Fast and Furious.New model and original parts.

The old parts are back. The streets are no longer safe because the racers are back and this time, they are causing more mayhem than ever.

Fast and the Furious 4 is actually a true sequel to the original film.

The other two sequels, (2 Fast 2 Furious and The Fast and the Furious: Tokyo Drift), didn’t have the four original cast members and that in essence took away from both the films.

For the fourth installment, director Justin has brought back all four key players, the dynamic Paul Walker, bad boy Vin Diesel, who escalated to fame from this film, Michelle Rodriguez and Jordana Brewster together.

The story is nonsense and done to death.

Drug kingpins using smart, street drivers to ship drugs in and out of the country. Its what Hollywood does best. It’s not the story as much as the cast, the cars and the stunts that make Fast and the Furious worth a watch.

Brian O Connor (Paul Walker) is with the FBI tracking a drug racket while Dominic Toretto (Vin Diesel) is now hunting someone. The two men find themselves together once again but their past has been tricky. There are trust issues and both have apprehensions.

Dominic’s sister Mia Toretto (Jordana Brewster) also has a past with Brian and it comes back to both of them. Michelle Rodriguez (Letty) and Dominic fight the worst and it’s a battle where one loses while the other survives. A battle that neither of them wanted.

It’s the personal stories and the come back and the dynamics between the four of them that intrigues.

That is one part. The other are the races and the stunts. This is much more high profile, dangerous and in a word, gorgeous. From the cinematography to the races that take place all around, from downtown Los Angeles to the borders of Mexico City and beyond. Its pure adrenaline rush. The cars are sexy and the use of technology just tells us how much an impact computers have on everyone, even street racers. Its electronic stuff, gadgetry that Hollywood uses to full effect and in this film, it goes well with the story.

At some point, the film becomes a little predicable; some of the characters but the saving grace are the sequences. Notably, the first race between Brian and Dominic since the first film, the drive out through tunnels while dodging helicopters and border security in between the United States and Mexico. The flashy cars, dangerous rides, sexy riders – it makes this film well worth the money.

And a huge contribution goes to the cast. In 2001, when Fast and the Furious released, it made Vin Diesel a star. His harsh voice and that muscular physique, the reckless in-your-face attitude, it adds a lot of edge to his character. He really is the star of the show here. The other dynamo is Paul Walker. Tanned, scruffy and confident in his beliefs, he walks a thin line between good and bad and lives in a constant paradox. The bureaucracy of the system is such that the lines between right and wrong are blurry. And it’s this constant flux that makes his character so human and relatable.

In the end, Fast and the Furious 4 is not a thought-provoking film. But it is a film that will want you to join the riders and fly on the roads.
– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Perfect symmetry

Perfect symmetry
Cover songs are tricky business. One wrong note or riff and the whole song can collapse. This week, Instep presents five best cover songs done by Pakistani artists and why they exemplify true tribute and crafty musicianship
By Maheen Sabeeh
Sajjad Ali versus EP

One of Sajjad Ali’s biggest hits, ‘Bolo Bolo’ remains a classic with fans even today. With poignant vocals and a very retro sound, tinkling bell like sound and a recurring beat, reminiscent of Western pop of the eighties, ‘Bolo Bolo’ is one hell of a song.    Add all that history to the fact that Sajjad Ali is a very tough act to follow. He knows music and covering any song from his catalogue could well be a disaster.  But if one act pulled it off, it was EP. A hardcore rock band, EP used their heavy metal influences on the song and the result: a song that is as eclectic and brooding as it gets. Their cover really is an example of how a song should be covered. Without changing the melody, the band turned the song on its head.  From menacing guitars to Fawad Afzal Khan’s haunting vocals, the song has developed a cult following like the band. Fawad, when he chooses, can be quite the singer onstage. On ‘Bolo Bolo’, his emotions move with the words, slowing down in resignation and anger with natural ease. The ending riff, which EP added to their version, is their own stamp on the song and that makes it all the more edgier.  Even though the version is live and the production is very shoddy, it’s the anger and aggressiveness with which EP played out the song that makes it so memorable.  It is as distinguished a cover as Nirvana’s ‘The Man Who Sold The World’ which was originally done by David Bowie. And that is really saying something.  Zoheb Hassan versus Mauj Zoheb Hassan on his own… not a very good idea anymore. Remember Kismet? But back in his heydays with Nazia, Zoheb was a massive icon. And some of his solo tunes still retain that magic. One of those numbers is ‘Pyar Ka Jadu’. With a booming sound, a throwback to the eclectic eighties, if you may, keyboards wizardry, and a celebratory air of love, it is a favourite with fans.  Not an easy song to take a stab on because Nazia and Zoheb Hassan are considered one of the major artists who opened the floodgates to pop alongside Alamgir and Vital Signs.  Punk-funk outfit Mauj gave ‘Pyar Ka Jadu’ quite the twist and have brought it back to our minds and they have done with a lot of style.

Crazy riffs, meaty drums and Omran Shafique’s unique vocals make this one of the most outstanding covers ever done in Pakistan. Omran “Momo” Shafique sings emphatically and it’s a completely different tone than what Zoheb took years ago.    Even though, Mauj have re-worked this tune as a rock ‘n’ roll tune, they don’t add unnecessary and painfully long riffs to the song. Like classic Mauj, more than halfway through the song, Mauj slow the song down and just flirt with the words and it’s the stuff great songs are made of.  Set to be featured on Mauj’s upcoming self-titled debut and currently running on radio waves, the song is testament to Mauj’s talent as a unit and to the fact that a song can be revamped without killing its soul if done right. In this case, the soul of this pop tune remains intact. And for that, it must be heard. Vital Signs versus Aaroh Vital Signs, the ultimate pop daddies, could do no wrong. Their single, ‘Ajnabee’ is just one tune out of their very extensive and melodic musical catalogue.  With sea waves crashing opening the sound, a slow and melancholic melody and Junaid Jamshed’s tortured albeit beautiful rendition of the words, ‘Ajnabee’ is quite frankly one of their best tunes to date.  While there have been many who have attempted to cover the Vital Signs, Aaroh (original) did a fine job on ‘Ajnabee’.  Taking the melancholic and moody character of the song to another level, Aaroh re-worked the tune as a rock song with explosive verve and their biggest asset, vocalist Farooq Ahmed.  Farooq is a trained singer and the way he sings this tune, moving from complete aggression to a hint of sarcasm and surrender, it is fantastic.  Nabeel’s crafty and slashing riffs never go overboard but stay focused on the melody. This is one hell of a cover and Aaroh proved it when they were just starting out that they are indeed a musical act to watch out for. If you have any doubts, hear their cover of ‘Ajnabee’. It is fabulous.

Aamir Zaki versus Arooj Aftab ‘Mera Pyar’ off Aamir Zaki’s debut solo album, Signature, remains his biggest hit to date. Irrespective of Aamir’s ability to create gorgeous riffs, here he remains a minimalist.    Soft, tragic and heartbreaking, it is an incredibly powerful tune. It is timeless.  Arooj Aftab’s cover of the same works simply because of her often sultry, at times tortured Lene Marlin-like vocals. She doesn’t imitate Aamir’s style but leaves her on mark on the song because of her husky and beautiful voice. Vital Signs versus Kaavish As a band, Kaavish know their strength. They are the new masters of beautiful ballads. And if one speaks of ballads, Vital Signs’ ‘Yeh Shaam’ can’t be far behind. Brooding, touching and spellbinding, it is one of their biggest hits.  Kaavish, who are an upcoming act, have taken the original and re-worked it according to their own strengths.  The result: an honest and bluesy ballad that simply shouldn’t be missed.  Like the original, two things work for this song. The vocals and the soft melody.  Jaffer Zaidi puts his own touch to the song.  Deep and moving vocals with subtle instrumentation with pianos at the forefront, this is a solid one from Kaavish.

Aa Dekhen Zara***

*ing: Neil Nitin Mukesh, Bipasha Basu and Rahul Dev
Directed by Jehangir Surthi

Money is power. Power is seduction. It can seduce anyone, even the simplest of men. Can one cheat death? Can fate be fought? These are the questions that Aa Dekhen Zara poses as a film.
But make no mistake. This isn’t a moralistic film. It is pure suspense with a dose of fantasy but the questions keep coming back as the film progresses and therein lies the beauty of this film.
The young hunk Neil Nitin Mukesh plays Ray Acharya, a freelance, broke and struggling photographer who is a straightforward enough guy. With the death of his grandfather, Ray inherits a camera that can take pictures of the future. But there is a catch. A black photo means death.

On the other hand is his neighbour, the beautiful Bipasha Basu (Simi Chatterjee) who is a DJ. As they fall in love and Ray figures out the real purpose of this futuristic camera, one is taken on an adrenaline ride that gains pace as the reel rolls on.

As Ray makes the moolah, he changes. A small time photographer is suddenly wearing Armani suits and driving around in a Mercedes. Personal gain and greed should not be toyed with. But human beings are flawed and greed finds its way into Ray’s life very quickly despite the fact that he plays a genuinely upright fellow, one whose motivation was never money in the first place. Lack of opportunities in the harsh city of Mumbai pushes him towards the shortcuts. But there are consequences. And those consequences are the real reason why Aa Dekhen Zara is worth a watch.

Relationships are put to some serious tests as the lovebirds struggle amidst lies, deception and run out of options quickly. As they move from Mumbai to Bangkok, the action sequences start and because they are few of them, they stand out. This is not an out and out dhishum dhamaka film and that is a relief. A jump from a high-rise building by Neil Nitin and Bipasha stands out.

The whole idea of a futuristic camera sounds unrealistic and ridiculous but this is fiction at work. Like Shekhar Kapoor’s Mr India or the Keanu Reeves-Sandra Bullock starrer The Lake House where the two live in two time frames – one is in the past and the other is in the future two years later – these are all fictional ideas and they have all worked because they have been executed sharply. Same goes for Aa Dekhen Zara.

Come to the acting and the combination of young Neil and slightly older but smouldering Bipasha Basu makes an interesting pairing.

For once, Bipasha has a film where she is the crowd pleaser, the bigger star. In the first half, she is wasted. Beyond looking good, she has nothing to offer. But it is in the second half where Bipasha Basu shows off her craft as an actress. Fear, love and bravery, she switches from one emotion to another with equal grace.

For Neil Nitin Mukesh, this is an important film. His debut Johnny Gaddar won critics over but it failed to make a mark at the box office. In Aa Dekhen Zara, Neil proves once again why he is one of the new age actors to watch out for. He plays the role naturally and that is his biggest feat in the film. This isn’t a hardcore drama but it is a film that requires a varied range of emotions to be played out. From struggling freelancer to super rich man drowning in the seduction of money to a man on the run, Neil pulls it off with a natural grace. The fact that he is a good-looking guy makes him even more appealing.

Another man who makes his mark in a supporting role is Rahul Dev who plays Captain. His role appears somewhere in the second half but his villainous ways are enticing. And the bad guy is always impeccably dressed and looks rather sexy. And he is a very good actor with films like Asoka, Insan and Kidnap to his credit. His roles may be supporting but he delivers every time. In this film, he shines out.

The main flaw, one that is common in most Hindi films, is the film’s length. It is over two hours long. The first half drags on and it could’ve been easily chopped. On the upside, there are few songs in the film and that comes as a relief especially since most songs are typical numbers. The title track, ‘Aa Dekhen Zara’, which one first heard on Sanjay Dutt’s Rocky has been remixed and sung by Neil Nitin. It is an average song. In fact, the slower lounge version is far more interesting. The other track worth a listen is ‘Gazab’ which has been running on airwaves consistently. It’s catchy and both Bips and Neil look good together in it. The rest of the numbers are dull so ignore them.

For director Jehangir Surthi, this film is a first and as a debutant director, he does deliver. He has ended the film on a note where a sequel might be possible. So watch out, there just might be a sequel with time travel in the makings.

Aa Dekhen Zara is not groundbreaking cinema but it is intriguing. The suspense quotient is sufficient to keep one glued to the film till the end.

So far, Indian audiences and critics have slammed the film. But then it is the same audience and critics who gave a film like Rock On!! two thumbs up even though it was a mockery of the rock music genre.
Currently playing at cinemas in Pakistan, give this film a watch if you’re looking for paisa vasool entertainment.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Dance, death and all their friends

The newest musical act on the scene – Circle of Trust – is out with their debut record called All Night Long and it’s not one you can put your trust in. With deathly dull beats and weak and clichéd lyrics, the duo disappoints. Instep lends an ear…

By Maheen Sabeeh

Artist: Circle of Trust

Album: All Night Long (Electronic Dance Music)*

Never miss a beat
A recent billboard caught my attention. With two urban looking boys plastered on it with the words, “Circle of Trust presents All Night Long (Electronic Dance Music)”, it made me curious.
With a certain bout of skepticism, I grabbed a copy. I say skepticism because electronic dance is a difficult genre to handle for any act. And for a debut artist from Pakistan, it may be even more difficult. In our two decade old pop music industry, few have tried and even fewer have succeeded. Nazia and Zoheb Hassan remain the one sole exception. Their brand of pop had its foot in electronic dance music. Those records remain classic even today.
Anyhow coming back to the duo of Circle of Trust, which comprises of brothers Sheeraz and Maaz Ahmed, the only verdict one can summon is amusement and disappointment, though the latter is a more accurate description. The name of the band, Circle of Trust, in itself is a sign.
Inside the album inlay, the lead vocalist is described as “Loaded with consummate energy and catchy looks (what are catchy looks?), Maaz Ahmed is the lead vocalist of Circle of Trust. He has a strong punchy voice” – this is borderline narcissism. On the debut album, words like catchy looks and punchy (?) voice are just a downer. Anyhow, let’s chalk this up to rookie mistake.
And let’s move on to the record at hand.

Night of the dancing flame
A debut album is always the first introduction to possible fans and to the music industry insiders. According to Sheeraz, “The album is influenced from Western electronic trance, house and dance music, a genre that Pakistani music sorely lacks.”

Indeed it is true. Such genres are unheard of in mainstream Pakistani music.
Sheeraz and Maaz are ambitious boys. Their album, All Night Long, is filled with 15 tracks, which is a monumental task to take on. 15 songs on one album is a lot of hard work. Sadly, the hard work hasn’t played out as well as one hoped. Everything from the videos to the album inlay – which by the way is a must read if you’re in the mood to crack up – and the actual record are a sheer disappointment.

The biggest problem with All Night Long is that most of the songs are club oriented. And that could have been a good thing, had it not been for the repetitive and dare I say, cheesy lyrical words and mislaid hoops, if one can call them that. It’s too generic to digest. The hypnotism that is often the staple of electronica and house is missing and that is just a killer.

The opening number ‘Habibi’ has an interesting opening. It sounds very Middle Eastern with perhaps Eastern strings (?) but a few seconds later, all the hope shatters. One suspended beat with words that go: “Tera Tera Tera/Dil Hai Tera Mera/Tera Tera/Dil Hai Mera Tera/Meri Ankhon Mein Hain Sapna Tera”. And all the way through that one beat continues. The chorus is perhaps the only redeeming portion with the verse “Yalla Habibi” which is fun to say out loud. As the song progresses, a lone haunting beat appears which is soon replaced with too much noise that reminds one of a Bollywood song.

‘Aasman’s’ opening, it seems has drawn a rather bad inspiration from Faithless’s brilliant track ‘Insomnia’. It isn’t a rip-off but the similarity is there and it doesn’t work. Synthesizers, samplers, mixers are all at play with even weaker lyrics. “Aasman Kehta Hai Zameen Say/Chand Kehta Hai Roshni Say/Ishhq Tau Ek Aisi Khata Hai/Jaan Leva Jis Ki Saza Hai”. The melody is boring and forgettable.

‘Bazi’ with keyboards in the background and clanging beats and the wordplay, “Tu He Meray Dil Mein Hai/Tu He Meri Raaton Mein Hain” is like listening to an Indian film song, one of those item songs that is created for shock value and night clubs to boost a film amongst younger audiences.

On ‘Zindagi’, love is, predictably, in the air but there is no melodic mixture of ambient and trance. Sure, if you love to dance to random sounds that are rushed, this may well be the song for you. Otherwise, skip it, much like the rest of the record.

Some relief comes in the shape of ‘Peera’ where the upbeat tempo gets replaced with a mellower arrangement. A flute opens the songs and the blueness of this flute alone makes this song worth a listen. Emotional vocals are on the rise in this song which comes as a surprise. It is the most bearable song on this record.

Similar is the case with ‘Kahan Tum’, a love ballad with a melancholia that is compounded with soft pianos and morbid flute.

‘Lajjo’ is like a Punjabi song lost in trance. Massive, similar beats thrown on the sound wall and the ‘hoya hoya hurrrrrrrrr’ doesn’t help either. Its one of those songs that attempts too much at the same time.

‘Pyar’ takes a cue from DJ Tiesto and attempts a trippy beat but loses touch soon where the sound becomes redundant. ‘Mahiya’ has a shockingly weak melody and the lyrics are abysmal. “Mahiya/Madhosh Dil Ashna Mahiya/Jan Mahiya/Tu Ishq Ki Inteha Mahiya”.

An element of rock and some funky bass lines come on ‘Hum’ with its optimistic mood where the spirit of not giving up shines out. The vocals here are weak but it’s a nice change from the lovelorn lyricism. It’s a fast song but the ambient mixes decently with a recurring riff.

‘Mahjabeen’ is groovy in the first few seconds but as soon as the tune moves forward, clichés like “Tu jalpari/Tu hai meri/Tera Deewana’ ruin the mood. Musically it’s deathly dull with the thunk thunk sound.

Live and learn
Surely, the boys have put in an effort. They are trying to cater to the youth with a sound that is rare. But unfortunately, it is too weak and redundant an album to give a second glance to. Electronic dance is too strong a term to use. Traces of this one word can be felt in genres like pop, rap, hip-hop and RnB. From Madonna to Depeche Mode, Peter Gabriel, Simon and Garfunkel, the influences have always existed.
Since this album is using the West as an inspiration point: here are a few facts. Rihanna’s ‘Disturbia’, Bob Sinclaire’s ‘World Hold On’, Junkie XL’s ‘Today’ and Keane’s ‘Spiralling’ are tunes that have used electronic dance to create songs that make one want to go to a club just for the sheer joy of their sound.

Paul Oakenfold, John Digweed, Armin van Buuren, and Faithless among many others are masters of this trick. They play with the genres of house, trance, dance and electronica with such magnificence that it is hypnotizing. Because in the end, it is just a sound. A sound that if powerful enough can drown out the outside world.

Right here at home, the element of electronic has been played out magnificently by Rushk on their debut album Sawal and more recently by Mole on their record, We’re Always Home. Traces of electronic dance combined found its way on Ali Zafar’s ‘Rangeen’ number. Hashim aka Hash delivered two superlative electronica-dance driven numbers like ‘Load The Cannon’ and ‘My Moment’.

There have been other acts who have attempted to do the same. Omer Inayat tried it with Be The One and he managed a decent even if somewhat patchy record. Ali Haider tackled the same with his album Jadu but that too failed to make a major mark.

In the end, All Night Long fails to make a mark because the vocals are forgettable, lyrical prowess is even weaker and the beats are neither dexterous nor are they groovy. There is no tripped-out magic that one hoped for. The production is clear but since most songs sound the same, it doesn’t come as a surprise.
In the end, All Night Long loses points because there is no cutting edge anything here.

*****Get it NOW!
****Just get it
***Maybe maybe not
**Just download the best song
*Forget that this was mad

The broken love song of Peter Doherty

The darling of British tabloids, ex-boyfriend of Kate Moss and a poetic genius to reckon with in the music industry, Peter Doherty returns with his first solo and most personal album to date. Instep takes a close look…

By Maheen Sabeeh
Artist:
Peter Doherty
Album: Grace/Wastelands*****

There are two sides to the man that is Peter Doherty. One is the darling of British tabloids who shot to fame for his tremulous love affair with supermodel Kate Moss and his inability to stay clean and sober. From faking urine samples to exploring religion behind bars – Pete, sorry Peter Doherty gave enough fodder to the press as his equally talented and troubled female counterpart Amy Winehouse.

The other is the musician who inside studios can roll with punk and blue acoustic rhythms with equal panache. Behind the self-loathing and self-destruction lies the “people’s poet” as he is fondly referred to by his loyal band of followers. And it is this Pete Doherty that really matters.

On his solo album, Grace/Wastelands, Peter Doherty bares his soul out. Even as members of Babyshambles play on the record alongside Blur guitarist Graham Coxon under the guidance of producer Stephen Street, this is very much Peter on his own, quite like his real life. Beautifully written, sharply produced with emotional depth that may put many superstar musicians to fame, Grace/Wastelands is a landmark.

Gone are the riveting riffs, garage punk sounds that one fell in love with on the previous Babyshambles records – Peter’s current band. Instead there is an oscillating range of acoustic guitars, steely drums mixed with some exquisite and tormenting bass lines. The result is a mellower and consequently a mournfully brilliant album.

The world of denial for Peter is over. It is palpable on tunes such as ‘A Little Death Around The Eyes’ where he sings, “You cook and clean and sew/When I tell you to/Dance and screw when I want you to/In a hotel room you take your medicine/On all fours, that’s your medicine/Feeling better now?/Feeling any better now?/A little death around the eyes”.

‘A Little Death Around the Eyes’ is to Grace/Wastelands what ‘Lost Art of Murder’ was to Shotter’s Nation: a jaw-dropping shocker tune laced with melancholia that lingers on long after the songs stops playing.

At times, the songs are simply moving and can be heard on repeat mode. Two such tunes are ‘Palace of Bone’ with its groovy bass, Joe Strummer-like drumming and heartbreaking words and ‘Sheepskin Tearaway’ with its brutally honest lyricism that hits hard in the gut.

On ‘Palace of Bone’, Pete croons, “I’m going to build me a palace of bone/wide open walls and an ebony throne/where they’re aint no black and white and no innocent soul/can’t come and dance in the palace of bone/” – it wanders into your conscience and grows there.

All the self-doubt that plagues Peter comes out on ‘Sheepskin Tearaway’. With its gloomy melody and Peter singing in spoken-passage like style, one is left blown away with the words. “All my life I’ve been fighting/And making the best of/And willing very bad luck, very bad luck, very… very bad luck/Who you’re fighting but nowhere/If nowheres here with you/On my skin/And you can fight forever/But if you killed them all/You’ll never win/So give me your surrender/There are other ways/To kill the pain/But things will never mend you”. Dot Allison also sings on this tune and adding female vocals gives this song more character.
One finds suppressed anger floating on ‘Broken Love Song’ with scorching riffs spread throughout the tune. “Letters from faceless haters/That’d love to/See my swinging in my cell” sings Pete and on the chorus he yells, “They are the loneliest”. It’s a swing on those who continue to thrash Peter Doherty as a whacked out junkie.

The aggression continues on a slightly subtle note on ‘New Love Grows on Trees’ with its haunting soundboard with lone guitars and a brooding keyboard.

It’s a paradoxical song, really. “And if you’re still alive/When you’re twenty five/Shall I kill you like you asked me to”, Pete asks and then sings further, “But I really don’t want to”. There is end to the tunnel and he plays it to the best of his ability.

Hope finds its way in bits and pieces on the album, possibly like the life of Peter Doherty. On ‘Aracady and ‘Lady Don’t Fall Backwards’, those hints come out alive.

‘Lady Don’t Fall Backwards’ almost sounds like an ode to Peter’s ex Kate Moss as he sings with a childlike flirtation, “Well, I wouldn’t want for you to come to any harm/Now tell me, if darkness comes/Then I will sing you a song/And I will love you forever/At least ’til morning comes/Lady don’t you fall backwards”.

On the other hand ‘Arcady’ with its pleasant guitars and an optimistic sounding Peter sounds wonderful. It’s just got a hopeful feel to it.

“In Arcadie, your life trips along/It’s pure and simple as the shepherd’s song.”

Carry up in the morning
Even as Pete gets slammed for his recklessness and rebellion, it is with his solo record one finds Pete’s inner turmoil blown out in the open. And that is a courageous feat for a man who admittedly suffers from “low self-esteem”. The sound on Grace/Wastelands is borders on minimalism with hardcore punk riffs here and there. The mood fluctuates and that is really a very good thing.
Critics chalked up the success of Babyshambles’s last record, Shotter’s Nation as the final fluke for Peter. They said he could never top it because of his nonsensical, never-ending shenanigans. They are wrong
.
There is a Korean word Han. It refers to a state of mind, of soul to be precise.
It means sadness “so deep that no tears will come. And yet there is hope.”

In the end, Han defines the sound and soul of Peter Doherty’s Grace/Wastelands. And perhaps the man himself.

-Grace/Wastelands is available on I-Tunes, Napster and for free download on torrents.

*****Get it NOW!
****Just get it
***Maybe maybe not
**Just download the best song
*Forget that this was made

“Semi precious gems are being mined and sold by the kilo not carat in Pakistan. We want to play a role in uplifting this trade through standardized branded jewellery.”– Amir Adnan

The House of Amir Adnan is perhaps one of the few design enterprises in Pakistan that operates on a true corporate framework. He is selling all over Pakistan as well as from flagship stores in Dubai. As a label he is expanding, taking the brand from traditional menswear to corporate clothing, FNKAsia, Amir Adnan Women and now jewellery. Instep talks to the designer as he makes a debut at the Dubai Fashion Week…

Instep: Tell us about the latest brand expansions at Amir Adnan?
Amir Adnan: The latest expansion is jewellery design. We are using silver as base metal with stones that are mined out of Pakistan. They include precious and semi-precious stones. The idea is to utilize stones and craftsmanship of Pakistan. Currently gems are being sold by the kilos not carats. The trade is under utilized and I want to help in reviving it. We have excellent gems mined in Pakistan, especially quality emeralds and the rare pink topaz, which no one even knows about. We want to bring that up. Ours is standardized branded jewellery.

Instep: Designing jewellery is much more technical than designing clothes? How do you manage without the training?
Amir Adnan: I am a trained jewellery designer. I was trained in Dubai by J.E. Austin in collaboration with the USAID who were working to uplift the jewelry industry in Pakistan. It was a short training course but I was trained by French and German experts. That has given me the eye for quality control and the eye to look over the very experienced kaarighars who I have hired.

Instep: So far the brand Amir Adnan has been all about ready to wear. What motivated you to step into jewellery design?
Amir Adnan: I’ve always been interested in exploring stones. There is a need for it in the market. When I say branded standardized jewellery, it means the jewels are truly standardized. The grams of silver, ruby and emerald, for instance, are fully defined. And it is all coded. So if someone returns three years later for the same design, it will be available. What happens here is that women go to jewellers who they know and trust. That might mean a jeweller who is known to the whole family. But it can be a hassle to go and look for the right design and find out the details, negotiate and so on.

Instep: Will you also be taking orders on customized pieces?
Amir Adnan: Maybe. But the whole object is standardized jewelry on the lines of Judith Ripka and John Hardy.

Instep: What is your target market?
Amir Adnan: I can’t go into the demographic but the target is the modern woman, a woman who goes out and is in tune with world. And she may not have the time to go out and look for the right design. Our designs are not traditional. They are contemporary.

Instep: Over to clothes and collections, why have you decided to participate at the Dubai Fashion Week this year?
Amir Adnan: I’m participating at the Dubai Fashion Week because I want to promote the brand in the Middle Eastern market. It is a special line called Princess. The collection is geared towards that market and not what we produce in this region. So it’s important to show at DFW.

Instep: You haven’t shown in Pakistan for quite sometime. Why?
Amir Adnan: Yes, I haven’t done a show in a while. I want to do one but I want to do it systematically. I don’t think charity and fashion gels well together because fashion often takes a backseat. I don’t want to do a show just for the sake of doing it. If I’m showing an Autumn/Winter collection, I want to make sure that it is available in all my stores across the country. Every outfit from the collection should be available at the stores. That is the purpose of showing.

Instep: How has the response been to Amir Adnan Women (his latest brand that offers ready to wear trousseau and bridal wear)?
Amir Adnan: Amir Adnan Women is our line of prêt a couture. It offers high value outfits over the shelf. We have multiple colours and a variation in sizes. Everything is finished. It saves clients the hassle of trials and appointments. And with our jewellery line, one can find an outfit and the jewellery to go with it.
In the pipeline are accessories like shoes and bags. So it will be a one-stop shop where everything is available.

Instep: As someone who’s into mass retail, you’ve also suffered the lack of general logistical infrastructure in Pakistan. Have you ever thought of moving production to another country?
Amir Adnan: I have never thought about moving production outside Pakistan. If I’m catering to the Pakistani market, it makes no sense to move production. The problem is lack of industry infrastructure. The system will develop when there are 200 more people like me in the industry working on a mass retail scale.

Instep: Has the Trade Development Authority of Pakistan (TDAP) ever assisted your business in Dubai?
Amir Adnan: TDAP has a scheme. If a brand such as mine is operating outside Pakistan, they will subsidize 50 per cent of rent in the first year, 25 per cent in the second year and ten per cent in the third year. I have received two cheques from them. But it took two years for the first cheque to arrive. Then the second cheque arrived much later. The subsidy is for the rent, not the cost.

In my personal view, it is unreasonable and unrealistic to expect the government to cover costs. Businesses should sustain themselves irrespective of any help from the government. These schemes exist to promote export. It is a sign of encouragement from the government. But we also have to see that this is a developing nation and the government has a lot on its plate.

Instep: What is your take on the Lux Style Awards?
Amir Adnan: I’ve won once. The last LSA I saw was the one in Malaysia. It was sweet of them to fly all of us out there. And it was a great show. I missed last year’s show. But I believe that it is perhaps the only platform where we are acknowledged. Everyone who condemns the show must realize that to put up such a show is a monumental task. They should try to do it and if they can’t, they should encourage the show. It’s a wonderful thing they do.

Amir Adnan was talking to Maheen Sabeeh

Back to the forefront of the cutting edge: With his instrument at the ready and some mean riffs at hand, iconic guitarist Assad Ahmed is set to shine at Coke Studio

By Maheen Sabeeh

Take it as it comes

Minutes into Arieb Azhar’s rehearsal at Coke Studio, Assad Ahmed is already in groove, jumping between electric and acoustic guitars – the instruments that are Assad’s pride and passion. He is sitting next to Omran “Momo” Shafique – the other guitarist at Coke Studio – on one side and Kamran “Manu” Zafar (bass) on the other end.

As the song (which cannot be revealed just yet, they’re keeping the play list secret) blasts from the speakers, Assad grins, first at Gumby, who is drumming up a sensation, before shifting his smile to Momo and Mannu, both of whom understand the musical vibe. Clearly satisfied with what he’s hearing in his in-ear plugs, Assad plays on until we cut for a break.

Drum sensation John Louis Pinto aka Gumby calls Assad Ahmed Topcat.

“Come on, doesn’t Assad really look like Topcat?” Gumby asks me with a straight face and soon breaks into a hysterical laugh. Assad laughs along without a care in the world.

Right here, in the heart of Coke Studio, Assad Ahmed is making his comeback. The man who is considered one of the pioneers of rock music in Pakistan has surfaced and what a way to arrive!

With his long hair, jeans and a Gene Simmons (of Kiss fame) tee, Assad cuts a more self-assured figure than ever before He may be among the new additions of musicians to the Coke Studio house band but Assad already understands the ethos of the show that has revitalized the spirit within the music industry and has built bridges between musicians and star singers.

It’s rush hour but Assad is a complete sport. In between the change in the artist line-up, Assad finally gets a breather and I convince him to talk. He laughs politely and says, “Sure.”

The return of Assad Ahmed, one of Pakistan’s most seasoned musicians, has come as a surprise. It’s been six years since Karavan – Assad Ahmed’s current band – released their last record, the mighty and underrated Gardish.

Not that Assad is thinking about Karavan right now. He is thinking about the next set.

“We used to dream of this time. Rohail (Hyatt), Shahi (Hasan) and I. This day. We could count the number of acts in the music industry in our days on fingertips. Junoon, Vital Signs and Awaz,” recalls Assad. “We wondered and hoped that one day there would be more artists and that day has arrived. And I’m so proud of all of them. Zeb and Haniya, Noori, Ali Zafar and Atif Aslam and so many other artists. They have come out and they are fantastic. Coke Studio is bringing it all together and that is what’s important.”

This year Coke Studio line-up of artists includes pop and rock acts like Shafqat Amanat Ali Khan, Noori, Zeb and Haniya, Atif Aslam, Ali Zafar, Strings, Arieb Azhar and Josh. Hailing from the eastern classical sides are Javed Bashir (of Mekaal Hasan Band fame), Ustaad Riaz Ali Khan and Saieen Zahoor.

Genres are intertwined, new experiments are taking place and for Assad this is how the industry will evolve.

Taking a long drag on a cigarette and stretching his endless legs, Assad sits up straight and says with a conviction that penetrates the air, “This is important for the growth of the industry. We need such platforms. Last year I couldn’t do Coke Studio because I didn’t have the time and Rohail knew it. I loved the last season of Coke Studio. This year I could get involved and so here I am,” says Assad.

The addition of Assad is certainly not a shock. He can adapt as a player, whether it is riveting riffs or intricate acoustic chords. He hasn’t lost that touch. With the change in the sound of Coke Studio, the inclusion of Assad Ahmed makes pure sense.

And the fact that Assad’s relationship with Pa Hyatt (Rohail Hyatt’s nickname at Coke Studio) goes back a long way makes it all the more exciting.

“I have played with Vital Signs. I played on two of their albums – Aitebar and Hum Tum. Rohail and I have always kept in touch irrespective of what we’ve been pursuing on professional fronts. And it’s a delight being here,” he says and adds, “Look at Coke Studio! Every single person here is doing their best. A lot of hardwork and planning has gone into this show. We’ve been at it for months.”

Be yourself

Assad Ahmed has been around for over two decades and he has seen the music industry develop. His views are headstrong. Unlike many other acts, Assad isn’t about India and Bollywood at all. And he’s very happy that the focus of Pakistani musicians has shifted from dreams of border crossing.

“Now with India not on the horizon for some time, it will shift the focus back on Pakistan, on our music and what we should be making,” he observes. “India doesn’t want our music. Do they have rock acts? No. They are a film-music oriented industry, so they will never promote Pakistani pop and rock just for its own sound. Eventually the sound will be molded to fit Bollywood standards,” he says firmly.

Refuting the claim that India is a massive platform, Assad says, “India is a platform but it isn’t the only platform. Other territories should be explored. UAE, UK and USA are also places where one can play and earn revenue. When Junoon came into the scene, their following in the United Kingdom as well as other places where the Asian diaspora exists was massive. Because UK only had a bhangra and hip hop scene happening, there were no rock acts until Junoon came. With Junoon out of the game, that void still exists. And bands like Karavan, Noori, EP, Aaroh and others have that market.”

In the six years since Karavan’s last album, Assad has been busy. Other than working on the upcoming Karavan album, he has worked on Rahat Fateh Ali Khan’s Charkha, Haroon’s albums – Lagaan and Haroon Ka Nasha. He also worked on Rahat Fateh Ali’s ‘Mann Ki Lagan’ off the Paap soundtrack and Sajjad Ali’s haunting ballad, ‘Teri Yaad’. And then there was the unplugged Karavan album that was released only on the Internet in 2005.

“Karavan has done number of shows. You get your hardcore fans out and play your heart out. That is the way to do it. You have to realize that me and Rohail, Shahi, Junaid – we all came at a time when the only media was state television. It’s not that difficult to put up a show now. But do it right. If you give something 50 per cent, it will be felt by the fans. I’d rather do something which is 100 per cent honest than something that is below par.”

For Assad, the attraction of stardom ha

“I never really left. But I have done the whole pop star thing, touring the world and playing to packed houses. It isn’t about stardom for me,” he says reminiscing about the days of Awaz, which ruled the roost alongside Vital Signs as ‘the’ pop acts.

s faded away.

As the conversation continues, there’s a tap on the door. The next set is taking off and Assad is needed. It is close to midnight. He surely is tired. It is grueling for all the players who’ve been spending every waking hour at the studio. But Assad has no complaints. He puts the cigarette out and we walk back inside.

For fans though, there is more good news. Other than Coke Studio, Assad is also wrapping up Karavan’s upcoming record, Saara Jahaan. Assad Ahmed is the backbone of Karavan. He is the crowd puller for loyal fans who have been following his career graph for years. And that graph, is still on the rise and we expect it to go up further when Coke Studio goes on air.

– Pictures by Rizwan-Ul-Haq