, New York as well a few other highly credible publications have given this cross border tale of relationships, identity and human struggle two-thumbs up. Featuring Nandita Das, Rashid Farooqi and Syed Fazal Hussain in pivotal roles, Ramchand Pakistani – which is based on actual events – has already carved an audience for itself with favourable reviews from the foreign press. As for its date of release, one waits very eagerly.
Though no date has been announced, the recently held launch of its soundtrack was proof of an approaching date of release. And if the film is to be judged by its music – which is the case in so many South Asian productions – then the film is going to be poignant and soul stirring in the least. In simple terms, Ramchand Pakistani is an amazing album. Not just for it’s incredibly rich and powerful sound paired with the moving vocals of Shafqat Amanat Ali Khan and Shubha Mudgal but also that it transcends one into the distant and dry desert of Sindh where Champa loses her son to the land beyond the line of control. The low-key and truly talented Debajyoti Mishra (Raincoat, Choker Bali) heralds the music direction with brilliance, while from Pakistan Anwar Maqsood pens the lovely and often heartbreaking words, Rohail Hyatt plays the role of sound engineer while Shafqat Amanat Ali Khan joins Shubha Mudgal on the daunting vocals. It is an infallible combination. The soundtrack of Ramchand Pakistani is not very extensive – barely four original songs and an instrumental. But what takes it a step further is the selection of classic folk songs from Sindh that lend the album an authentic integrity.
It is unfortunate that folk music has withered away into the background while other genres have moved and found a voice in mainstream music. Needless to say, there is immense talent in the rural deserts of Sindh or the distant, culturally rich villages of Punjab. With Ramchand Pakistani, traditional folk music, is dug up and reinvented to fit today’s times without loosing its edge. Lingering flutes and sweet woodwinds, Ravanhatha – a two string stick fiddle – and various beefy percussions such as North Indian drums, matkas and possibly others meet acoustic and bass guitars and keyboards to form a dreamlike and beguiling soundscape.
Like the film that is spun around the borders of India and Pakistan, the soundtrack too meets experts from India and Pakistan for its creation. Another man who must be mentioned is SM Shahid, the musicologist who plays the role of consultant to this ambitious and sonorous record. The album not only incorporates folk influences but also delivers three iconic numbers from legendary folk artists like Allan Fakir, Ustaad M Jumman and Mai Bhaagi as a tribute. One can hear Ustaad M Jumman’s ‘Yaar Dhadee’, Mai Bhaagi’s ‘Neeem Kay Neechay’ and Alan Fakir’s ‘Tarrin Paunda’ on Ramchand Pakistani OST.These are songs that listeners in Pakistan may know well but for listeners abroad, these are unknown numbers. Ultimately it is this music that is a true reflection of the vast culture and tradition of Pakistan. Ramchand Pakistani has given these songs and these folk legends a platform that will take them to the world. With all these giants of music tied together on one album, with well-crafted songs,it makes this OST one of the finest ever. The wall of sound The intricately constructed sound of Ramchand Pakistani never wallows in its own melancholy. It weaves a magic that changes moods sporadically. Whether it is the tragic and somber ‘Phir Wohi Raastey’ or the colourful ‘Teri Meri Preet’, the nostalgic tale of land that is ‘Meri Maati’ and the majestic ‘Allah Meg Dey’, the magic is persistent throughout this outstanding record. The video of ‘Phir Wohi Raastey’ is running on airwaves these days and it is easily one of the best tracks  Shafqat Amanat Ali Khan has ever sung.
While the musical arrangements that make most use of percussions and the bluesy flute with Ravanhatha’s subtle entrance in the middle, form the structure of this tortuous tune, it is the voice of Shafqat Amanat Ali Khan that elevates this song to a different level. With Shubha Mudgal in the background, the song belongs to Shafqat as he sings, “Phir wohi raastey/Phir wohi rahguzar/Jaane ho ya na ho mera ghar woh nagar/Yeh kahani nahi jo suna doonga mein/Zindagani nahie jo gawadoonga mein (Once again, those roads/ Once again, those pathways/ I do not really know if that land is my home / It is not just a tale that I can simply narrate/ It is not just a life that I can simply lose)” – he brings a level of depth, touching inner despair in ways inconceivable.
Changing lanes, the album drifts away into something lighter and truly beautiful with ‘Teri Meri Preet’, a song filled with love and romance. And here one encounters Shubha Mudgal in all her glory, singing the words with as much conviction as with power. The striking melody, sonorous and lighter musical tones with meatier drums in full force and coupled with poetic notions of an enduring love makes ‘Teri Meri Preet’ a full notch above average love ditties. There is an undeniable and earnest charm to this song. If ‘Teri Meri Preet’ sees Shubha on a slightly restrained note, on ‘Meri Maati’ she lets go completely. The somewhat subdued number that reflects on the overwhelming love most people possess for their soil and the identity that remains attached to it is and a condition where that soil, that world is taken away, leaving one with a feeling of an irreplaceable loss, is captured by Shubha magnificently. And then finally… the magic happens, the tune, which unites the vocals virtuosos Shafqat Amanat Ali Khan and Shubha Mudgal together. ‘Allah Meg Dey’ is a departure from the melancholic notes of ‘Meri Maati’ and again one finds shades of hopefulness. Complimenting each other’s vocals, Shubha and Shafqat deliver like pros. This ornamental ditty that’s at once intimidating yet inviting in its complete splendor. And finally there is ‘Ramchand Ka Safar’ an instrumental tune, grand in sound, filled with the tender flute, weeping Ravahatha and a mélange of other instruments, evoking the figure of a lone boy walking across a stranded street. Mysterious at times, haunting at others, it’s as powerful as the rest of the songs. With Shubha’s slight humming in the background and dialogues from the film interspersed to add more character, its commands attention.
The beauty of this album is not just in its meticulous treatment of each song but also its drifty character. From familiar territory towards the unknown, it ultimately finds its way into your dreams, reminding you of ancient folk tunes and the power of tradition that you may have forgotten. For the director, Ramchand Pakistani is another milestone. If Raincoat was drenched in the theme of yearning and Choker Bali was about the regal, Ramchand Pakistani is about identity and loss. Heartfelt and poignant, the album catches the emotional ambiguity at the soul of the characters that are spun around two borders, struggling for survival against adverse situations.
Bridging the divide The score of Ramchand Pakistani stems from two sides of the border – India and Pakistan. And it is a reflection on the film itself that connects stories and people from around the world. At the press launch of the music, one connected with Nandita Das who spoke of her delight working in the film, vis-à-vis a telephonic conversation from Bombay while Mehreen Jabbar thanked the supporters of the film from New York. That is a reflection of how Ramchand Pakistani has helped in bridging divides and bringing people together. The film and its music may not be boasting of many superstars but it is this kind of a project that has already put Pakistan on the map. Ramchand Pakistani may not have the ingredients to become a box office moolah spinner, but it is a film that will reflect the power of sensitive storytelling that Pakistan can be proud of. Most importantly, this film is a collaboration in the truest sense. Indian actress Nandita Das shares frames with Pakistani actors with Mehreen Jabbar at the helm of this project. Even the music collaboration is not a one-off where a Pakistani song is incorporated in a film because of its popularity while musicians and music directors disagree on the rights of credits. Ramchand Pakistani OST is exactly how a collaborative music album should be. Experts meet from both sides of the border on a common page and together create a complete album. This is not just another Bollywood-meets-Pakistani pop music effort. And getting Shafqat Amanat Ali Khan from Pakistan and Shubha Mudgal from India is a musical casting coup. Two of the most powerful singers from the subcontinent not only unite but also sing original numbers. Ramchand Pakistani OST is truly inspired, beautiful and extremely intelligent. It is an album that commands attention and we better listen up!

Street Kings

Street Kings***1/2
*ing: Keanu Reeves, Forest Whitaker, Hugh Laurie and Chris Evans
Directed by David Ayer

Gritty cop thrillers can often be complete wash outs. But any film that mentions names like Keanu Reeves and Forest Whitaker together just gets attention without trying too hard. And fortunately, the two actors do live up to their names in Street Kings. In the bloody, nah bloodiest, trigger-happy, suspense-driven Street Kings, we meet our worst nightmares – cops who shot first and ask later, arrogant men who abuse power in a twisted belief that it is all for a higher purpose. Tom Ludlow (Keanu Reeves), a Los Angeles Police Department (LAPD) veteran is over the edge since the death of his adulterous wife. A man who knocks down airplane bottles of vodka on and off duty. He kills and shoots and it’s gory as hell. Ludlow’s lack of discipline is supported and encouraged by his corrupt Captain Jack Wander (Forest Whitaker). In a bunch of rogue officers, still on duty, Tom is the main gun, doing the dirty deeds for his captain, who is also his mentor and a father figure. Their murderous ways gets noticed by the Internal Affairs office and Capt. James Biggs (Hugh Laurie) enters the picture. And thus begins the corrupt tale of cops with excessive power and force. Mind you, there is nothing too original about this film if you’ve seen movies like Harsh Times and Training Day. That said, the film works on the shoulder of its mighty cast and the suspense quotient that accelerates at a rapid speed as the film moves towards the climax. The fact that crime novelist James Ellroy (L.A. Confidential and The Black Dahlia) co-wrote the script with David Ayer (screenplay writer of Training Day) gives the film a lot of credibility. Come to the actors and it isn’t surprising that one gets hooked to the sequences and the racial, over-the-top tale of loony cops. Keanu Reeves has been AWOL from the film scene since The Lake House. His action prowess was proven in Speed and later in the Matrix trilogy. But here he looks more haunted and defeated and brings a level of maturity that makes Tom Ludlow’s character fantastic. This was not an easy role to play. There are many complexities to this role. Tom Ludlow lives in a paradox. He bends and breaks the law to protect the law. But Keanu is a powerful performer and in Street Kings, he delivers like a pro. The other performer who deserves equal applause is Forest Whitaker. He walked away with an Oscar and a BAFTA in The Last King of Scotland. While this film doesn’t give him a loaded role of a protagonist, his role is definitely a significant one. The amount of believability he brings to the role of a corrupt captain is extraordinary. Forest is flawless. Chris Evans, who is mostly known as Human Torch from Fantastic Four franchises is the man you root for till the end. He is an honest man who gets sucked into a bloody situation and Chris plays the role to the hilt. Hugh Laurie is good but he needed a mightier role to show his depth as an actor, the kind we’ve witnessed on his show, House MD. On the minus side, at times Street Kings could’ve been edited more smartly. David Ayer delivers this film after Training Day. Even though Street Kings is a complex film, it is hard to imagine that real cops do exist who get away with this much trigger-happy events before others come to haul them up. However, as a nasty and bloody film, Street Kings entertains. Don’t look for too much thought-provoking answers because there aren’t any. But as a cop drama, Street Kings is worth the money. – Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME