Slicker than the average

With their second album, Overload have moved further into the world of hypnotic percussion and frenzied riffs with a distinct female vocalist in tow. As for the dhols… they are still very much a part of Overload’s punch.
Instep lends an ear to the record that is Pichal Pairee…

By Maheen Sabeeh
Artist: Overload
Album: Pichal Pairee***

The trip factor that one associated with Overload hasn’t disappeared with Pichal Pairee. The name of the record is enough to generate curiosity, especially since its literal translation from Punjabi is ‘the one with twisted feet’. To their credit, Overload live up to their name. It may be twisted (not the kind that makes you want to scream in pain) but the kind that you’d rather enjoy, given the hypnotic qualities of the unit that is Overload. And that is how one would sum up Pichal Pairee.

Their return hasn’t gone unnoticed like many other bands; even ones with record label deals don’t turn heads as much. And this is Overload’s strongest point. They know how to sell themselves. The first video off this record, ‘Pichal Pairee’ is a clear-cut sign. Some may compare Meesha to Amy Winehouse, with that grungy garb and beehive hair, but beyond some uncanny similarities (at least within the video), it is clear that Meesha is no Amy Winehouse.

On ‘Pichal Pairee‘, her vocals are not as flourishing as they are on other tunes on this record but the saving grace of the song remains its thoroughly crafted sound. Even as the song hops into some funky guitars and percussion, there is a definite groove to it that is captivating.

What’s also interesting is after Overload’s self-titled debut (2006), this time the band has come together on every musical front and experimented with rough guitars, slick production, and ambient rock with a sultry vocalist in tow.

The genre is hard to describe. The inspiration hails from ambient rock to electronica, funk pop with and an intriguing mix of traditional dhols.

Is this record like its predecessor? Yes and no.

To some degree, yes, because most of the players are the same but the new additions have mixed the flavour. Overload as a musical outfit have evolved. The most intriguing member of this band is Meesha Shafi, who doubles as a singer and is also one of lyricists on Pichal Pairee.

There are various reasons why Overload’s Pichal Pairee not only makes for an interesting listen but it also shows a direction in which music might be headed. This record has been released by the band on their website, (overloadbeats.com) where it can be downloaded for free. There is no record label as yet in the picture and Overload are not worried about it.

But that’s a completely different story. For now, the album…

Evolved sound?

Pichal Pairee is a small record with nine songs in total. And that was a smart move. An album as experimental as this, with instrumentals as well as English ditties and dhols sounds good because the band has concentrated on quality and kept the ship tight. Shahi Hasan, who has mixed and mastered the record has kept the sound clean and clear while Farhad Humayun, who is at the helm of this band, has produced his finest record to date. The songs keep tripping and create their own dimension, provided one is willing to enter.

‘A Thousand Miracles’ is slightly mournful, brooding and takes the listener in, almost as if nothing else exists.

‘Vichar Gai‘ has a more techno feel to it. And in this techno stratosphere, Meesha sounds beautiful as she sings about parting. She definitely reminds one of Butterfly Boucher with that same slightly sultry, slightly anguished voice. And in the same breath is ‘Saat Mein‘ where Sheraz plays with his piano and has fun with it, creating an ambience that is overpowering and unreal. And that is what makes Overload such a fascinating outfit. They remain one of the few acts who know how to play this musical card of ambience. This song shows off the skill and style of Sheraz. The addition of tabla from Ustad Allah Loke makes it all the more wandering but it ain’t aimless.

On ‘Kaykra‘, the mood is aggressive, but Mahmood, Farhad and Sheraz have arranged it with such style and consistency that one is instantly drawn. The rough guitars, smooth keyboards – its sharp stuff. It all adds certain frenzy to the song and that makes it an absolute winner, despite being an instrumental.
Meesha appears to be more in control of her vocals on ‘Amjad Khan‘. With a powerful bassline and soothing keyboards, Meesha sings, “I’m running/flying/floating” as Mahmood Rehman flirts with the guitar. And the sweeping drums and dhols just add more character. Meesha really pulls off a Beth Ditto here… she’s an interesting singer.

‘Dhol Bajay Ga‘ has a ‘Mission Impossible’-like frenzied sound. It has angry emotion as Meesha sings, “Bijli aaye na aaye/Hamara dhol bajay ga” and this emotion is compounded by some seriously sensational instrumentation. Whether its Farhad’s drums or Mahmood’s seething guitars or Nasir and Kala Saieen’s spinning dhols – its fabulous stuff. The variation in sound… and the fighting spirit that this song oozes out… it’s incredibly well-textured.

Amidst the round of frenzied and loud sounds is ‘Dig Dag‘ which opens like a Robert Miles song. It’s slow, fluid and inviting but it soon joins the choir of being a true Overload song and that doesn’t go without a certain mixture of raw riffs, a melancholic melody and thumping drums. It may be an instrumental but one that works.

Overload’s signature was their energetic shows, which became even more popular because of the hypnotic Pappu Saieen. With the new record, Nasir Saieen takes on that role. And he does a fine job at that. As far as studio recording goes, he has done his job with the fine balance of restrain and command on his instrument that was required.

And where Overload loses rural folks on (perhaps) some English lyrics, they make up for with their crazy dhols and spectacular videos. Like them or hate them, but the visuals can’t be denied.

With the music industry in dire need of a business model, Overload has paved the path, just like their many Western counterparts – releasing the album on their website for free. It is a trend that is synonymous with indie bands. In fact, Coldplay also did the same earlier this year when they released Left Right (a live compilation album) and uploaded it on their website to be downloaded for free. This is another story altogether but the bottom line is this: Overload cannot be underestimated. For every shortcoming that comes from being an urban band, they have a game plan. If there are instrumentals, there are also songs like ‘Amjad Khan’.

The language varies and after an out-an-out instrumental album, Overload have upped their game. For songs like ‘Pichal Pairee’, there are diverse tunes like ‘Dhol Bajay Ga’ and the stunning ‘Saath Mein’. Pichal Pairee is one of the most experimental records to be released in a while. It’s slick, it’s sexy and it’s darkly layered with aggression with some soothing moments. Overload know how to break language as a barrier and with this album, they have managed it yet again.

Unchained melody

Shiraz Uppal is back with Ankahi, his magnificent follow-up to the sonorous Jhuki Jhuki. And once again, Shiraz doesn’t disappoint.

By Maheen Sabeeh
Artist: Shiraz Uppal
Album: Ankaki****

Amongst the many releases this year that include Hadiqa Kiyani’s Aasmaan, Amanat Ali Khan’s Kohram, Rahim Shah’s Mamma Dey, Laal’s Umeed-e-Sahar and Overload’s Pichal Pairee (to name a few), one artist whose return is surely welcome is Shiraz Uppal. It’s not because of his arresting videos (although ‘Jhuki Jhuki’ was magnificent) or the over-styled glamour that sometimes comes with being a pop star.

Au contraire, it is Shiraz Uppal’s music that makes him so appealing.

A far cry from 2001’s Tu Hai Mera, Shiraz’s latest, Ankahi, is his finest. It must have been a challenge though. Jhuki Jhuki is a masterpiece and matching its success is difficult. With his fourth studio album that is Ankahi, Shiraz has proven that he ain’t no one-hit wonder. That urban-meets-rural feel – a staple of Shiraz’s music – is palpable throughout this record. There is a fine balance of melody and slick studio work and an understanding of the overall soft pop sound.

His comeback video, ‘Rabba’ with its ‘man falls in love with woman’ story is nothing to write home about but the song is something else. At first hear, it sounds interesting. And with time, it grows on you with the same charm that ‘Roya Re’ did. With fragile flute sounds and fleeting glimpses of past and a grandeur musical arrangement, it makes for a worthy listen.
Most of the songs on Ankahi are love songs but Shiraz knows how to do them with perfect instrumentation. There is no overplaying of guitars or any other instrument. It’s the collective sound that echoes that makes Ankahi impressive. The tone of the album stays true to its theme – love ballads. But the beat is not monotonous. This isn’t an electronica experiment like Overload. But the melodies remain powerful and that keeps them from getting monotonous. The record is not drenched in darkness but neither is it loud and garish. It’s the perfect blend of soulful pop and some grungy rock. There are tablas, flute and dholak, giving the record an feeling of slight tradition mixed with modern sounds of flirting guitars and tormenting piano.

Ankahi, which also features Shiraz’s Bollywood hit, ‘Roya Re’ has finally released after months of speculation and he lives up to all the expectations that were set by Jhuki Jhuki (2005).

The version of ‘Roya Re’ that we’ve all heard has music and vocals from Shiraz Uppal but the lyrics were written by Indian lyricist Saeed Quadri. Shiraz has smartly put the original version into the album as well. And while the melody is more or less the same but the original ‘Roya Re’ version is bluesy with guitars forming the backbone and is less filmi in sound. The lyrical change, in places, also gives the song a raw, unnerving and mournful feel. “Sochta Hoon Hum Tum Mein Hum Mein Pyar Kyun Na Raha/Thi Tumhari Ya Meri Bhol Jaaye Khata/Roz Jalta Hai/Dil Pigalta Hai/Yaad Karta…” – it accentuates the emotions running through the song.

The title track, ‘Ankahi’ flows beautifully like a soft, moody ballad. Zeb and Haniya step in for backing vocals, giving the song a striking, hum-like character. The vocals soar but never go aboard and the sound shapes nicely from sharp guitars to subtle piano.

Shiraz sings with sincerity as he say, “Aisa Bhi Nahi/Key Jo Dil Kah Wo Na Keh Sakay Zuban/Do Lafz Hain/Teray Liye/Meray Liye/ Dono Jahan” – it just gives a feeling of liberation and quietly grows on you.

The gradual crescendo that builds right up to the end with Zeb and Haniya joining Shiraz makes this tune a clear cut winner. It’s exactly the kind of magic that one head on the spellbinding record that was Jhuki Jhuki.

‘Nadaan’ drenches of passive-aggressive emotions, from resignation to moving ahead with some eclectic riffs and sexy basslines from Amir Azhar
‘Pehla Pehla Pyar’ is all about falling in love, the mills and boon brand of love, the unshakable kind, but the song has such a festive feel that it instantly commands a second listen. It’s not so much the melody but Shiraz’s voice that channels such a varied range of emotions that it is hard to forget.

‘Mann Laga’ has a rustic, slightly trippy feel as it opens and has a semi-classical qawwali harmony going for it. AR Rahman remains a huge influence on Shiraz Uppal and this song has a trace of that influence.

Most of the songs on this record may be lovelorn but it’s done with experience, panache and a skill that cannot be missed and judged.

Coming back to the record, one finds Shiraz on a more introspective note on ‘Terey Bina’. A rough guitar riff runs through while the protagonist sings with an air of mournfulness of the loss of a beloved and the infidelity of walking out.

The addition of the English verses such as (For You/I Did/Whatever I Could Do) ruins this otherwise decent ditty. There was no need to add these gimmicks.

A slew of electronic effects, lush guitars enter with ‘Kabhi Kabhi’ where the uncertain path of life can be a blessing. Shiraz sings with viguour and passion and that makes all the difference.

On ‘Tum Hi To Ho’, Fareeha Pervaiz duets with Shiraz. With its thudding beats, flourishing flute, it sounds like a song straight out of a Yash Raj Film. One can just picture floating saris and green earth around. The song is neither here nor there.

And so…
Shiraz Uppal is not just a good singer – he is a great singer. Ankahi is not a record to be missed. It is a well-crafted, coherent and sonorous record, which will further strengthen his star. It’s classic Shiraz Uppal and he is as much a singer as he is a composer. Most of the ditties on this record have Shiraz’s stamp on them and Shiraz has also produced this record. This is a trend that is common around the globe. Artists produce their own records but where many need expertise, Shiraz Uppal does fine just by himself. The wall of sound is not too eager to sound “different”. The fact that the songs are slicker in sound, lyrically rich and Shiraz’s command on his vocals have gotten stronger only goes to show his maturity as an artist. The sound is layered and has a clear texture.

Shiraz is not a marketing wizard when it comes to selling himself but he is learning with time. Ankahi also marks Shiraz’s entry on the Indian scene. He is releasing Ankahi in India and has already signed up with a record label. Indians lapped up ‘Roya Re’. Ankahi should make Shiraz a coveted name sooner than later.

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

Reinventing the Hadiqa wheel

Hadiqa returns with an experimental, trendy and catchy new record, Aasmaan that picks up from where she left off. Instep lends an ear…

By Maheen Sabeeh
Artist: Hadiqa Kiani
Album: Aasmaan****

Where did you go?
Hadiqa Kiani has been away for six years. It is a big break for a mainstream artist like Hadiqa. And now she has returned. But one wonders, did Hadiqa really ever leave? And the answer is no. This is no ordinary artist. She is the ultimate female diva to the classes and the masses. And Hadiqa never truly disappeared from our psyche.

Amidst the three studio records – Raaz, Roshni and Rung – Hadiqa went on a different tangent altogether and teamed up with one of the most reclusive, elusive yet brilliant musicians Pakistan has produced Aamir Zaki on a full-fledged album, Rough Cut. It was a far more restrained, mature and powerful record Zaki had done than his debut Signature. Hadiqa let go of her reservations and joined him on the musical quest even though she is a star of the masses and English remains a niche market. She knew it, even then. Whether fans digested Hadiqa in English or not is irrelevant at this point. For one thing, she is a big enough name to experiment at such a degree. And secondly she never really went away. The singles from Hadiqa Kiani were continuous. From ‘Iss Bar Milo’ with Aamir Zaki to ‘Yeh Hum Nahin’ with Shuja Haider, ‘Zindagi’, ‘Mehr Ma’ with Khiza, Hadiqa kept giving us a glimpse that she was still out there.

She didn’t stop making music. She went around the world, toured and in between listened to the sound stemming out of new places, trends that have shaped the new musical order, at least on the chart-thumping world charts.

In between, her personal life went through a colossal change. She got married, became a mother, got divorced and for the last three years – Khawar Kiani, Hadiqa’s mother, whose name always finds a place on most of her albums – was diagnosed with paralysis. That and the country changed too. We became labeled ‘the most dangerous nation on earth’ and that was just the tip of the iceberg.

But none of those reflections come through on Aasmaan. It is a record that celebrates love, life, music, sounds and the producers – Irfan Kiani, Hadiqa’s brother/manager/musician, Hadiqa herself and JKD, a British-based producer – have fun on the record. The refuse to budge with the bounciness of the record and at the same time, celebrate the genres that have blazed charts around the world. To add more punch, those trends of R ‘n’ B that have turned names like Rihanna into icons, have been mixed with other sounds, influences that range from local Punjabi bhangra to Arabic and Persian music. Collectively, it is a well-rounded even if slightly patchy album.

Nothing dampened Hadiqa’s spirit because when you listen to Aasmaan, you can’t end up but smile at what Hadiqa has attempted and gotten away with: a groovy, R’n'B record that is slick in production, fun in wordplay and hip in music.

Reaching for the skies above
This record is team work. From its protagonist that is Hadiqa Kiani to Irfan Kiani who plays producer to this album to the plethora of names that write lyrics, musical arrangements – the list is pretty long.
But it comes together well – the direction of this album is clear – it is dance and R ‘n’ b but there is also an underlying current that makes this record inherently Eastern.
It is because of songs like ‘Az Chashme Saqi’ – a poem penned by Allama Iqbal – where Hadiqa not only sings but also speaks in haunting tones via the English translation, making it so smoky and hazy that it makes our patient wait for Hadiqa worthwhile. She can blend East and West with individuality and a signature that is truly her own and one that has developed over the last decade.

There are other gems to prove her mettle as a singer: ‘Sajna Sajna’ which moves and swells slowly and is merrily atmospheric. The lyrics are nothing extraordinary (“Mein Sajna Sajna Tera Naal/Pyar Tu Hai/Iqrar Tu Hai/Mera Dil Ka Ek Taar Tu Hai) but it’s the authority with which Hadiqa delivers the words that makes it unique and a raging hit in waiting.
Hadiqa admits that she pulled all the stunts she could. “This is the best we could do. We’ve been at it for six years,” she had said to Instep at the press launch of the record.
It is palpable in the lead single, ‘Sohnya’ featuring Nas-T, a percussion heavy number where Hadiqa croons for her beloved and in the next vein, capturing the ‘I-will-do-anything-for-love’ emotion well, caters to a generation of youngsters that will relate to these lines. Nas-T rapping in the mix takes the song to another funky level and Hadiqa sweeps in again with meticulous timing.

‘Tuk Tuk’ is a tongue-in-cheek, satirical tune about staring, falling in love and being annoyed by conspicuous behaviour, it seems all together. “Tuk Tuk Mujhe Dekho Na Aisa Saawariya/Dil Mein Utarti Hai Teri Yeh Nazariya” – and the music is just as bouncy, almost reminiscent to a Bollywood song. It’s a little over the top with the arrangements ranging from synthesizers to tinkering bell sounds, a pounding beat and more. But for a concert, ‘Tuk Tuk’ should be a phenomenon. It is so culturally relevant for us as a nation. We love to stare… at everyone.

Back to the record, there is ‘Chankata’ which is perhaps a bit too chaotic and holds some similar notes to ‘Sohnya’ in terms of sound. It’s average.

‘Zara Zara’ is intoxicating. It’s drenched in eclectic, wired techno beats and addresses the issues of self-control as Hadiqa sings, “Zara Zara Aayega Nasha/Dil Tau Hai Anjana/Hota Hai Deewana/Dil Ki Nadaniyon Ko/Iss Ki Batabiyon Ko…”
This is a trippy one from Hadiqa but it’s nowhere near the sphere of morbidity. It’s passionate, honest and almost questioning. An interesting tune to check out. The remix, however, is just an unnecessary addition and can be skipped.

The real power-packed numbers are ‘Wanjhli’ and ‘Jab Say Tum’.
On ‘Wanjhli’, Baqir Abbas (the flutist whose magic has been resonating out of Coke Studio this year as a guest musician) gives a silky soft, sonorous yet controlled sound with his playing. Hadiqa grooves meanwhile with “wooooo” and it works. She can pull it off. It’s her fascination with other languages – Punjabi, Persian, Turkish, Sindhi, Chinese – it’s continuous and Hadiqa tends to explore as many on her albums and live shows as possible. These factors help elevate the album.

On ‘Jab Say Tum’, Irfan Kiani sings like a broken man. It is just that sincere and Hadiqa compliments him, bringing in desperation and longing to give it such a sharp edge. Together the brother-sister duo has given ‘Jab Say Tum’ the perfect merger of man-woman duet, tackling loneliness and loss with skill and a lot of heart.

The world is my oyster
Hadiqa Kiani herself confesses that Aasmaan had a lot of input from many people. Ali Mustafa, Baqir Abbas, Kashif Iqbal, JKD and a few others. But what keeps this vehicle going is Hadiqa for her vocal range that can take on Persian and Urdu with stylish command. She can flirt with a song like ‘Tuk Tuk’, be smoky on a tune like ‘Jaanan’ where every beat is intense and every guitar strum is tragically beautiful. She can yearn with loss on ‘Jab Say Tum’ and make you want to groove with ‘Sohnya’.

The timing for this album also shows courage. Musicians are afraid of releasing records for the timing never seems right. This was also a case with Hadiqa but she decided to plunge and it was perhaps for the best.

In contrast to the melancholic and beautiful Gunkali from Kaavish and punk-funk fiesta from Mauj (both records should release physically somewhere in this century), and the ongoing fusion of Coke Studio that has seen Atif sing Amir Khusro and Ali Zafar break down with Bulley Shah’s poignant words, Aasmaan is radically different and the big plus is that it is not juvenile. The album oscillates from guitars to steely eclectic synthesizers and some tormenting and beautiful vocal work.

The production is slick, crunchy and crisp. It flows through the album with perfection. For Hadiqa, this record was about taking on world trends and making them her own. She managed just fine with Irfan Kiani – who establishes himself as a fine producer on Aasmaan.
In the end, only when acts like Hadiqa Kiani continue with colourful experimentation and covering new musical territory, will a way be paved for new acts to follow. The fact that she is still standing with a dance record, is an achievement. Our music industry is still very much dominated by men and Hadiqa’s consistency will motivate and blaze a trail for other female upcoming acts. Zeb and Haniya are already here. And many more will hopefully follow. So here’s to the return of the most loved female pop singer of the country and her groovy comeback.

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

Vampire weekend

The Twilight soundtrack brings together rock favourites Muse, Linkin Park and Collective Soul alongside upcoming acts from around the world. Instep lends an ear…

By Maheen Sabeeh
Artist: Various
Album: Twilight OST****
More than us

To the MySpace generation and followers of digital music, the sound and success of the original soundtrack of Twilight might not be a mystery. To be fair, I do have a bias for the film – its teenage angst mixed with sexy vampires, immortality versus death, glued into a high school love story but entertaining stuff nonetheless. That said, to a huge lot, most artists on the soundtrack may not ring a bell at all.

Their success may be limited to die-hard fans or internet obsessed new music hunters but collectively, these unknown names have helped in building a solid OST, perhaps one of the finest rock albums since Spider-Man. Remember Chad Kroeger’s ‘Hero’?

Even for those who consider Twilight lame, the soundtrack which is a cut between a blend of alternative and rock heavyweights, lays out the dark undertones of the film.

Immortality versus mortality, danger, mystery, love – the album covers the texture of Twilight magnificently. Hard rock fans be warned. There are not just grating guitars and the magic of metal here but it’s more moody and thumping with ethos of electronica spread throughout, making it all the more edgier and tricky.

First are some big guns of music. The biggest one of course is Linkin Park with their tune, ‘Leave Out All The Rest’ which was first featured on their album, Minutes to Midnight.

On this song, the aggressive American rock band simply surrender as Chester sings, “I’m strong on the surface/Not all the way through/I’ve never been perfect/But neither have you/So if you’re asking me/I want you to know/When my time comes/Forget the wrong that I’ve done/Help me leave behind some/Reasons to be missed/Don’t resent me/And when you’re feeling empty/Keep me in your memory/Leave out all the rest, leave out all the rest” – it’s a fantastic, toned-down tune on this record.

Modern rock act Collective Soul delivers a slightly tipsy tune called ‘Tremble For My Beloved’ where the lyrics continue throughout “Its a world where madness craves/Its a world where hopes enslaved/Oh, I tremble for my love always” as the sound creates a mournful air. Nine years after the song was first produced, with crunching guitars and flirtatious vocals, the song found its way on one of the biggest soundtracks.

The third major stars on this record are British rockers Muse with their slightly angry rendition of ‘Supermassive Black Hole’ which is the most metallic and grungy song on the record.

Another artist that must be mentioned here is Robert Pattinson. Not only is he leading this vampire saga on the big screen as the actor but he has two songs on the soundtrack and the 23-year-old British actor could easily find an alternative career in music. ‘Let Me Sign’ and ‘Never Think’ are not musically challenging by any stretch. But Robert Pattinson makes it all work because his vocals are fantastic. And the songs are kept short and tight. No over-the-top solos, just pure vocal magic.

Indie wave rules
Twilight isn’t just another ordinary soundtrack. With the big guns, there are lesser known names and they get their shot at the limelight.

Paramore, known till now through their MySpace page have seen over 6 million hits since the Twilight album released. They have delivered two tunes to the album including ‘Decode’ (which was especially composed for the film) and ‘I Caught Myself’. Singer Hayley Williams of Paramore is a self-confessed Twilight series fan and she understood the darkly layered emotions of the film.

Hailing from the United Kingdom, electronic duo Black Ghosts spin a dizzying spell with ‘Full Moon’ while Blue Foundation are hypnotic and sheer brilliant with ‘Eyes on Fire’. A folksy feeling also comes in with Iron & Wine’s ‘Flightless Bird, American Mouth.’ Carter Burwell’s ‘Bella’s Lullaby’ is shuddering while ‘Go All The Way (Into Twilight)’ is liberating and sexy. With thumping beats and wordplay that goes, “You asked me out on many dates/And took me to exotic places/You saw the look upon your face/You men must really love the chases/I’m going to let you have it like you’ve never had before/So take me /Tonight! Lightning Strikes! Let’s go into Twilight!” – it is majestic and wild.

The artists are young and many of them will remind one of acts like Radiohead, Alice in Chains and even Simon and Garfunkel but with a more evolved sound and a personal approach. The wordplay is sometimes just manic, barely hopeful and at other times mournful yet dangerous, naïve yet beautiful, much like the characters in the film. And that is not a bad thing at all.

True blood
Make no mistake. The Twilight OST is not easy listening. It’s a record that tackles issues related to adolescence and at the same time, the bigger problems of life and death, the fantastical reality of choosing between humans and other human-like creatures with grey shades to name just a few. The songs compiled together do justice to the saga that is Twilight. It’s aggressive and wild, cautious and playful, scared and sacred much like the relationship of Edward and Bella in the Twilight series.

This album was more than a sheer stroke of luck. To put together such a varied list, Alexandra Patsavas was hired. For the uninformed, Alexandra has previously played music supervisor to the soundtracks of hit television series like The OC, Grey’s Anatomy and Gossip Girl. Not surprisingly, this record is currently the highest selling rock album of the year.

In the end, the soundtrack works because it is neither disjointed nor incoherent. It plays with your head even as you tap your feet or head bang to Muse. And if any album can stay in your head for weeks and still manage the same effect, it’s worth a listen.

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

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

Running up that hill

By Maheen Sabeeh
Artist: Abbas Premjee****
Album: Elements

Abbas Premjee has been a part of the music industry for years. Like Aamir Zaki, he too maintains a low profile but the man, who has actually studied classical western guitar at University abroad, enjoys an immense amount of credibility within the industry. Having worked with names like Rahat Fateh Ali Khan, Rohail Hyatt and Ali Azmat, Abbas has finally surfaced with his first solo album, Elements that has been in the making for the last four years.

A lot has changed since Abbas began this record. Some incredible records have come out, pop stars have risen to skyrocketing fame (Atif Aslam, who else?) while others have vanished (Hadiqa Kiyani) and some have come back with more vigour than ever (Strings).

Ironically enough, despite all these happenings, the industry has never been more haywire, at least in terms of the future. With no India in the horizon (after the Mumbai blasts), the future looks bleak. But all this, strange as it may sound, makes for an interesting time to release an album. The competition is fierce but the work coming out is perhaps the best one has heard in years. And Abbas has now joined those ranks with Elements.

Ready to rise
From the first hear, it is obvious that Elements is of the fearless variety. Abbas Premjee tells us everything he knows – not by flashing guitar tricks but by putting on display his knowledge of old school raags, which led to these compositions. Most melodies have evolved from Indian raags and perhaps that is really the reason why they are so strong.

The lead single from Elements, ‘Jhoom Deewane’ which is currently running on airwaves, is a compelling beginning. With fabulous guitars and groovy drums paired with thumping duff and darbuka, the song maintains a very Middle Eastern vibe. Vocalist Manzoor Jhalla’s notes soar to incredible heights and descend with equal ease. It’s one hell of an introduction.

The Middle Eastern ethos with clap-like sounds and haunting atmosphere ala weeping guitars and crashing drums continues in ‘Entrainment’. But this really is a song that showcases Rauf Sami as a singer. The son of Ustaad Naseeruddin Sami may not have reached the level of his father just yet but he is surely going in the right direction. As Rauf sings, “Sade dil de dharpan/Sajana tu hai”, the impassioned vocals linger on long after the song stops playing.

Rauf Sami weaves his magic again on ‘Seven Heavens’ with Abbas leading the musical front with an almost flirtatious guitar, which is such an intriguing combination.

On the melancholic ‘Mahiya’, Irfan Haider is mournful, connecting with the mood of the song. And it has to be said that the rhythm of this tune is quite hypnotic. And the short title track ‘Elements’ lurches forward smoothly and it creates a mood that is almost like staring at a storm. It is just that powerful with Irfan Haider’s explosive alaaps.

‘Turn Inwards’ is less inviting after the sheer force of ‘Elements’. It sounds a little redundant. The feeling of redundancy, though, gets quickly replaced with ‘Atonement’. Rauf Sami is haunting, really truly and is such a capable singer. And giving him support is Abbas finger picking the guitar in such a subtle and consistent fashion that is jaw dropping.

A swift turn in mood comes with ‘Sajan Bana’ – an adaptation of folk melodies from rural Punjab – with its merry-played guitars. It is rich in both textures and emotions.

The lyrics can be inscrutable at times but this works here. With each hear, there is a conflicting and unpredictable response. And that is always challenging and exciting.

‘Seek Peace’ is gentle, understated and soothing, with alaaps from the classically trained Manzoor and a voiceover from Aliya Chinoy just giving it more dimensions.

With these exceptionally powerful and moody tunes, the three instrumentals need a little time out. On their own, each song makes for pleasurable listening. Be it the soft ‘Contemplation’, the apocalyptic ‘Heaven and Earth’ or the resigned ‘The Inner Sanctrum’. All three are curious musical pieces but they seem to get lost amidst the more powerful singles.

The bravery
Even though, in terms of public image, Abbas himself is just beginning, he doesn’t shy away from introducing new names like singers Aliya Chinoy, father and son Manzoor Jhalla and Irfan Haider, and Rauf Sami (who is the son of Ustaad Naseeruddin Sami). The showmanship of these vocalists is grand. These are exceptional voices and they are all new to listeners. This is a beginning, not just for Abbas, but for all of them.

Elements also maintains solid credentials. Besides Abbas and his troop of singers,
Gumby is brought in on drums (on tracks ‘Jhoom Deewane’, Sajan Bana’, Mahiya’ and ‘Seven Heavens’) while Khalid Khan plays bass on singles ‘Mahiya’ and ‘Seven Heavens’. Faisal Rafi, who co-produced Rahat Fateh Ali Khan’s Charkha with Rohail Hyatt and was also the recording engineer on Strings’s last offering, Koi Aanay Wala Hai, also provides expertise in the recording department.

The big question: does an album with classical guitar which crosses genres like jazz, classical rock, Indian raags and Punjabi folk melodies with a bunch of classically trained singers work? Yes.
This is intriguing music. It isn’t plain and neither is it simple. It is sharp and melodic, but also musically driven. The arrangement and instrumentation is exquisite and tasteful. Abbas doesn’t use this album to show off his guitar skills and keeps the vocals to add edge to songs. He doesn’t use them as just mere fillers.

Abbas is not gunning to become the next big star in music and as such he doesn’t fall into any clichés and traps that are consistent in most albums. A range of moods, smashing verve and musical ideas pretty much makes up the album.

And if the last few years have proven anything, it is the fact that listeners are always open to unpredictability. The success of Zeb and Haniya, Mekaal Hasan Band, Rahat Fateh Ali Khan, Overload and Fuzon (original) and Shafqat Amanat Ali Khan’s Tabeer are the signs of the times.

That said, it should also be remembered that this music will not be digestible to all. There is no teenage drama happening here nor is this an album filled with youth anthems. And maybe that isn’t a bad thing after all.

But Elements needs a major marketing force behind it to make it. And the simplest way to achieve that is with consistent shows – if Aunty Disco Project can manage shows on their own, so can Abbas. As it is, this album is certainly not catering to the masses as yet. It needs to build itself up and in the process, the man behind it.

Abbas is not a known face; he needs to appear on our telly screens more often. Ali Azmat can get away with not doing too many interviews – his star is too huge to ignore with or without interviews – but Abbas is still a stranger to the audience. They need to know him to invest in him.

Ratings:

***** Solid investment
**** Required listening
*** Good for a hum along
** Nothing ground-breaking
* Complete waste of money

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

The impeccable return of Strings

It is a milestone. It is experimental.
It is reinvention.
It is the comeback of the two most talented men Pakistan has ever produced. Koi Aanay Wala Hai is a masterpiece, one that reintroduces us to Strings in a new avatar.

By Maheen Sabeeh

Artist: Strings Album: Koi Aanay Wala Hai***** The fifth element Koi Aanay Wala Hai is the most impeccable album in markets right now, the only one that is as brilliant in its sound, concept and creation as Rahat Fateh Ali Khan’s Charkha. A turn of the decade is what Koi Aanay Wala Hai is for strings, the most consistent musical act of Faisal Kapadia and Bilal Maqsood, who have never failed to surprise us.
A sing-along factor persists throughout, a riff-rock treatment, and the biggest asset of the band, Faisal’s voice, that never lets you down with Bilal sings softly ‘Koi Aanay Wala Hai’ as chorus hits, its an impressive beginning. Now together for 18 years, this is a band that has miraculously avoided repetition on their records. It is as if Strings pick up an idea and 50 seconds later steamroll it on their way to a new concept and that is what they have done with Koi Aanay Wala Hai. The wall of sound If one were to define this album in one word, it would be ‘masterpiece’. And that is because this is an album where 12 songs are woven together so artfully that one can’t help but just marvel at the Strings. And here is why Koi Aanay Wala Hai is a milestone for Bilal Maqsood and Faisal Kapadia. The band has retained their signature but for the most part, the album is an out and out experiment, which is not easy. Because by the fifth album, listeners tend to expect a certain sound. To take a 360-degree turn at this stage of their careers, it shows courage. It is the kind of step that has reaffirmed faith in the band once again. Koi Aanay Wala Hai can be divided into two parts. One, edgy, abrasive over-the-top rock songs that can play lesson to other aspiring rock acts (and current existing ones) and two, beautiful, soulful poppy tunes that remains the forte of Strings. From the infectious ‘Koi Aanay Wala’ to the celebratory air of ‘Aik Do Teen’, the soft gloom of ‘Titliyan’, the introspective ‘Sonay Do’ and the excellent wake-up call of ‘Jago’ there is not a single flaw on this album. Anwar Maqsood deserves equal applause for improving to such a level from last time that he just stuns you. And yes, there are still phrases like ‘Badal, Ghata’ and some of the other usual suspects but they blend so well with Faisal’s inimitable vocals that one can’t complain. For the most part, the album remains positive and that is delightful. Rock music tends to get morbid, which eventually makes it tedious and sometimes forgettable. And yes, it is also a rock album, in most places. And not the kind of monotonous album that has a mind-numbing number of riffs placed at equal distance. But mature rock that will remain embedded in memories as a classic.
It is present on the bouncy ‘Aik Do Teen’ with its jubilance that hits you in the soul while the words tell you a magical story about a fairy with a wand. If granted a wish, what would it be? It starts off from materialism and eventually ends at a better world as the wordplay goes, “Aik Do Teen/Kaisa Badla Scene/Dunya Thee Haseen/Jo Maanga Sab Tha/Har Basti Mein Ujala Tha/Haaton Mein Niwala Tha”. Faisal sings with such enjoyment and precision that he takes you inside the world of this story because it is written with such depth that imagination can almost paint a picture inside your head. Move on to ‘Jago’ and one finds scorching guitars, a glimpse of hope and Bilal’s energetic call to wake-up and see the world.
‘Jab Logon Mein Tera Dil Ghabraye/To Tum Khud He Se Poocho/Kyun Tarey Raistey Hain Uljhay/Tum Un Par Daikho Chal Kai/Jag Utho Dekho” – what a pleasant concoction of rock and pop seamlessly woven together. The blistering rock continues with the re-worked versions of ‘Jab Bhi Mein (Strings 2) and ‘Jab Say Tumko’ (Strings). And this is exactly how songs should be re-worked. Both tunes get massive makeovers even as the melody remains the some. And usually that can kill the song. ‘Qaraar’ re-done on Ali Haider’s last album Jaanay Do and ‘Khwab’ re-done by Salman Ahmed on Deewar are two prime examples about how re-worked versions can go wrong. Thankfully no such problem comes here. Jagged guitars, stimulating keyboards, and a lot more energy than the first time, ‘Jab Bhi Mein’ is in one word, rocking. ‘Jab Say Tumko’ is even funkier – the most out there, meatiest number Strings have done, ever. Assaulting riffs, Faisal Kapadia’s vocals passionate and very different on most parts – slightly hypnotic and twisted around admirably – and drums sequenced to a perfect sound to match the loud guitars – what a reinvention it really is. Now it can be understood where Strings have been for five years. They were creating rock magic and making sure at the same time that old pop fans don’t get disappointed. Hence we find numbers like ‘Sonay Do’, Titliyan’, ‘Hum Safar’ and ‘Keh Dia’ and they tell us why Strings are the kings of pop. The magic of Bilal’s light vocals on ‘Sonay Do’, the level of optimism is not lost. And it has to be said that ‘Sonay Do’ is to Koi Aanay Wala Hai what ‘Khirki’ was to Duur. The main difference remains the musical treatment and the tone, which remains positive. The subtle instrumentation that creates a mood of tranquility and simplicity is top-notch. And the feeling of is surrealism comes with Bilal calmly singing, “Neeli dhoop ki kirnay/Haathon mein rakhta hoon/mujhay urtay hee janay hai/Yeh manzar kya suhana hai/Aankh lagi to dunya badli ho/Sonay Do”. ‘Sonay Do’ is a song is one that almost anyone can relate to. The catchphrase, “Aankh lagi to dunya badli ho/Sonay Do” is so true to these rapidly changing times. ‘Hum Safar’ which is next in line for a video, at the able hands of Jami (shot in Moscow) is the gentle ballad of this ambitious record with a wailing guitar, engaging ambience, and fierce emotions with an emotive Faisal Kapadia singing as stunning studio wizardry makes its mark. It’s a beautiful tune. And equally beautiful is ‘Keh Dia’ that celebrates falling in love, joyful moments that come through from “Haee Ya”, a subtle guitar playing in the background, while ‘Titliyan’ with its sonorous flute, bluesy tortuous guitar and lush instrumentation and two voices that compliment each other flawlessly is incredible. ‘Hum Hee Hum’ is not as excellent as the rest of the 11 tracks. It is, however, a cut above average. Confident, self-assuring tune that falls in the traditional category of straight-up pop rock. A video is already out vis-a-via Mobilink tie-up. And while it is a corporate video, it does match to the mood of the song, which is reflective of hopeful, happy youngsters. The last two songs on the album, ‘Zinda’ – that was created for Sanjay Dutt-John Abraham starrer Zinda – and ‘Aakhri Alvida’ – that was made for Sanjay Dutt-produced Shootout at Lokhandwala featuring the mighty Dutt himself alongside Vivek Oberoi – bring the album to a fitting end. It was a smart call to put these two tunes on this album because they gel well with the rest of the songs like two pieces that complete a puzzle. Whether it is ‘Aakhri Alvida’ with its haunting undertones, mournful guitars weaving a gloomy world of uncertainty and goodbye or the lingering effect of ‘Zinda’, both songs belong to the album. Stacked odds Koi Aanay Wala Hai has been around the world. From Karachi to India and New York, it has been to a variety of studios with a number of people take charge of engineering, mixing and mastering under the vigilant eyes of Bilal and Faisal. Strings don’t shy away from bringing in experts because the idea is not to take credits on the whole album but to build an album that will justify a five-year hiatus as far as full-fledged studio work goes. The idea is to reinvent and they have managed to do so with elegance. And remember the expectations were as high as it can be. Duur attained universal critical and commercial acclaim. Dhaani consolidated Strings power in India and Pakistan for good. But where Duur and Dhaani happened within the span of three years, Koi Aanay Wala Hai has taken a long time of five years. Between this time, other acts like Ali Zafar and Atif Aslam have come and conquered our imagination. There are other equally talented acts around such as Overload, Jal, Roxen, Mekaal Hasan Band that have carved solid following for themselves. Most of the older acts (baring Ali Azmat) have either become victims of stale and slightly repetitive music such as Salman Ahmed, Faakhir and Haroon or have failed to recapture their fans despite brilliance on their last records such as Abrar ul Haq and Ali Haider. Some have disappeared from the limelight such as Aaroh, Noori and Hadiqa Kiyani. Add all this to the fact that Dhaani was a tough act to follow. While patchy in some places, overall the album made its mark with anyone and everyone. Who can forget the heartbreak of ‘Kahani Mohabbat Ki’ or the playfulness of ‘Sohniye’? And the eight videos that come in tow with the album, making most of the album stuck to our heads for a long time. But Koi Aanay Wala Hai not only matches Dhaani, it actually surpasses it with grace. It proves something that is rare these days and that is artistic growth. Before and between the creation Koi Aanay Wala Hai may mark the comeback of Strings but were they truly away, the same way that Ali Azmat has been for the past 6-8 months barring concert appearances? No. Dhaani came in 2003. And since then Strings have been ably releasing singles. ‘Jeet Lo Dil’ with Euphoria came in 2004; ‘Zinda’ featuring John Abraham and Sanjay Dutt happened in 2005; anti-war anthem ‘Beirut’ came in 2006 and ‘Aakhri Alvida’ shot on the sets of Shootout at Lokhandwala came in 2007. Even though ‘Zinda’ and ‘Aakhri Alvida’ were for Indian films, Strings never gave up creative control and that is a significant factor in why unlike many of their contemporaries, they have not received flak for selling themselves short in India. In fact, they have gone one step forward. They hit it off with John Abraham so well that not only did he star in their video for ‘Koi Aanay Wala Hai’ but is also involved with the marketing and distribution of the album in India along with Sony BMG through his company. The other vehicle The endorsements Bilal and Faisal chose were always ones that fit the ‘Strings’ image.Tissot, Mobilink and Motorola and through each of them Strings made their appearances consistent, whether through print ads or television commercials.Their tie-up with Mobilink remains unique because like Western artists Strings have struck a unique deal. Their songs can be seen on Mobilink tv as well as heard as ringtones, an idea that Madonna used when she released her latest album, Hard Candy. They play the game the way it should be. They are huge icons in India but have never bended the rules to fit into the Bollywood mould. Can Strings do no wrong? No, not likely, not after the magic that Koi Aanay Wala Hai has created. Tasteful and truly inspired, it just doesn’t get better than this. *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

Hit the candy shop with Madonna

After years of European club culture, Madonna teams up with American charts royalty Timbaland, Justin Timberlake and Pharrell Williams for her eleventh record Hard Candy. Not surprisingly, it is an album that is edgy, steamy and ultimately just Madonna! By Maheen Sabeeh Artist: Madonna Album: Hard Candy****
After her European stints with ambiguous producers like Mirwais Ahmadzaï, Shep Pettibone and William Orbit, Madonna has come home. And she is back to what she does best: making music that is edgy, somewhat crazy and ultimately a milestone. Now in her fifth decade, it makes sense that the best in pop teams up with the very best in urban as she travels down the hip-hop road. The men who run the show under Madonna’s watchful eye are Justin Timberlake and Timbaland who have produced five songs and Pharell Williams who has seven songs to his credit as well as rapper par excellence Kanye West who is present on one tune. But in spite these hip-hop moguls, at heart Hard Candy is still very much a pop-dance record. The sound board of course is as inspired and interesting as Timbaland’s Shock Value and Justin Timberlake’s Future Sex/Love Sounds combined. A lot is happening on the entire album. There is the already-released, mouth watering ‘4 Minutes’ that had fans hanging in anticipation and was a teaser of the sweet confection that this record is.
Marking the first ever collaboration with pop’s wonder boy Justin Timberlake and mighty Timbaland, ‘4 Minutes’ has chants of ‘tick-tock’ from Madonna, chants of “Madonna, Madonna” from Justin, cowbell sounds, recurring clanging beat as well a bhangra beat and all the while Madonna also makes a point about the distraught state of the world. “The road to hell is paved with good intentions, yeah/Time is waiting/We only got 4 minutes to save the world/No hesitating/Grab a boy/Grab a girl”. Timbaland and Justin Timberlake also hold the production forte for ‘Devil Wouldn’t Recognise You’, ‘Miles Away’, ‘Dance 2Night’ and ‘Voices’.
Of the lot, the best number is ‘Devil Wouldn’t Recognise You’. It capture Madonna on her most vulnerable as she sings, “It’s like over and over you’re pushing me/Right down to the floor/I should just walk away/Over and over I keep on coming back for more/I play into your fantasy/Now that it’s over/You can ride on me right through your smile/I’ve seen behind your eyes/Now it’s over, the more intoxicating my mind” while the music matches the wordplay. And for some odd reason, one can’t help but be reminded of Justin’s own groundbreaking ‘What Goes Around Comes Around’ with the ending coming to Justin as he sings to a singular beat ‘Ho Ooo Hoo’ and the lightning strike sound, a little marching band sound just in the background, it’s very impressive. The trio cranks it up a notch with ‘Voices’, a song about master and people being slaves to egos. It’s ironic considering what a mighty ego Madonna has. “Who is the Master/Who is the Slave?” sings Justin as a very haunted, slightly creepy music begins, with essentially keyboards, a little robotic sound and a disillusioned Madonna singing, “Voices start to ring in your head/Tell me what do they say/Distant echoes from another time/Start to creep in your brain/So you’re playing ’round, it’s like it’s a rewind/You blew it so often that you start to believe it/You have demons so nobody can blame you/But who is the master and who is the slave?. Musically it may not be the hottest tune but it’s definitely a step up on the lyrical front. ‘Miles Away’ sees Justin and Timbaland return to the thumping, clanging beats with guitars to boot and again the song finds a vulnerable Madonna as she sings, “You’ll always love me more/Miles Away/I hear it in your voice when you’re/Miles Away/You’re not afraid to tell me/Miles Away/I guess we’re at our best when we’re Miles Away”. She may have given production control to Justin and Timbaland but as far as lyrics go, it’s Madonna’s show. What reflects on this number is perhaps a hint of her relationship with husband since 2000, Guy Ritchie. And it is definitely an emotional engagement that works for the song. And finally there is ‘Dance 2Night’ where Justin says, “Hey Madonna, I’m taking you to the club” – it’s a very sexy opening but in the middle the song falls. It’s like Justin and Timbaland throw everything at the sound wall and whatever sticks, sticks. It sounds too ambitious. Skip it. And then there is the Pharell Williams. He is the real surprise on Hard Candy. Who would’ve thought that Pharrell would give Timbaland a run for his money… and here he has done just that. Starting from the flirtatious, tinkling ‘Give It 2 Me’ with its throbbing bass, with Pharell chanting “left, left, right, right’ and drum machines programmed to perfection (as perfect as machines can be) and Madonna’s love for life-ending, sex metaphors that goes, “Don’t stop me now, don’t need to catch my breath/I can go on and on” makes it all the more pleasing. There is the techno and drummy ‘Heartbeat’ that opens literally with the sound of a heart beating. It continues with the magnificent ‘She’s Not Me’ with the thumping bass and retro sound as Madonna goes, “She’s not me/She doesn’t have my name/She’ll never have what I have” and finally we have ‘Beat Goes On’ that is striking. It features Kanye West and with crunching beats, studio props, chime sounds, it is a song that is more towards the urban, RnB genre. Midway, Kanye arrives rapping with Madonna chanting in the background “Hey, Hey”. Extremely stylish and slightly flashy ditty. On ‘Incredible’, a slight bhangra beat crops up in waves while the overall sound is down-tempo with piano and two pounding beats at work with Madonna singing on a tripped down note, “I can’t wrap my head around it/I need to think about it”. It isn’t surprising that Hard Candy has picked up decent reviews from most critics. Some, however, are not impressed. It is the exact same thing that happened with Nelly Furtado when she became promiscuous with Loose and teamed up with Timbaland. Critics slashed her in half but Loose put her on the international music map. With Madonna, it is different. She made incredible music with European producers. But American fans were not impressed as was the case with her last record, Confessions on a Dance floor. Hence, going with chart-makers Justin Timberlake, Timbaland and Pharell Williams was a smart move on her part. Hard Candy is a celebration and submission to the genre that is pop-dance to a woman who finds salvation in this element of art. Hard Candy remains original because it experiments to its core. Now hitting 50, Hard Candy is proof that Madonna is nowhere near relinquishing her crown. And that is a really good thing. *YUCK **WHATEVER ***GOOD ****SUPER *****CLASSIC