As Overload and Mekaal Hasan Band release their records without the backing of a record label and pull it off without a glitch, Instep takes a look at the burgeoning music scene, record label battles and how the Internet just might be the way out

By Maheen Sabeeh

Throwing out the blame

Internet. The inescapable term that has become an intrinsic part of our lives. We tweet through our phones; share pictures and at times send pointed (albeit indirect) messages to people on Facebook… and that is just one small example. According to the CIA Fact Book, Pakistan had an estimated 17.5 million internet users in the year 2009. So if music sales are going down at stores, which they very much are, we can guess that fans are downloading and sharing albums online instead.

The music industry is on a collision course as record labels struggle to make a profit in the face of an economic recession that has seen corporate sponsorships for music and musical events go down as well. Meanwhile artists are waiting for their albums to be released. The current scenario isn’t while my guitar gently weeps, it’s more while my guitar gently sleeps…

The industry that seems to have come to a virtual standstill seems to be in desperate need of a new business model. The Internet has come as an alternative music platform. It is one that the West took on years ago. Nine Inch Nails, REM, Travis, Coldplay – no one is immune to its power. Exclusive and special releases and artwork, discounted rates and global easy access makes the Internet a real alternative to the conventional buying of a physical CD. Musicians like Butterfly Boucher, Tegan and Sara, The Raconteurs, Kate Voegele, Paramore (and quite a few names of the Twilight OST) shot to international acclaim via their MySpace pages and Internet downloads. YouTube tells us that Ali Zafar’s ‘Dastaan-e-Ishq‘ for Coke Studio has over 85,000 hits. It’s really that simple and accessible.

Our music industry itself is going through a metamorphosis of sorts. On one hand is the question of copyrights with musicians blaming record labels for taking them away and on the other there are the record labels saying ‘Well why did you sign the deal?’. One can understand musicians’ concerns though. In a country where holding a big concert has become almost impossible because of security concerns and the Taliban threat and corporate sponsorship has been curtailed by economic recession – generating revenue for musicians comes through album sales and record deals. But the cut in album sales only applies if the artist has not sold off all his rights to a record label.

This debate has been ongoing for some time now and the direction remains unknown.

Get up! Stand up! Stand up for your right…

The last few months have been submerged in controversies. On one hand are the artists who are happy with their deals and their releases. Shiraz Uppal’s Ankahi has hit markets and he is incredibly happy as are Hadiqa Kiyani and Jal, all of whom have signed up with Fire Records.
“I am very happy with my deal with Fire Records. They are a pleasure to work with,” said Shiraz to Instep while speaking about his album release. Fuzon – who were with The Musik Records – have now joined the Fire bandwagon and will release their next record with Fire. These artists are doing okay.

On the other hand are artists like Mauj and Kaavish, alternative bands who have been hit hard by the economic recession with their albums releases still pending for over a year. It’s a waste of time and money: make videos, release them, watch them ride up the charts, while there is no album in the market to benefit from this exercise. Both Kaavish and Mauj seem to be caught between a rock and a hard place. That’s true for any musician who isn’t deemed to be commercially viable in a market that favours pop and bhangra over anything else.

The sentiment is of resentment and there have been casualties. Fire Records own the rights to Mauj and Kaavish’s debut albums. Both records are still not out despite being signed up with Fire Records. They signed up over a year ago. These young acts are now stuck.

Speaking with Instep, Jaffer Zaidi, lead vocalist of Kaavish said, “After over a dozen prior release dates given to us by the record label, the last date for Gunkali’s release was December 2009, we’re pretty much a part of Fire’s backlog. The hold-up apparently, is that the label can’t find a suitable sponsor for the album because it lacks all the ‘masala’. I think before they signed us up, they knew that this album was solely a ‘music oriented’ album and they felt it was one of it’s kind. In this country I guess it’s only a matter of time that a label realizes that what could’ve been the biggest hit, and was supposed to be the future of music, 10 months ago, is worth just a show piece on their shelf now.

“We had had issues with the master of the album around the end of last year (December 2008). We got it fixed early January this year (2009), and that was the last time the album got mastered. I guess when the record label needs to hide it’s own flaws, it starts to play the blame game.”

Omran Shafique of Mauj holds a similar view.
“I have not been given a valid enough reason. It’s usually that the ’situation’ in the country isn’t right right now. Maybe if I go into politics, rise to power, and fix all the country’s problems the ’situation’ in the country might be good enough to expect an album release? The things you have to do to get a release date!”
Defending the continuous delays, Dr Akbar Yezdani, CEO of Fire Records told Instep, “When we release an album of one artist, we make sure that something different is released with it so one artist shouldn’t take cut of the other artist. Shiraz Uppal’s album (Ankahi) had been ready for about two years and it was just released. Kaavish’s album was completed some six months ago and the video was also made, but then the bomb blasts happened and then the long march, so we put it on hold. We’ve made an investment in Kaavish and Mauj so we will release them, hopefully by December.”

Whose right is it anyway?

The biggest name that keeps coming up is of Fire Records who have signed up some of the most prolific as well as young, fresh names in music in the last two years. It would be safe to say that there is a monopoly situation in the music industry, with artists having no alternative but to sign up with Fire. Barring Ali Azmat, most artists, according to Fire, sold their copyrights in return for lump sum payments. These include Ali Zafar, Atif Aslam, Zeb and Haniya, Shehzad Roy, Shiraz Uppal… anybody and everybody has willingly signed the contract that they complain about.

“We do not dictate the producer of our choice on any artist to make sure that they are comfortable with the producer. We have spent a lot of money on production. Now naturally we need to recover our money,” says Dr Yezdani “We are not a charity organization. With a population of nearly 180 million, why is there only one mainstream record label even though the music industry has expanded? It’s not like we are forcing anyone to work with us or sign with us. We provide them with the options and then they say that we have their exclusive rights.”

For some time, this model (signing over your copyright for a lump sum payment) worked. There was no other model to follow and no licensing system was in place. Songs aired for free on channels and radio stations. As Fire Records grew, they started utilizing the copyrights they own. They created uproar in the music industry when they demanded that the MTV Music Awards pay Fire Records for playing the songs of their artistes.

“Music is content and its not free,” maintains Dr Yezdani. “With rights lying with us we can tell channels not to play our song because we have the rights unless they pay us. The sum of royalty per song is nothing. But when it accumulates, it is then that we can recover our cost. It’s our dream that all the artists should be united. All the channels are retaliating because they feel we now have the monopoly. We don’t want to be a monopoly.”

However, this strategic business move triggered a chain reaction in the industry with musicians becoming more aware of their own interests. Atif and Ali Zafar are researching business models. Speaking with Instep, Rohail Hyatt revealed that he is planning a record label as well.

“Necessity is the mother of all inventions,” said Rohail who firmly believes that no record label can own copyrights in return for a bulk payment. Rohail’s view is simple: Put the content out there.

“There is no such thing as a contract for life. Just because an artist has signed an unfair deal, it doesn’t give the label the right to own those songs forever. Take for instance Zeb and Haniya. They sold their rights to Fire. Now just because they’ve sold the rights, it doesn’t mean that they are not the original creator of the content. A contract is a mutual understanding between two people and as long as those two people are willing to stay on the terms of that contract, it is valid. You can terminate it whenever one part does not wish to continue with it any longer. It’s not slavery.”

However, it remains to be seen when and if Rohail Hyatt’s record label is launched and what business model he will employ to generate revenue. In the here and now, as awareness grows, one thing is clear. Musicians – at least some of them – now want to own copyrights to their music. Karavan have signed up with The Musik Records without losing their copyrights.

The label will distribute their album and the lump sum payment is only partial. It’s the same deal Ali Azmat struck with Fire Records earlier, giving the label just the distribution rights. Of course, Ali didn’t make as much money on lump sum but that was the price he was willing to pay. As a result, he can play his songs at any concert, on any channel, and do whatever he wants with his music. Truth be told, Ali Azmat was the only one who took a stand and is sitting pretty while everyone cribs about a contract they signed.

“It takes two to clap. The artist is as much responsible as the label,” says Rohail Hyatt. “If the artist wants to continue and not believe in a fair system, then they’ll go on in the same way things are happening now. But in order for a system to come into place, they need to re-think as well. If they are willing to take the risk and say ‘no, I won’t take x amount of money’ and ‘I want to believe in a royalty system or for any future earnings, I want to own my own rights’, then it’ll change. Artists also need to do that. There’s no point in crying after the deal. You should be careful in the beginning.”

The alternative is online

One thing Rohail Hyatt is right about is that necessity is the mother of invention and each and every musician in Pakistan seems to be launching himself in the virtual world while waiting for release in the real world.

Mauj released their record digitally weeks back. The record, colourfully titled, Now in Technicolor, can be digitally downloaded, legally (i-Tunes, Amazon, Napster) or illegally (through Torrents). But the consequence is that the songs have become slightly stale. We’ve heard them over and over except the there is no legal copy of the album in the market. When the album is released, who is going to buy it now?

Meanwhile two bands have taken the alternative route that is common in the West, i.e., going independent. Overload’s Pichal Pairee is available for download on the band’s website while Mekaal Hasan Band’s Saptak has released on CDbaby.com. Overload’s Pichal Pairee has no mainstream label behind it and the band has not released the record physically. In other words, there is no cassette or CD in the market available.

Speaking with Instep, Farhad Humayun of Overload explained, “After our release over the Internet, labels have been approaching us. When we went to them earlier, they had nothing to offer. If we get a good deal even now, we may release it or we just light reject them for fun!”

Mekaal Hasan Band have a slightly different game plan. Their second album, Saptak, which released on October 10 over the Internet via CD Baby and is also hitting Amazon and iTunes by the time this article goes in print.

Speaking about releasing without a record label, Mekaal Hasan said to Instep, “Why should I? I create my own content; I make my own videos and produce my own records. Before this album came out, I played the record out on almost every channel before its release. We road tested before making any decisions.” And Mekaal is in talks with The Musik Records whereby the record will hit markets later this month but Mekaal Hasan Band will retain all rights to their songs.

From ground zero…

It sounds too complicated but it’s really that simple. Record labels are big business, but globally they have taken a severe hit in the wake of digital outlets and are rethinking their business model. With recession and the changing dynamics – Musicians in the West make millions of dollars through their concerts – independent labels are the ‘in’ thing. From Jay-Z to Justin Timberlake, indie labels are all over the place. And they are filling in a void mainstream labels are unable to.

In Pakistan, the context is similar. With rumours of a Union for Pop/AMPP in the making and the licensing of musical content, the industry is waking up to global trends and picking up on it. Atif Aslam has joined Facebook. He is not an Internet person but he realises its potential. Twitter has become the latest fancy of the music industry. MySpace has Zeb and Haniya, Mauj, ADP and countless others, connecting to a broader fan base.

The very public debate (or musical spectacle as I like to call it) over the never-ending moved release dates of Mauj and Kaavish’s albums (blogs, forums, fans and music industry insiders all talk) have proven to be a catalyst. Moving past the blame game, it is clear that the monopolistic era of the record label is over. The Internet is inescapable.

Touching base with Strings

By Maheen Sabeeh

For the record, Strings remain pop’s most reliable and melodic torchbearers. Their comeback album, Koi Aanay Wala Hai, which released last year, has done extremely well for itself and for the band, epitomizing them to new heights of stardom.

And rightly so. Koi Aanay Wala Hai was experimental and edgy, scorching at times and intensely beautiful at others. The balladry of Faisal Kapadia and punkness of Bilal Maqsood was spread in equal measure throughout this record.

The fact, however, remains that despite a successful comeback; Strings have been unable to begin a massive tour of Pakistan.

“With so much uncertainty and instability in the country, concerts have decreased. And we ourselves weren’t in the frame of mind,” says front man Faisal Kapadia.

And Strings aren’t the only ones who have been unable to hold massive concerts. The past year has seen album releases from Shafqat Amanat Ali Khan, Ali Azmat, Strings, Rahat Fateh Ali Khan, Zeb and Haniya and Shehzad Roy. Yet concerts have been minimal.

“Every time one plans a show, something happens in the country and there is a delay,” voices Faisal. This is a view that stretches throughout the music industry. All artists voice the same concerns and attribute lack of shows to political and economic uncertainty.

Strings, though, don’t give up that easily.

“Muharram has just finished. We’re getting our motivation back. So we definitely want to do a Koi Aanay Wala Hai tour. We want to do simultaneous concerts all over Pakistan. We don’t want to do just one-off shows but a full-fledged tour.” And in the meantime, Strings have thrown their weight behind Hamara Karachi Festival ‘09. They recently performed at North Nazimabad as part of the festival and are performing again at Sea View on March 8.

Both Bilal Maqsood and Faisal Kapadia realize that without consistent concerts and an environment where news channels remain the focal point of everyone, music videos are the strongest and most effective mode of communication with fans.

And when it comes to videos, Strings are pros. Since the release of their album Duur in 2001, they have delivered some of the most iconic videos of the decade. With Koi Aanay Wala Hai, Strings are continuing on their spree of music videos.

Videos for the singles ‘Koi Aanay Wala Hai’, ‘Humsafar’, ‘Jago’, ‘Aakhri Alvida’ and ‘Yeh Hai Meri Kahani’ have been out for a while and each video instantly grabs attention. It is easy to catch the band on airwaves.

Now Strings are planning two more videos.

“We’re planning to shoot two videos – ‘Keh Do’ and ‘Titliyan’ – and we’re talking to Umar Anwar and Soheb Akhtar,” explains Faisal Kapadia.

The India connection

In the wake of the Mumbai attacks, bands/artists across Pakistan are rethinking strategy. India is no longer a viable option, at least for the time being.

Strings understand this fact and the trickle-down effect on the industry.

“We were in fact going to India in November but when the Mumbai attacks happened we didn’t go. The aftermath of the Mumbai attacks has had an impact on the cultural exchange between the two countries,” explains Faisal.

No artist understands the importance of India better than Strings. Other than Junoon and Nusrat Fateh Ali Khan, Strings were one of the first few artists to venture across the border. Over the years, Strings have built a loyal stable of fans, which includes Indian actors Sanjay Dutt and John Abraham.

Not only is it a much bigger venue for performance, it is also a space where Strings have, over the years, signed on projects that solidify their position with fans in India and beyond.

In 2004, ‘Najaane Kyun’ featured on the soundtrack of Spider-Man 2. Soon after Strings composed ‘Yeh Hai Meri Kahani’ for the Sanjay Dutt-John Abraham starrer Zinda. Both actors featured in the music video. In 2007, Strings once again worked with Sanjay Dutt for ‘Aakhri Alvida’ which was featured on the soundtrack of Shootout at Lokhandwala. Their comeback single in 2008, ‘Koi Aanay Wala Hai’ featured John Abraham in the video.

“We’ve been going to India to perform for years and we’ve always been welcomed there. But I was watching some Indian news channel after the attacks and it was just disappointing. It was aggravating and it was affecting the viewpoint of the Indian people. Post-Kargil, it has taken seven to eight years for cultural exchange to thrive between India and Pakistan. Perhaps now we will have to retrace our steps and restart again,” says Faisal. And until that happens, Strings will continue with the rest of the world as their stage. “We’re planning a tour of the US. After that, UK and other European countries will follow,” concludes Faisal.

We built this city on rock and roll!

Ali Zafar’s G-string jam session united Atif Aslam and Gohar Mumtaz,
Noori, Zeb and Haniya among many others. Instep gives you the lowdown…
“Atif and I are friends.”– Gohar Mumtaz (Jal)
After years of rivalry, Atif Aslam and Gohar Mumtaz have buried the hatchet. The two singers who broke off after just one song and went on to pursue separate careers, finally united at the infamous jam session.
“Ali Zafar invited both of us to come and perform and we both did just that. There was no confrontation. At the Lux Style Awards after party, I had gone up to Atif and had said that we should let things be in the past and he was of the same view. So at the jam session, we sang, we played and it was a lot of fun,” explained Gohar Mumtaz.
“We sang ‘Dil Harey’, ‘Aadat’, ‘Lamhey’ and Ali Noor came and sang and we just sang everything. It was great. Infact I’ve told Ali that he should do this regularly. The time is now to get together and show a united front.”

“I saw this jam as a Pakistani music industry union” – Atif Aslam

“Ali Zafar is a dear friend. And he called and invited me so I just went. This night wasn’t about competing with each other. I saw this jam as the Pakistani music industry union. We sang everything and everyone’s songs.”
The Atif-Gohar reunion is something that is being talked about. But Atif feels that it was time to simply move on. “Gohar and I are not enemies. It may seem that way because of the hype that is often created by the media. But it was fun playing with him. We sang ‘Dil Harey’ and so many other songs. It isn’t about individuals. It is about how we take the industry forward. Shiraz Uppal was there and Zeb and Haniya, so many of us were just together, singing and jamming. It was great!”

“In these turbulent times, jamming together was exactly what all of us needed.” – Ali Zafar

“Music and the entertainment industry as a whole has taken a backseat. It is crucial for a country to maintain a vibrantt cultural scene. And music is a huge part of it. And that is why I did this jam session,” said Ali Zafar after the session.
“In these turbulent times, jamming together was exactly what all of us needed. It was about bringing everyone together and just having a great time. All of us feel that we need to create an environment which is positive and we managed that. We didn’t just sing our own songs. We sang everyone’s tunes.

We played guitars and bongos. Atif and Gohar sang after a gap of maybe five years and it was great to see that happen. Sikander Mufti Farhad Humayoun, Shiraz Uppal, Club Caramel, Zeb and Haniya, Mekaal Hasan – all of them were there and just having a great time together. It was historic! It was the industry united together.”

“We sang the night away.” – Ali Hamza (Noori)
Describing the scene, Ali Hamza said to Instep, “It was like friends hanging out together. We sang, we played, and we talked the night away. We did medleys and covers and it was fantastic. Atif and Gohar sang, Ali Noor and Shiraz and so many others., sang and it was just a great night for music.”

“There were no prejudices or bad feelings towards each other at all.” – Shiraz Uppal
Like Ali Noor, Shiraz Uppal too is of the view that while such jam sessions are rare, they are magical.

“It was incredible. I was a part of something like this for the first and the energy was fabulous. There were no prejudices or bad feelings towards each other at all, no hidden agends, just pure musical fun. We sang everything from The Police to Nusrat Fateh Ali Khan to our own stuff and it was great. I don’t know if we can ever repeat such a night but it really was extraordinary!”

“It was a very positive scene.”
- Farhad Humayoun (Overload)

“It was a small scene. Maybe 35 people. There were no intrusions. Except for Mekaal Hasan, everybody sang or played. I played the bongos with Sikander Mufti and I sang as well. Atif and Gohar sang together. Noori boys and Shiraz Uppal, Adnan and Kiran of Club Caramel – everyone was together and there was such a positive vibe throughout. It wasn’t a gig nor was it one of those senseless parties. It was impromptu and casual and just a lot of fun.”

“I’ll remember this jam for the rest of my life.” – Ali Noor (Noori)
Now that Noori is hell bent on making a comeback, it was delightful to hear brothers Ali Noor and Ali Hamza joining in the merry night.
“It was a happening scene. It is very rare when something of this sort happens,” said Ali Noor. “It was magical. Music can really transcend any negative feelings. And this night there were no musical differences or any thing like that. As all of us sang and jammed together, there was an emotion prevailing. And it may not always happen because something like this is just so rare. It was a lot of fun. I’ll remember it for the rest of my life.”

- Sikander Mufti, Zeb and Haniya were unavailable for comments.
- Musicians were talking to Maheen Sabeeh

The second coming of Ali Azmat

After 2005’s critically acclaimed Social Circus, Pakistan’s original rock rebel is back. Klashinfolk proves Ali Azmat made just the right call by going solo from Junoon. He dons the role of singer, songwriter and producer and delivers on all three fronts.

By Maheen Sabeeh

There’s a song on Ali Azmat’s new album, Klashinfolk, titled ‘Sawal’, a lyrical expression on the ongoing depression that has for some time been sweeping across the nation. ‘Sawal’ hints at our perpetually uncertain future and the affect this uncertainty on the lives of everyone.

“Manzar Sara Dekho/Bikhra Huwa/Lagta Hai Aisa Rahega…/Ankhein Wohi Dekhain/Pal Kay Safar Mein Musafir Ka Manzar Hai Kya/Kya Arooj Kya Zawal/Kya Khushi,” Ali asserts with the conviction of a man whose been watching it all unravel for quite some time now.

(Behold the scattered view and it seems it will stay this way
Eyes will keep on watching
When the journey is a moment what is the view of a treveller
What will rise, what will fall, what is happiness)
Given that Ali Azmat’s songs have always provided such a transparent commentary on various stages of his life, Klashinfolk, tell us best what Ali was feeling throughout 2007 when he was working on this album till this year when it was finally released.

Last year was perhaps the worst in the history of Pakistan and also the most dynamic in terms of the media revolution. No wonder Ali’s album is a mixed bag. It is hopeful, it reflects a fighting spirit and at the same time, a Ali Azmat is very much a lone figure still figuring it out. In that it is similar to Social Circus. Ali’s second album like his first reflects a state of mind and this then has become Ali’s forte as a solo artist. Intrigue is the name of the game.

A million miles away from the once-formidable Junoon, Ali Azmat has found his groove, his own personal signature and if with Social Circus he learned how to walk on his own, with Klashinfolk, he is rolling with it.

Ali has never shied away from sharing his inner-most emotions and personal experiences, both in his music and his interviews and it is this effort of his to step outside the pedestal that has endeared him to fans. True to this image remains Klashinfolk, Ali Azmat’s second solo offering after the massive solo record, the mighty album we know as Social Circus.

It comes at a strange time. A time when musicians are making some of their best music, and ironically, when the country itself is in a petrified and confused state.

But there are hints; often subtle enough to not even be detected unless you listen carefully that reflects the social dichotomy. But not to the level one may have expected it.

If Social Circus expressed the turmoil of Ali Azmat – hot on the heels of breaking away from the biggest and most iconic band in the history of Pakistani music, Junoon, and the staggering height of expectations, the thirst to prove himself as a man who can do it on his own and rise to the top – Klashinfolk does the same. The only difference is, this time, Ali Azmat is more content, more at ease and that reflects not just in the words but the musical direction this album has taken.

Push the tempo

A far cry from the melancholia of Social Circus, Klashinfolk is hopeful on most notes but there are also shades of grey and they make for an intriguing listen. A journey through the mind of Ali Azmat with the craftsmanship of Omran Shafique on guitars, John L Pinto aka Gumby on drums, Kamran Zafar aka Mannu on bass and Ali himself on acoustic guitars.

The emotions bare all, loneliness, hope, love, loss, frustration all tied together in a nifty package.
From the hopeful and introspective ‘Tanha Hai Kyun’ where Ali intelligently states the difference between living and existing and sings, “Jeena Hai Kya/Marna Hai Kya/Tujhe Bhulay Na Kabhi/Taray Ki Aankh/Sab Duur Ho/Aur Pehlay Roshni/Bhujnay Na Dey/” (What is life? What is death? I never forgot you… it all seems far to the eye of a star… and that first light will never let you fade) to the jazzy ‘Mere Saathi’ where he creates a magical world, a world where sadness is followed by happiness, where the sun will shine, eventually.

As a songwriter Ali asks the evergreen question but with a punch. One example is ‘Tera Mera’ where he says, “Tera Mera Milan Nahin Huwa Kya?/Tujhe Yaad Bhi Nahin/Ehsaas Bhi Nahin” and more daringly he says further, “Main Na Tujhe Kabhi Nahin Chua Kya?” (Did we never come together? You don’t remember, you don’t sense… did I never touch you?) It sounds simple enough but with its grating guitars, and loud, fast drums, it’s an addictive rock tune, an edgy love song for contemporary relationships.

What’s even more interesting is the way Ali sings each tune. It’s simultaneously uplifting and yet not overpowering. And his tone shift appropriately to match each particular track. Most of the songs are highly textured and they defy convention and stand distinct from one another.

Take ‘Mera Khuda’ which is open to so many interpretations but I wouldn’t stretch to the love theme.
“Tu Woh Azal Hai/Jo Muhabbat Hai/Yakeen Hai/To Bharosa Hai/Charcha Tera Hai/Jo Numaya Hai/Bayaan Hai/Dekho Tujhe/Har Aas Mein/Chaho Tujhe Har Sans Mein/Tu Ibtida Hai/Tu Inteha Hai/Mera Khuda Hai” (You are the beginning of love, of belief, of trust. You are the topic of conversation that is visible everywhere. I see you in every longing. I long for you with every breath. You are the beginning, you are the end, you are my God). Ali sings while Omran creates a gorgeous whirlwind of music with his power instrument – the guitar. It’s the sing-along factor that makes it all the more appealing.
But love does find its way, dominantly on the flirtatious and tipsy ‘Yeh Kya Huwa’ as the lover asks, intoxicated with the beloved, to never leave. It’s a powerful tune, with an air of celebration that just strikes one hard.

Speak of beefier tones and ‘Gallan’ – the video for which is running on airwaves and marks Ali’s entry into the clay-motion video format and sees foil ants, great acting from Ali Azmat, a battle in the most adorable and hilarious manner conceivable – takes the cake. It is a crazy tune and mostly a monumental musical piece with throbbing bass, menacing drums and electrifying riffs.

Like ‘Gallan’ there is another Punjabi song, ‘Ley Sambhal’ on this album and this one is rather somber as far as the music goes.

“Tere Bina May Na Rava/Tera Zeher Ja Main Piya/Ja Mara/Ki Kara” – its actually one of the best tunes in Punjabi done as a rock song. And here it has to be said that the melody is what makes this tune such a wonder. It’s wonderfully constructed and has a moodiness that is so characteristic to the musician that is Ali Azmat.

And then there are the ultimate tunes, ‘Shukria’, ‘Sawal’ and ‘Naina’ that take this album in a darker direction, and it is here that one finds shades of our surroundings rather magnificently.
Be it ‘Sawal’ on which the questions remains unanswered and despair finds its way in all honesty or ‘Shukriya’ that is drenched in morbidity of losing someone and tackles the emotions of loss.
Then there is ‘Balaman’ that is to Klashinfolk what ‘Teri Parchaiyaan’ was to Social Circus. A ballad with a punch, a musical character that is soft in approach with the music never overpowering its flavour. Ali sings with conviction that is reminiscent of him on earlier hits like ‘Mungagan’ and ‘Teri Parchaiyaan’.
The only thorny tune is ‘You Are’. While musically the bass shines here and the dark haunted undertones make it interesting, it loses points because the song is in English. Had it been in Urdu it would’ve been far more interesting.

In the end…
On the whole, Klashinfolk is a step up from Social Circus. Forget the sonic effect of SC. Klashinfolk is about the creation of rock music, live, raw and fierce but at the same time, an album that isn’t redundant or monotonous.

As an album, it has managed to prove something about Ali Azmat as a musician, a fact that Koi Aanay Wala Hai proved earlier for Strings. It is a sign, a testament to Ali’s artistic growth and not just as a singer but as a producer, a lyricist and a songwriter.

As an aging rock star, that is no easy feat.
It shows that even as Ali is evolving as a musician, he has discovered his own signature, one that first came out blazing guns with Social Circus.
The only minus on this album is the way Ali sold it.
The album cover and artwork is one fact. Klashinkovs interspersed with guitars, Ali as Big Brother asking “You and what army?” The freemason logo with crescent moon and stars.
The statement he gave while the album was releasing such as this: “It’s about everything… communism, capitalism, and consumerism. There are people, faceless people who control the world. They instill fear in us, make us run away from reality and escape into a world where we have to spend more and more for things we don’t need. They employ herd mentality and indoctrinate humanity to a certain way of life and we follow them blindly.”

These are not the most dominating themes on the album. These references that Ali has spoken about time and again remain vague barring maybe two, three tunes. It’s like what happened with Coldplay earlier this year. Viva La Vida or Death and All His Friends, their latest album, according to the band, was taking a political punch but it doesn’t really come across when you listen to the album. For songs to be effective politically, they have to be in your face.

Junoon was and perhaps always will remain the most politically charged musical act in Pakistan’s history. And the way Ali Azmat had spoken about the themes of Klashinfolk, one couldn’t help but think that it was this kind of a punch that was in the making. Maybe it is too much to expect Ali do the same thing. Junoon’s music worked because they were against the establishment of the time and it was so passionate that it worked.

But Ali Azmat, like many of his peers, was and continues to be a supporter of former President Pervez Musharraf.

In fact, it is an artist like Shehzad Roy who has spoken out with his album, Qismat Aapney Haat Mein. Certainly not a bashing of any individual but it does make a point. Even more pertinent is a tune by upcoming act Laal, who’ve used Habib Jalib’s words to a beautiful composition ‘Main Na Ussay Yeh Kaha’.

This doesn’t mean that one expects Ali Azmat to rehash Junoon. Au contraire, it is his stepping away from Junoon ideology that has made him work. But to make statements like “it’s about the gun culture, chaos that surrounds us” is not entirely true when these themes (even if they exist) come out on two, three tunes at most.

That said, do all these statements make Klashinfolk any less of an achievement? Not at all.
It remains a brilliant album, one that will grow on you like Social Circus. And like Social Circus it will remain a timeless album, with long-lasting value.

In the end, for all his statements or themes or lack thereof, one will not take away from Klashinfolk for it sees the return of one of Pakistan’s most talented, outspoken and rebellious musician. Rock star is an image that Ali Azmat lives to the hilt but when it comes to his music, he takes beyond the persona of an icon and to that of a man. It’s fierce introspection and this is exactly what makes Klashinfolk one of the finest records in our rock history. It’s just that simple.

Soft pop fans should stay far away from this one. Klashinfolk, like Ali Azmat, is for the hardcore only.

The Ramchand Pakistani OST is a triumph

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

By Maheen Sabeeh

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

Strings’s ‘Koi Aanay Wala Hai’ looks smoking

Instep gives you the lowdown

Maheen Sabeeh

It is one of the most anticipated albums of the year, right here at home and across the border. It is the comeback of Faisal Kapadia and Bilal Maqsood after a gap of nearly four years. And it is the return of a musical act that has been one of the most consistent band around.

Music producer Faisal Rafi, while speaking with Instep Today, admitted that the record is one that sees Strings in experimental mode without losing their signature.

Strings are hell bent on making a massive comeback and the first teaser of this comeback is their upcoming video of the title track that is touted as one of the most expensive video made as far as Indian pop goes. Strings are a Pakistani band but Indians too love to call them their own. They have a solid following in India that has only grown with time.

As the first shots of the video has released, Instep Today got in touch with Strings front man Faisal Kapadia and here he spills the bean on their tantalizing new video…

Instep Today: Rumours about the title track have been going around since the first promos were released. It has been reported that John Abraham will be playing an angel in the video. True?

Faisal Kapadia: Yes, it is true. John is an angel in the video who watches over other people until he sees this girl and he falls in love with her and chooses to be a human to be with her. Our record label SONY BMG has released the pictures.

Instep Today: The concept of an angel, falling in love with a human has been around for ages, in the form of music videos, television and cinema. What sets ‘Koi Aanay Wala Hai’ apart?

Faisal Kapadia: I do admit that the idea has been around but it all depends on the execution ultimately. It may not be a brand new concept but in our video it is done in such a way that it will entertain viewers. There are some very interesting special effects involved and the magnitude of the video is huge.

Another important aspect of a video is how well a concept compliments the song and if the two relatable. In both cases, the video will deliver.

Instep Today: Who shot this video?

Faisal Kapadia: Ravi Udyavar. He is a well-known ad-maker and there is mutual admiration between us. Bilal conceived the song with the idea of an angel and wings. So the basic idea behind the video was his. Once we met up with the director, we gave him our idea and asked him if he had some other vision. He really liked the idea of angels and we went from there.

We’ve never worked with Ravi before but it was great working with him. And then we found out that he also wanted to work with us so it turned out to be a great experience.

Instep Today: You’ve teamed up with John Abraham again after 2005’s ‘Zinda’ so how was it this time around?

Faisal Kapadia: It was a lot of fun. At the time of the ‘Zinda’ video shoot, it was all in a closed room but in this video we were on a beautiful location (in Kuala Lumpur) so it was very nice.

Another interesting bit about the video that I’d like to add is that for the first time a video is getting a theatrical release. Basically when a movie is released, often it is attached with a promo of another upcoming film. In our case, ‘Koi Aanay Wala Hai’ will be released as a theatrical promo with Jannat. That’s how it’ll roll in India. I’m not sure about Pakistan at the moment but in India for sure!

Instep Today: Is it true that you’re also working with Jami again?

Faisal Kapadia: Yes. It’s been a good eight-year journey with him and whenever we want to make a video, the first name is always Jami that we consider. Then if he is busy or due to some reason we can’t, we then go for someone else but the first name is always his. There are a few people who we are close to and enjoy working with and he is one of them. It is always teamwork, be it working with Jami or working with Anwar (Maqsood) uncle.

-The video of ‘Koi Aanay Wala Hai’ is out on MTV India and releases in Pakistan on May 16

Three weeks to American Idol finale

Syesha Mercado, David Cook and David Archuleta make it to top three slots!
Maheen Sabeeh

20-year-old dreadlocked charmer Jason Castro has finally said goodbye. The cute singer from Texas had been struggling for the past three weeks and it came as no surprise to anyone, including Castro himself that his time on American Idol was up.

As the seventh season comes to a close in the next three weeks, it is getting more and more exciting and tougher.

For the last two weeks, American Idol hopefuls had to sing not one but two songs. And while that addition may have worked out for theDavids (Cook and Archuleta) it never worked for Castro.

It was Rock ‘n’ Roll Hall of Fame week on American Idol. Jason picked Mr Tambourine Man who we all know as a great number from Bob Dylan. Not only was his rendition completely off but he even fumbled the lyrics, missed cues and made a mess on stage.

Simon Cowell called his performances “utterly atrocious” and one can’t help but agree with him.

And now that Mr Mellow is out, the battlefield is ready for rocker David Cook, female crooner Syesha Mercado and the adorable David Archuleta.

The night in reality belonged to David Archuleta and David Cook

The baby-faced Archuleta opened with Ben E. King’s Stand By Me and made it his own with excellent vocals and building a connection with the audience, a trait he has previously not been able to pull off, probably because of his young age.

And then he followed it up with the subdued and ultra subtle Love Me Tenderly by Elvis Presley. And it was not an easy number to sing. But he was truly outstanding to the point that Simon said afterwards, “You crushed the competition.”

David Cook can pull anything off, even at his lowest moments. And that was true last week. His first number, Hungry Like The Wolf by Duran Duran was top-notch even though the lower notes he hit were not completely right. But he managed to impress nonetheless because he is the one man who has stage presence like no one else on the show. And he is always in his element. And whatever mistakes he made on the first number, one all but forgot them with his rendition of Baba O Riley by The Who.

Syesha Mercado proved why she is still standing as the lone female on this season of American Idol. Her powerful voice is just one thing. The change within her in the last few weeks is perhaps the biggest reason. Gone is the girl who tried to be the “intimate” performer on the show.

Her first song Proud Mary by Tina Turner was playful, bouncy and ultimately theatrical. And she went one step further with A Change is Gonna Come by Sam Cooke and even though Randy Jackson didn’t think much of her, Paula Abdul and Simon Cowell loved it and rightly so.

Both David Cook and David Archuleta have to be in top form if they want to beat Syesha because last week she was simply stunning.

And the coming week will prove to be an even bigger challenge. All American Idol hopefuls will have to belt three ditties before votes come in.

All Pakistan Music Conference comes to a close

Audience agrees that the finale should have belonged to Ustad Naseeruddin Sami instead of Ashwini Deshpande

Maheen Sabeeh
Karachi

Change of venue

The 5th annual All Pakistan Music Conference, held in Karachi finally came to a close with some fantastic performances but not without mixed feelings.

The yearly event that is held at the beautiful and rustic venue that is the National Academy of Performing Arts (NAPA) had been shifted to the Indus Valley School of Architecture this year due to security reasons.

APMC – Karachi Chapter Chairman Jamil Syed had stated that due to the events of April 9, the venue was moved since NAPA has a location that is vulnerable to violence. The usual-three day’s extravaganza of classical music was shifted to two days and it all happened at the last minute.

There were consequences. Quite a few artists were unable to perform because of the shift from three days to two days.

On the plus side, because the venue was an art school, a lot more youngsters, some of whom one usually sees at rock concerts were present.

As far as performances go, the best of the night was Ustad Naseeruddin Sami. Flanked by his two sons, Rauf Sami on harmonium and Abu Nasar on Tanpura with Ustad Shabbir Hussain on tabla, Ustad Naseeruddin Sami once again proved why he is still one of the best classical singers around.

A regular performer at the APMC, he went onto perform for almost an hour and a half without a break and performed beautifully. Ustaad Naseeruddin Sami is someone who breathes life into raags that are old, dated and rarely heard by people. And for someone with such an incredible voice, he is a humble and soft spoken man. And when he sings, he is powerful yet soulful. This is not someone who can be compared to the likes of Sabri Brothers. His biggest feat, he can take a single word and stretch it in directions one can hardly imagine. And that voice… practice make perfect but his heart rending voice is God-given. There is a soft haunting quality to it and a purity that makes it heavenly. For classical music lovers, he is a living legend.

Classical music is somewhat always mystical and Ustad Naseeruddin Sami with his animated singing and with the unpredictable nature of his raags is perhaps one of the best performers APMC had put out this year. And it was because of how senior and superior in terms of skill he is that one found it rather strange that he was not asked to sing the finale. 

Of all the four performers, it was this man who deserved to be the finale but instead it was Ashwini Bhide Deshpande, out from India who was the last and final act of the night. 

She herself was on sitar while Seema Sharodhkar and Vishwanath Sharodhkar accompanied her on harmonium and tabla respectively. There is no denying that she was in fact very good. However, neither is she a Farida Khanum and not even a Shubha Mudgal. But she was still the finale. No doubt Karachi gave her a thunderous applause and appreciated her performance that included some raags as well as bhajans, but it has to be said that she should’ve come before Ustad Naseeruddin Sami, if for no other reason that at least because of his level of seniority and skill.

The other two performers were also fantastic. Ustad Salamat Hussain on flute whose melancholic notes hit right at the heart and Kamal Sabri, another performer from India, who can make Sarangi weep and joy through his sheer power over the instrument, was equally enthralling.

 

Disappointed fans…

It is strange to imagine a 75-year-old and a 21-year-old, both enjoying the same form of music as far as most genres of music go. If this happens at a rock concert, one is just stunned.

But when it is classical music, it is no longer a surprise. The older generation is pleased as youngsters in capris and tees are walking around, trying to grasp the real nature of classical music and a nod of acknowledgement from the older generation is welcoming. No longer do they frown when young girl is tip-toeing in the front, looking for a corner to sit.

Over the years APMC has managed to slowly bridge the divide.

But there are still some problems. The cancellation at the last hour was odd but understandable. The situation was such that certain safety measures had to be taken. That said, APMC is a learning ground for most young people who don’t know much about classical music. But if even they can pick out faults, it is certainly a surprise.

“Why is Ashwini Bhide the finale,” commented a 23-year-old Shafiq at the event. “What is with this craze with the Indians? This is All Pakistan Music Conference and Ustad Naseeruddin Sami should have been the final act of the night. I’m seriously disappointed. “

“Last year Farid Ayaz Qawwal and Farida Khanum were here. This year there are four performers, two of whom are from India. I have no problem with them but shouldn’t we pay more attention to our own performers,” questioned Nida, 22.

Music producer Faisal Rafi agrees with this young lot and stated, “Last year it was Shubha Mudgal and this year it is Ashwini Bhide. She was good but Ustad Naseeruddin Sami is extraordinary. He is someone who people love and is treated like royalty outside with people including Indians touching his feet. He should have been the final act but he wasn’t which is simply sad.”

APMC is a fantastic effort. It is the one-event that has entrance for free, giving everyone a chance to witness classical music in all its glory. It gives a platform to our greats and is a chance for the young-old generation to come together.

That said, APMC has to start paying attention to our greats in the truest sense. An Indian performer is welcome but preferential treatment should be avoided. This is not an event about star power but classical music in its finest nature. And when someone like Sami Sahab is the playlist, snubbing him is certainly not the route to take.

There is hope still. Faisal Rafi and Shahi Hasan, the two men who have taken it upon themselves to make sure that our classical music, our real heritage is preserved were both present at the APMC, making records of APMC performances.

And even more exciting for us is that they are both working on Indus World Project that includes some our great singers. And one of them is Ustaad Naseeruddin Sami. In a conversation with Instep Today, Faisal Rafi explained the reasons, “Do you realize how old some of our artists are? They are our real heroes, some of whom are still living in dire conditions. They are renowned world over for their performances but here there is not even a proper record of our great musicians.”

Still under production, through this project, youngsters will discover the music that belongs to their soil. And with Shahi Hasan and Faisal Rafi backing up the project, we can expect nothing less than brilliance.

Grammy Nominations Rock!

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

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

By Maheen Sabeeh

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

The inevitable breakdown!

Rumours about Fuzon breaking up have been doing rounds of the music industry for some months. Its now confirmed news: Fuzon has separated ways with Shafqat Amanat Ali Khan and Shallum Xavier and Imran Momina aka Emu have introduced a new vocalist, Rameez Mukhtar.

By Maheen Sabeeh

And so it is…

It’s official! Fuzon is over…well, the original line-up anyway. In a recent press statement sent to Instep (along with the entire media brigade) by guitarist Shallum Xavier, it was revealed that Fuzon is coming back with a new album and a new vocalist, Rameez Mukhtar. Yes, Shafqat Amanat Ali Khan has been replaced. Furthermore, there was no mention of Shafqat Amanat Ali Khan in the press release (one of the founding members of the band), no reason given for his departure and even now, one still doesn’t know (after 5 years of release of Saagar) when the next NEW Fuzon album will be out.

Shallum and Imran aka Emu were unavailable for comment but Instep tracked down Shafqat Amanat Ali and here’s what he had to say…

“I was unaware of this email but if they (Shallum and Emu) are coming back with a new line-up, they cannot use the ‘Fuzon’ name. Even though, there was no legal contract between us, it was always understood that if we ever called it off as a band, we would not cash in on the name as individuals. I will take away my compositions and they can form new melodies.” When asked how he felt about this press statement that did not even acknowledge him, Shafqat said, “Shallum can sometimes be childish. He gets up and suddenly decides, ‘today, I want to do this’ but it doesn’t work that way in the real world. Fuzon was a unit. That’s how I saw it but it seems that’s not the case anymore. All I can say is they cannot use the name. Otherwise, it’ll be messy and I need sometime to sort these things out.”

Wrong tactic

Bands break up all over the world. But how many have been able to make a comeback once the vocalist is out? After Jim Morrison’s demise, The Doors did release an album but it failed even though the music was still the sound of The Doors.

If one looks at local bands, the biggest example is Atif. After he left Jal, the band was never the same. This does not mean that they aren’t good but when it comes to commercial standing and popularity, Jal are simply not a patch on Atif’s success. The reason is crystal clear: a vocalist is not someone who just sings, he is also the face of the band.

Another great example is Junoon. After Ali Azmat and Salman Ahmed went separate ways, Ali Azmat has managed to make a strong position for himself in the music circuit. On the other hand, even as Salman is performing all across US of A as well as other places, he has no real standing in our music market.

The way Fuzon has come to a stop is not a pretty picture. A while back when Emu was interviewed by Instep, he openly confessed that Fuzon’s idea was founded by him and Shafqat first. In the press statement, its Shallum and Emu. The fact that Shafqat has not even been acknowledged only goes to show how wrongly the other members have handled this breakdown.

The big question: will the new Fuzon still work? Probably. In Pakistan, even as the scene has grown tremendously in the past few years, it is still relatively small. With more and more channels coming out, there isn’t enough good music out there. And one will give credit to Shallum and Emu, both of whom are tremendously talented musicians. But will Fuzon work to the same degree as it did when Shafqat was a part of it? It’s highly unlikely and that’s because Shafqat Amanat Ali appealed to the masses of this country. He comes from a prominent gharana and brings with him generations of music knowledge that really very few vocalists possess.

One can say Rameez Mukhtar, who is the new frontman of Fuzon also has classical ethos. No one doubts his ability. But can he match Shafqat? That is the real question. And if he is as good as Shafqat then chances are that he too will be lured by Bollywood biggies like Shafqat was.

Fuzon reached unprecedented level of success with one album. But it wasn’t just the album that made them one of the biggest musical sensations of the decade, it was the tight live sets they put up on stage, it was the soft sweet melodies that Shafqat brought with him, and the mighty Shallum who shook it up with his guitars and Emu, who added subtle notes with his keyboards. It takes time for a band to accomplish that.

As talented as the new vocalist maybe and as well known as Emu and Shallum maybe, can they repeat the same success as Fuzon, once again? And finally, will people accept Rameez in place of Shafqat and not draw comparisons? These are the questions that remain to be answered.

Right now, we don’t know where any of the band members go from here but what we can definitely say is that it is truly a very sad day for music.

The shocking press release

The biggest musical sensation is ready to hit the scenes for 2007!

Background

The biggest musical sensation to revolutionize Pakistan’s music scene in the past five years; Fuzon has broken boundaries & records at home & abroad. Their first album ‘Saagar’ has been winning awards at every level & has been a blockbuster appealing to audiences of every age. The brainchild of lead guitarist Shallum Xavier & producer Imran Momina aka Emu, the band based its roots on experimentation & collaboration between different sound scapes & musical disciplines, hence the name ‘Fuzon’.

2007

The year 2007 is going to be big for the band. Fuzon will hit the studio again to finalize their much-awaited second album. The new lineup will include vocalist Rameez Mukhtar, a seasoned artist surrounded by much hype at home. The Band has always been in pursuit of fresh & innovative experimentation in their sound & Rameez’s involvement has brought a reinvention of the Fuzon sound that will be exciting & new to their fans all over the world.

Meet the members

Imran, Shallum & Rameez

Imran Momina

Emu is a multi-dimensional pianist, who has been playing since the age of 13. His flair for arranging his own music & experimenting with melodies made him set up his own recording & mixing studio – and this is where the jam sessions take place. Technically proficient, self-tutored Fuzoneer, Emu has a universe of possibilities at his disposal.

Imran aka ‘Emu’ is a charismatic keyboard exponent & is a fine studio tactician whose feeling-based work has been making sweeping statements for over a decade. Emu has an uncanny knack for orchestrating memorable music, which is dominant in Fuzon’s gilt-edged tracks.

Shallum Xavier

Shallum, the guitar guru harbors the kind of passion that sets him apart from guitar god’s pack. His work encompasses tones in the direction of blues, rock, jazz, classical & everything in between. All his influences are focused towards creation of exhilarating, infectious but most of all moving slipstream music. Shallum is undoubtedly a studio artist of first water. His art on the debut album dazzles in sonic inventiveness. Shallum has been producing new talent & upcoming bands/artists in his studio. He has also been collaborating with a Norwegian band Fryd & has been performing at several music festivals all over the globe.

Rameez Mukhtar

Rameez, the new face, has been working with Emu & Shallum for the past 10 years & is well known in Pakistan for providing vocals to background tracks covering TV & Radio. Furthermore, he has been working with a famous music channel & is currently Head of Marketing & Sales for that channel. The range of his vocals cover a vast spectrum & he is fully trained in eastern classical singing that will be clearly visible in the new Fuzon album. Shallum & Emu have always been in pursuit of fresh & innovative experimentation in their sound & involvement of the new addition has brought a reinvention of the Fuzon sound that will be exciting & new to their fans all over the world.