Quantum of Solace**1/2

*ing: Daniel Craig, Judi Dench, Mathieu Amalric and Olga Kurylenko
Directed by Marc Forster

Quantum of Solace is not just another Bond film. It really is a sequel to Casino Royale – which introduced Daniel Craig’s raw, untested James Bond to the world.  This film picks up from where Casino Royale trailed off. But it is nothing like its predecessor.  Still hurting from the betrayal and death of his love Vesper (Eva Green), James Bond is on the hunt, seeking revenge and he is unrelenting, throwing people off buildings, dumping his friend’s body in a garbage bin, killing anyone he touches.    M (Judi Dench) the head of MI6 is not pleased and she retracts Bond’s license to kill.  Meanwhile the most cartoonish and peculiar villain in the Bond series, Dominic Greene is on the loose. Connecting him with James Bond is Camille (Olga Kurylenko) who is also seeking revenge on a Latin American general. In between is the politics between MI6 and CIA, the global issue of oil and corruption at the highest level. It’s definitely interesting. But the film doesn’t play this to its advantage. There are hardly any ploys the film uses to tighten the film. Au contraire, Quatum of Solace is actually a much weaker film than its prequel.  Director Marc Forster goes for the usual action scenes – car chases, airplane and sea boats fights, James Bond hanging upside chasing a villain in a labyrinth-like maze. It’s glittering stuff and on the big screen, it’s breathtaking. But unlike the last time, where action sequences were relatively fewer and spread evenly throughout the film, here it is the exact opposite.  The film opens with a car chase and it is a teaser into the film which, in the end, can be simply defined as an action film. And that is anything but good especially after the brilliance of Casino Royale. Quantum of Solace fails to live up to the hype that surrounded the film prior to its opening. The one-liners and effective dialogues are all but replaced. The action is too much. The film never slows down even though it should. There are no memorable and powerful scenes without someone being bludgeoned to death.  Indeed Marc Forster shoots action scenes exquisitely, keeping it tight but by the end, it seems as if he is taking his cues from the Bourne films.

And predictably enough, with so much action, halfway through the film, it all starts becoming boring.  Remember Wachowski Brothers and their masterpiece called The Matrix? It changed the whole spectrum of action films and took it to another level.  Last year the third film in the Bourne franchise, Bourne Ultimatum, where action sequences went to a whole new level, was absolutely brilliant.  With all these movies out, Quantum of Solace needed a more realistic tough which never happened.

If you were hoping for a tour de force of cinema, Quantum of Solace isn’t one. It falls into all the clichéd traps: over-the-top action, a storyline that baffles one to no end and James Bond on the hunt around the world. To add fuel to fire, the villain never comes into full play.  So he is involved with a dictator and is looking for oil or water. Who cares?  The real problem is the loose writing. Why is Dominic Greene such a dangerous villain? He isn’t terrifying at all. M has more shades to her than Dominic. It’s quite bizarre.  James Bond with his grim, pessimistic and disillusioned worldview is the only saving grace of this film. Daniel Craig’s Bond lives a tough life. He isn’t anything like the Bond of Sean Connery or even Pierce Brosnan.    He is miserable. He doesn’t sleep. He is merciless and yet the truthfulness of this Bond is intriguing. His faith is shaken and in some ways, he is vulnerable and emotionally raw in ways one didn’t witness in Casino Royale. James Bond has never been this isolated – Americans and even the Brits don’t come to his defense – and he plays it to such effect that it is astonishing and it definitely hits a nerve. No James Bond has ever done that. The best scenes are when James Bond explores emotions, which we didn’t know James Bond had until Daniel Craig stepped in. The other high point are the sequences between M – who has this inner cool steel demeanour to her – and James Bond. Both of them are wary of each other. She doesn’t trust him because of his recklessness and he hates being controlled by her. But even these two don’t save the film. In the end, the only respite is the actor that is Daniel Craig. He plays James Bond like a man, not a machine and that really is a good thing. Watch it, not for the action, but the actor that is Daniel Craig. He is to British cinema what Amy Winehouse is to British music – a maverick.– Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

The fallible debut

VJ Dino has finally launched his debut album, Suno Zara. The ten-track record is, in a word, forgettable. And here’s why…

By Maheen Sabeeh

Artist: Dino
Album: Suno Zara*1/2
Dino has an unusual voice. It’s neither as deep nor untainted like Shafqat Amanat Ali Khan nor does it possess that striking quality that is synonymous with Atif Aslam.

To be blunt, it is a forgettable voice. And that is never, ever a good thing.

Mix an unmemorable voice with an album that has its foot in everything from soft pop to hip-hop, dance, R’n'B, with a pinch of electronica and indie rock and it is everything an album shouldn’t be: an incoherent and confusing record with weak lyrics and a singer who needs to assess his strengths before taking on the mike.

It’s the same problem that hit Salman Ahmed in 2006 with his solo album Infinity where he attempted singing. But where Salman Ahmed had some interesting riffs to offer (if nothing else), Dino can’t even offer these because he is not as accomplished a musician as Salman.

It was in 2004 when Dino sprouted on the scene with his debut single, ‘Pari’ – a song that dabbles in pop/rock genre with the traditional mix of guitars, drums (or maybe drum machines?) and lyrics about love that is magical and how it completes the protagonist – and it was not a good beginning.

There was nothing wrong with ‘Pari’ except it didn’t possess that unique twist that makes a song memorable. Debut singles are hugely crucial for an artist because it is their first initiation to music fans.
Mauj understood this when they released the strangely worded, funk-laced ‘Khushfehmi’ as their first single. Another example is Kaavish’s bluesy ‘Bachpan’.

But of course being one of Pakistan’s first VJs since media boom, Dino has plenty of fans who adore him and in all probability loved the song.

A little while later one heard Dino again on the re-done version of Najam Sheraz’s ‘In Say Nain’ but in that particular song Dino’s voice wasn’t the only flaw. The entire version didn’t do justice to Najam’s fabulous original. If half the music industry couldn’t deliver, what are the chances that Dino could’ve?

Dino sang jingles time and again but it is now that he has come out with a full-fledged album. And it is safe to say that Dino should stick to being a VJ.
What is the punch line?

On hearing Suno Zara, one is stumped. It is hard to decipher what the album is trying to achieve. Perhaps the biggest flaw is the absence of memorable melodies.

The melody is the driving force behind every song and on this album, they’re just weak.

The title track is ample proof.
‘Suno Zara’ is one of the most minimalistic songs on this record. With subtle acoustic guitars forming the background, its treatment reminds one of Snow Patrol’s ‘Chasing Cars’ where the tune goes completely crazy at the very end with heavy riffs and sensational drums. And that is what is happening here. But where ‘Chasing Cars’ had the incredible voice of Gary Lightbody and inspired lyrics, here one has Dino hitting notes he shouldn’t be attempting. An odd accent creeps in when Dino sings this number. It just doesn’t work.

The wordplay is equally boring.
“Faisalay Darmiyan/Khogaye Hum Kahan/Kya Huwa/Kya Khabar/Kyun Huin Dooriyan” (Distance between/We’re lost/What happened/Who knows/Why the distance) – this is ordinary stuff.
Noori did a song on their 2005 album Peeli Patti Aur Raja Jaani Ki Gol Dunya, ‘Aarzoo’ and that tune spoke of distance, miscommunication and a sense of hopelessness. Brothers Ali Noor and Ali Hamza never made a video of this song but it remains one of their finest.

One can’t help but be reminded of it because of the weak lyrics on ‘Suno Zara’ and how the very same theme came to life in Noori’s ‘Aarzoo’.
And this is another problem with this album. Every song reminds one of a better song done by another artist. And it isn’t because Dino has plagiarized. Nope. The real reason is that there is nothing on this album that hasn’t been attempted before.

This brings one to the remix of ‘Suno Zara’. With its stomping beat, this tune is dull. A beat alone with some sonic trickery will not make up for the lack of originality. Locally speaking, the mix of Strings’ ‘Duur’ at Coke Studio by Zeeshan Parwez and Abdul Lateef’s lewa men was far more enticing and musically challenging.

The same can be said for the futuristic ‘Bahon Mein Aja’. While the tune is definitely catchy, it is plagued by Dino stretching notes which is disastrous. And the sound isn’t as funky as Timbaland’s Shock Value which was extraordinary.

And then there are the English lyrics that remind one of a bad version of American rap sensation Usher mixed with British-Indian Bombay Rockers.

“In the day time, I wanna dance with you/In the night time, I wanna dance with you/Baby girl I wanna dance with you cause you’re my lady” – have we not heard such lyrics before?

Speaking of Usher and the genre of R’n'B music, there are songs like ‘Dekha Tujhko’, ‘Aja Tu’ and ‘I need to love ya’ – all heavily influenced by the genre but none doing justice to it.

It seems that everything is thrown on the sound wall together through keyboards, clanging beats, sonic effects, guitars, rap (which is neither as hard-hitting as Eminem nor as fun as Snoop Dogg or Usher) and it just doesn’t click.

Then there is ‘Tere Naal Naal’ where Dino samples Modjo’s ‘Lady’ and puts words to that music right up till the end where Modjo and Dino sing together.

Sampling tunes is attempted worldwide, especially by DJs who will mix U2 and Sarah Mclachlan. But Modjo’s ‘Lady’ is a fabulous number. And hearing Dino singing “Tere Naal Naal Mainay Raina” – is another disaster. He can’t carry the notes.

The only two songs on this album that are remotely listenable are ‘Armaan’ with its soft and melancholic guitars and the ominous tone which Dino takes while singing. The other being ‘Raat Bahar’ with subtle orchestration, its air of gloom and missing one’s beloved.

The verdict
Debuts are tricky business. It is the introduction to the world of music and to possible fans. Often debuts can’t be daring. Not everyone will pull out a Social Circus like Ali Azmat or a Huqa Pani like Ali Zafar. But a debut record will only last if it is inspired enough to entice a listener from its first single.

In Dino’s case, things are different. He is a known veejay who has been around for years and he has a following. That ensures Suno Zara’s future with fans, at least the ones who enjoy watching Dino on the small screen and hearing him on his radio show.

Beyond that, Suno Zara has nothing going for it. The album cover, which is the first look at the album, is off-putting. Three different poses of Dino on the cover – that seems too narcissistic.

The press release that accompanied the album stated: “Suno Zara is a fusion of funk, soul, rock and pop all rolled into one sound.” And that is exactly why this debut album from Dino is flawed. There is everything from morbid ballads to electronica-inspired tunes, hip-hop laced sonic tricks, tunes drenched in R’n'B influences but it doesn’t work.

Why is Timbaland hailed by everyone from critics to fans worldwide? It isn’t because he throws everything at the sound wall and sticks it together. It’s because he has entered musical dimensions with such a glimmering style that he has made his own unique signature. This is why he has us hooked.

Coming back to Suno Zara, it is clear that it is a love album. But sadly, even with the powerful emotion of love, there is nothing emotionally raw about this album, which makes it hard to connect with the man singing.

Fuzon’s ‘Khamaj’ was beautiful yet fragile, Ali Azmat’s ‘Teri Parchaiyaan’ gave a feeling of vulnerability which is interesting because it is not easy imagining a vulnerable Ali Azmat. Most recently Zeb and Haniya’s playful yet melancholic ‘Aitebaar’ is a great example. It’s exceptional not just because of the music but the kind of desperation and desire that Zeb and Haniya fused in the vocals.

Add all this to the fact that the lyrics are don’t experiment or offer anything new and one is disappointed even more. There is no harm in attempting love lyrics but it has to be done with some style.

Zeb and Haniya’s Chup, Atif’s Jalpari and Fuzon’s Saagar all used love as a pretext to the songs and it worked. It was simple yet effective but ordinary they were not.

All said and done, this debut from Dino is disappointing. He neither delivers as a composer nor as a songwriter. In all probability, this album might work. It is VJ Dino after all. But for those who have heard music from around the world and are familiar with artists like Usher, Kanye West, Raghav, Jay Sean and Timbaland, this is not the album to grab.
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Beyond the long shadow of Fuzon

The original Fuzon and their debut, Saagar, is considered one of the best albums of the decade. But the band didn’t last. Shafqat Amanat Ali went solo with Tabeer while Fuzon recreated themselves with a new vocalist Rameez Mukhtar and a new album Journey.

By Maheen Sabeeh

Butterfly effect
The original Fuzon has the kind of complicated, tortuous story that would send a less dynamic band into oblivion. However, since this former trio is as compelling as it gets; they have all survived on.
Shafqat Amanat Ali Khan is now a solo trooper in the music scene. Meanwhile former band mates Shallum Xavier and Emu resuscitated their claim to fame act Fuzon with a new singer, Rameez Mukhtar.
And fortunately both acts delivered on their promise of a new album ala Shafqat’s Tabeer and Fuzon’s Journey.

Now though with both records out, the question that one
predicted since the band first broke up has been hanging in the air: which is better? Most importantly, does it surpass the genius of Saagar?

Neither of the two can be answered in a simple yes or no. The only thing more complicated than creating an actual record is deciphering the feeling behind it and its timing. There is a trickle down effect to every piece of music created. What Saagar did for the music industry is very different from what Tabeer and Journey are doing. And that is exactly the case here. But first a look at the two records…

Tabeer vs Journey: the similarities
In some ways, Tabeer and Journey are similar. Both boast of incredibly powerful singers. Shafqat Amanat Ali Khan is of course the bigger draw. The son of Ustad Amanat Ali Khan, the seventh son from the prestigious Patiala gharana has deep, untainted vocals that remain unmatchable. Not enough can be said for the sheer power of Shafqat Amanat Ali Khan. It is the kind of voice that is not only inimitable but one that stands tall in front of both pop superstars and rock chameleons.

Rameez Mukhtar, while not exactly another Shafqat in the making, is a decent singer and is capable of hitting just the right notes without being off key, which is just such an underrated feat today in the industry. We often tend to dismiss the ‘baysura’ element in our singers in front of other qualities such as star power, popularity and other factors. And this is where Rameez delivers.

The other similarity is that of ‘fusion’ itself.

Shafqat and Fuzon have stated that their records are a fusion of genres. While the songwriting is driven from Eastern ethos such as raags and kafis from ancient kalaams by Sufi names, the music is made contemporary, making it more relatable for an entire generation unaware of the massive heritage that we call our own.

Fuzon’s (the new one) lead single, ‘Neend Na Aaye’ is driven from Raag Aiman while Shafqat’s Pagalpan off Tabeer is an inspiration from Sindhi folk. Both Shafqat and Fuzon have based their music around basic compositions that have been around for quite some time.

The difference

Tabeer
As always, it isn’t a composition, on its own that makes it a favourite with fans but the treatment that makes the real, long lasting difference. And when it comes to treatment, Shafqat Amanat Ali Khan takes the cake.

From nowhere does Tabeer sound like Saagar. This album swells and expands in directions that Saagar never took.

Unlike Saagar, Tabeer is hardly mournful. Au contraire, it is a concoction of songs that have a kind of universal melancholy that sporadically plays with the sunshine effect.

‘Khairheyan De Naal’ based on a composition by Tufail Niazi, with its languid nature, subtle guitars and rolling drums is astonishing.

The Darbari-based ‘Kartar’ is the high point of Shafqat’s vocal virtuosity and with the grandiose orchestration, it is brilliant.

Meanwhile ‘Rohi’ (originally sung by Zahida Parveen) is an intriguing blend of East-West. The sparse and peaceful introduction just gives it a soothing tone and the beautiful flute gives this tune such a solid character.

On ‘Naina’ tinkling piano notes, smooth guitars, subtle percussion and storytelling-like lyrics make it one of the many powerful songs on this record.

‘Rang Le’ and ‘Bulleh Shah’ are the dark, haunting tunes of the record with calming vocals and atmospheric mood.

Manqabat’ and ‘Dum Ali Ali Dum’ despite the many versions around have the kind of magic that is glorious yet restrained, totally gripping and impeccable.

The only flaw on the record comes in the form of ‘Pagalpan’. Driven from Sindhi folk, it is just chaotic due to its electronica-like treatment that just makes the tune more Bollywood-esque than anything else. The music just doesn’t work on this.

Journey
Journey began where Saagar left off. The main distinction came in two forms: the singer that was replaced and the music that is a lot more crunchier. On its own, Journey is a decent debut record. I say debut because it is the first time Shallum, Emu and Rameez have worked together on a full-fledged album and the equation between them has just begun.

Songs like ‘Ab Hum Kahan Hain’, ‘Choo Le’ and ‘Pari’ are made for concert tunes. Shallum’s tryst with guitars is never too outlandish. He pulls everything
between a Salman Ahmed to The Edge (U2) and makes it work while Emu proves his prowess as a keyboardist who can play magically and yet restrain himself.

There are gems of ballads that are equally entertaining as they are beautiful. ‘Suna Suna’ and ‘Neend Na Aaye’ are the two examples and it isn’t just the somber music that does the trick. Rameez Mukhtar emotes as a singer and stretches the songs in the right directions, hitting all the right notes along the way.

‘Joo Dil Ne Kaha’ which is perhaps the moodiest tune on the record with its sharp instrumentation, crisp sound and haunting vocals is beautiful.

But like most albums, the flaws here are glaring. ‘Atish O Aab’ is an extremely weak melody that is downright forgettable while ‘Teri Yaadan’ and ‘Dholna’ are plagued with weak vocals.

The verdict
Comparisons are inevitable. Tabeer and Journey have once again called for them. Between the two albums, it is Tabeer that holds more power, not just because of Shafqat’s vocals but the music that is daring, different and experimental.

Tabeer uses verses from Tufail Niazi, late Zahida Parveen, Amir Khusro, and qawwalis like ‘Dum Ali Ali Dum’ but it keeps the traditional rustic feel alive while creating a juggernaut of sound that not only distances itself from a mighty album like Saagar but takes a step forward.

Tabeer is soulful, yet musically it is challenging. On the first hear, one might inadvertently mistake it as a Bollywood like album. But listen closely. The majestic orchestration is neither as chaotic nor is it too convoluted like most Bollywood music.

In comparison to Saagar, many have said it pales. But that is hardly true. The real truth is that Saagar was a phenomenal debut that made for easy listening with its simple yet beautiful sound. Tabeer dares to experiment. It is more complex and intricate.

And it is here where Journey falters. Not that it isn’t a decent record. But the experimentation on Journey comes in the shape of more loud songs, which might work at shows. But in the long run, it won’t have the kind of hypnotic effect that Tabeer holds.

Journey picks up on the Saagar format of music but doesn’t recreate the sounds on the same scale.
The genius of Saagar and its compounded effect
For the original Fuzon, Saagar was a groundbreaking record that catapulted the three men behind the album to instant fame, recognition, commercial success and even critical acclaim.

It was one of the few records that managed to make every song stand out. Be it the beautiful ‘Khamaj’, the playful ‘Deewanay’ or the subtle ‘Tera Bina’.

‘Ankhon Kay Saagar’, Fuzon’s first video wasn’t exactly one of their finest. It was just a platform for the men to perform and they did just that. And it worked like a charm.

Fuzon became so popular that they managed to make videos with coveted music video directors like Saqib Malik (‘Khamaj’, ‘Deewanay’) and Jami (‘Ankhian’).

Saagar wasn’t just another album. It was a record that created three stars. Shafqat Amanat Ali Khan became one of the most talked about singers. Meanwhile veterans like Shallum Xavier and Emu, who had been around in the music industry for a decade, finally tasted commercial success. For the first time, the spotlight was on all three men and they became a part of the pop juggernaut.

But after just one record, Shafqat Amanat Ali Khan, Shallum Xavier and Emu separated. And that not only sent shockwaves throughout the industry but it changed the stakes for all three men.

A rewind…
With Saagar’s release in India, Shafqat’s vocals became famous. So much so that Shankar Mahadevan (of Shankar-Ehsan-Loy fame) tracked Shafqat down and offered him a playback singing number which turned out to be Karan Johar’s magnum opus, star-studded Kabhie Alvida Naa Kehna that featured among others Shah Rukh Khan. This was in 2006. Soon after, things started taking a sour turn for the band.

A rift of sorts began within the band. When three men start thinking differently, a clash becomes inevitable. And that is what had happened.

Before the band officially called it off, the long delayed second album was in shambles. Each had his reason.

Shallum Xavier attributed the delayed sophomore album to sour record label deals. Without a solid record deal, Fuzon wasn’t going to release its record.

Emu blamed it on bad record label deal and Shafqat. He claimed that Fuzon’s manager Sen Management (Erum, Nazia and Sania Saeed) caused the rift. Sen Management, in Emu’s words, was managing Shafqat more.

Back then, Shafqat didn’t bring up breaking up or any problems within the band. His take was that an album deal was in the pipeline. But with three different opinions, the break up was inevitable.

And when the band broke up, Instep (along with the entire media brigade) received a press release that introduced Rameez Mukhtar as the new vocalist. The press release didn’t even mention Shafqat or his reason for a departure.

It was a bitter break up of an incredible band that together made an album that remains one of the finest ever done in this country.

The new game
After going solo, Shafqat’s career picked up even more. After making it big with ‘Mitwa’ off Kabhie Alvida Naa Kehna (2006), Shafqat’s worth within Pakistan and abroad only increased. After all, the song was featured on Shah Rukh Khan. While working on Tabeer, Shafqat also struck gold in Bollywood. He sang on KANK, then Dor and recently on the Salman Khan starrer Hello. Among other projects is Nagesh Kukunoor’s John Abraham starrer Aashaeyin. He is also in talks with AR Rahman. Shafqat is also planning another album, after the promotion of Tabeer is over, with Rohail Hyatt and that album, he says, will feature songs that he wrote for Fuzon back when he was in the band.

Recently Shafqat also sang on the soundtrack of the Pakistani film Ramchand Pakistani.

Debajyoti Mishra (Raincoat fame), the music director of the film, specially asked for Shafqat for this project to director Mehreen Jabbar. And not surprisingly, the film’s music has won rave reviews universally.

Tabeer has just released but the response has been solid, according to Shafqat. When this article goes in print, Shafqat will be off to India for a series of concerts.

In comparison, the new Fuzon’s career graph is not looking so bright. The band made the blunder of making ‘Neend Na Aaye’ their first lead single off Journey. ‘Neend Na Aaye’ had already been heard as the old Fuzon’s tune and had leaked over the Internet in Shafqat’s voice. As opposed to releasing a brand new tune, the band released ‘Neend Na Aaye’ as their own tune, with Rameez replacing Shafqat. And while it may be their best single, it always reminds one of Shafqat.

The new Fuzon released videos and even toured India. But with other acts like Ali Azmat, Zeb and Haniya, Azal, Rahat Fateh Ali Khan and Strings – all out with fantastic new albums, Fuzon’s worth in the market has diminished. The new Fuzon just hasn’t been able to make a big splash, the kind one first witnessed when Saagar had happened.

In the end
Tabeer may not become the next Saagar but then again, how could it possibly be? Fuzon was three men, with hugely diverse music influences coming together. And Tabeer is just Shafqat. But for Shafqat, it is still a pretty effective record. The sales are up and Shafqat is making all the right moves. He has struck a fabulous deal in India where Tabeer is being promoted all over the place. And for him, it is just the beginning.

On the other hand, Journey hasn’t created the same effect for Fuzon. Rameez Mukhtar has just entered the spotlight and he is trying to fill in the shoes of Shafqat, which is certainly not easy.
This round has been won by Shafqat. It remains to be seen where Fuzon go from here but for them to last, the shadow of old Fuzon has to be replaced. Unfortunately Journey hasn’t done that.

What if?
One can’t help but ask what if original Fuzon hadn’t separated?

Shafqat’s popularity rose while he was with Fuzon. He had solo offers that he pursued and that created resentment within the band. There were obvious problems of miscommunication and misunderstanding between Shallum, Emu and Shafqat.

But what if… they had worked through those differences?

Between the three of them was Saagar and with three schools of music coming together, it was one hell of an album. It was magic just like Talaash and Azadi were for Junoon and Hum Tum was for the Vital Signs. Our bet is that had the original line-up survived together, they could’ve created a melting pot of Tabeer and Journey. Just imagine that! And now we’ll never know…