Reshma

You can’t wait for this one. After a really prolonged period of time you’re going to see the one and only Reshma back in action. The legendary folk singer had been away from the limelight because of an illness the nature of which is not yet clear. All you know it was pretty dangerous and the woman with a haunting voice and steely resolve has resurfaced, singing her heart out.

The album is called Pakhivas and the video of the first number on the CD, Hath Jorniaan, will be screened on New Year’s Eve. The video is directed by Sohail Javed, and those who’ve seen its bits believe it presents a new dimension to the legend’s personality and art. Sounds great, literally and figuratively! In this age of musical drought, you so darn need such stuff – PYT

Avraga by Kazak

Who is Kazak, the band? Their debut album was released by Fire Records as part of a two-record deal a few months back, but coming across their album Avraga was still a surprise. During times when publicity either makes or breaks music acts, it is simply surprising to note that Kazak didn’t register on any radars, in Pakistan at least. In Canada, where the band hails from, they seem to have a solid fan following. Well, they have a fan following. 316 people, at the time of print, like their Facebook page.

At first listen, the album goes down easy. It is old-school rock, nothing fancy. But that is a fact that works against the band as well; their music becomes something that you can leave on, on the radio and forget all about. It is music that fades into the background without really making an impact. In fact the only bit of interesting trivia to be had from Avraga is that the band has two songs called ‘Yakeen’ on the album. The rest, as they say is history – but not eye-popping, page-turning history.

There is also a rap track on the album, ‘Damn’ with Mark Spitz. It is slightly more furious than the rest of the songs on the album. ‘Damn’ is the kind of song that might have become really popular in 2003 – back in the day when Limp Bizkit was still popular with the really young kids. However one has to wonder what a track like ‘Damn’ is doing on an album that is so predominantly rock. One might argue that the band is trying to show off their versatility but the song seems a tad out of place in the entire set.

‘Damn’ is still a better choice to place in the selection made available on the album, than the very last track on Avraga, ‘Get On’. The song begins with a sample from the Bollywood oldie ‘Hamein Tumse Pyar Kitna’ and then segues into one of those hip hoppy, pop tracks that Raghav and the Bombay Rockers are so popular for making. ‘Get On’ is kind of like imagining Mizraab suddenly breaking into any of Omer Inayat’s songs. Which is also kind of a stretch of an example, as Kazak does not rock as hard as Mizraab. Did I just say ‘rock as hard’? I guess listening to Kazak’s music and reading their interview/profile simultaneously can do that to a person.

The band’s philosophy can be understood in the words of Fayed, guitarist for Kazak. “When writing a song, we think of Kazak and how the song will reflect back on us, as well as the message we’re trying to send out to our fans, Kazak creates songs filled with the emotions, feelings, and reactions that the South Asian community is too afraid to admit or talk about.” Although exactly what those emotions are, we cannot really comprehend through listening to Avraga – the songs on the album are a hotch potch of angst, love, lust, and the occasional confusing tune thrown in for good measure.

Case in point, ‘TeLIEvision’, the lyrics of which belie the title of the song – “Kaisa hai yeh pyar/ Samjhana/ Tu hai wo saza/ Jis ke hum ghulam.” What the word television, or taken with the band’s emphasis on the ‘lie’ bit in the title, has to do with the song, one cannot fathom. Musically the song is cut and dried rock, although the drums on this track, as well as others sound a bit generic, as if a prototype of the kind of drums to be played on the album were developed and then used generously throughout the tracklist. However, Fayed and the band are made confident that they are reaching out to their target audience, as they “get e-mails from fans who say that a song we’ve written reflects exactly how they feel, and they’re happy to know they are not the only ones who feel or think this way.”

The first track on the album, ‘Yaad – Remember’, is a song about recovering from heartache, only it is a story told in a very rock ‘n’ roll way. The song begins with a bit of poetry being recited and then breaks into drums and guitars, promising a solid rock ride. What lets this song down is the vocals. Fezz’s vocals are just very slightly off-key, but just enough to put the whole song off-kilter.

The next track, ‘Tu- You’ is in the same vein as ‘Yaad’, and sometime in the middle of the song, Fezz breaks into an English bit, which mystifies one as much as the protagonist in the song is mystified by the eyes of the “foxy lady” whom he wants as a lover. To be fair, this is not a bad song, as aren’t any of the songs on Avraga. They are all songs it is clear a lot of hard work went into.

Kazak doesn’t seem to be a band just trying to hastily pull together an album to get their 15 minutes of fame. They have apparently been working the local music scene in Toronto with their “zing of South Asian” music – but it just seems arrangement-wise, they are walking a few steps behind the Pakistani music industry. Take for instance Ali Azmat’s Klashinfolk. A purely rock album, it is far more sophisticated than what Kazak has offered us. What Kazak sounds like is a jacked up version of Awaz circa ’93, or a super-weak sounding version of Junoon from their Talaash days. Which is ironic as minor digging reveals that Aamir Hassan, the executive producer on Avraga has worked with Awaz, as well as Junoon on Inquilaab.

Overall, Avraga is an average sounding album, but it holds promise of better things that the band can do with their skills.

Kazak can be followed on www.kazak.ca, or their fanpage on Facebook – Amina Baig

Schaz Khan

Less than a year ago, Schaz Khan came out with the video of her debut single, Jalan. Little did she fathom the controversy that brewed would give way to threats by the extremist faction of society, which eventually led to the video being banned and Khan leaving the country for a month.

Schaz Khan is now back with her new single and video titled Naya Pyar. Here, she reveals her renewed self and what she expects this time round.

“People will be surprised to hear Naya Pyar coming from a previously lovelorn and heartsick Schaz Khan. Honestly, I even amazed myself,” she exclaimed. As she unveils the video of Naya Pyar, Schaz doesn’t wait for any questions to be asked and dives straight into how the lyrics, composition and video concept came about.

“Naya Pyar is about finding new love. It’s a general phenomenon to listen to romantic songs after a heartbreak. But I believe that makes one weaker and vulnerable. On the contrary, this song will make the listener strong and want to move on.”

The music composition was a result of a casual strumming session and the lyrics followed naturally. “With a catchy, upbeat tone and hilariously bold lyrics, it’s an uplifting song which exudes positive vibes. I bet women will be able to relate to the song and feel motivated however the men might hate me,” she says, grinning.

Talking about the video, she points out that the idea was entirely hers. “I conceived the idea for the music video. However, the product that you see was the result of teamwork. My promoter, Royal Widow and friends, Amna, Uzma and Hema were equally involved to turn my concept into a fun video.”

With styling by Angie Marshall and directed by Schaz Khan, the video revolves around the making of Naya Pyar, behind-the-scenes action and a controversial live interview being conducted by a reporter. Featuring two models and a choreographer, the video begins with the interview of a drag queen in shimmery silver hot pants.

So what kind of reviews does Schaz Khan expect this time round? “I want people to have a good time listening and watching Naya Pyar but frankly speaking I’m prepared for anything. After my last experience, I built a wall around myself. I’m not here to please anyone but myself. Music is my passion and this video is for my friends and fans who are my support system. As it is, I’ve developed a reputation of being bad and I think I should maintain it.” – Fathma Amir

Kya Yehi Piyar Hai by Annie Khalid

In the wake of listening to Annie Khalid’s new album, Kya Yehi Piyar Hai (KYPH), all one is left with is a toothache. And can you imagine what something that causes a toothache is like? Quite terrible. The other thing one is left with is a desperate scrambling for one’s brain cells. Whatever remains of them, that is. You must wonder if KYPH is as bad as all that. Please let me assure you that it is.

The album opens with the title track, ‘Kya Yehi Piyar Hai’, a fairly okay song. ‘KYPH’the song is all about the achings of a new love and the questions that go with it. This is the first single off KYPH and its video was released on TV not too long ago too. Yes the lyrics are trite at first listen and the tune is catchy, though nowhere as much as the infamous ‘Mahiya’ but after listening to the entire album, this is easily the best song in retrospect. The album closes off with a trance-ish version of ‘KYPH’ so this song makes its way into your subconscious, however begrudgingly you allow it to.

The saddest bit about KYPH the album is that none of the songs are the kind that make you sit up and utter a “WOW!” or even a heartfelt “blah”. It is an album that simply exists for reasons that shall remain a mystery to mankind forever and ever.

The next track on the album, ‘Listen’ is a prime example of the kind of music that makes you hang indecisively between letting out a ‘blah, this song sucks’ and ‘wow I can’t believe Annie inflicted this song on us’. The song is sort of a double treat; it employs both Urdu and English in the lyrics and hence ups the torture ante. The thing is, nobody ever expected Annie to belt out meaningful, wordy songs a la Tori Amos, but “can’t these words make you see, I need you so desperately” is just bad poetry. To top it off, the tune is pretty mediocre and while mediocrity any other way is a sin itself, bi-lingual mediocrity can be truly horrifying.

‘Tu Mera Dil’ is yet another bi-lingual endeavour. It has a techno beat, which is reminiscent of the music that used to play behind promos of jhankar compilations back in the day. “Tu mera dil, tu meri jaan, tu meri zindagi” is the chorus of the song and if the music accompanying the words wasn’t jarring enough, enter the English lyrics on which Annie sounds a little bit more nasal than usual. The song ends as abruptly as it starts and leaves you hankering for, well, it leaves you hankering for saner times before you ever had heard of an album called Kya Yehi Piyar Hai.

There is also the token bhangra beat song on the album, ‘Kaali Raat’ being the song that does the honours in this case. The music comprises of a lot of dhol and a fast, hectic beat which accompanies Annie’s vocals. One can easily imagine this song being played at shaadis and even becoming a song that might be danced on at mehndis. So this can be considered one of the better songs on KYPH.

Right after this slightly pleasant comes yet another Urdu/ English ditty. ‘Vaari Vaari’ is sort of Punjabi, sort of dancey and a whole lot annoying in terms of its music which is once again on the geet mala in the ’80s side. The lyrics are nothing to wax eloquent about. The vocals are again nasal and slightly out of form. But then again, so are the vocals on mos tof the songs on this album.

If you are keeping count, we are headed towards track number six now. By this time I am longing for better Annie song days so I Google up ‘Tenu Takya’, a song Annie had collaborated on with an act called R n B. Now that song is no musical masterpiece either, but imagine if that starts sounding like heavenly music, how absolutely dismal  the tracks on this album actually are.

Next up is ‘Do You See Me’, another dancey track which is all about Annie asking if “do you feel me like I do?” The song is once again in both languages and this is starting to seem like the thread that connects all the songs on this album. Apart from the fact that this is music at its crappiest. Harsh words, I know, but as I trudge my way through the album I realize that if there was a definition of bad music in a thesaurus, Annie’s picture may as well be put next to it.

‘Jan e Jaan’ is in exactly the same vein as the rest of the songs on this album. Only Annie raps a bit in the beginning. Next.

‘To Woh Naheen’ is a slow track about love found and lost. It sounds different from the rest of the songs and is not quite as bad as the rest, but is still not worth talking too much about.

In all, Annie’s latest disappoints greatly. Just the fact that her sound or manner has not evolved since Princess is a let down. In a day and age when great music producers are aplenty, one wishes Annie had been advised to work with someone apart from DJs Ali Mustafa and Suketu, Dr Khalid Saleem and Kashif Ejaz. Even if she wants to work the dance sound, Annie can find a decent producer who will encourage that while helping her develop amore sophisticated end product. As for KYPH? Fail – Amina Baig

Rating :- 1 out of 5

Kyun Dooriyan

There is always this tiny voice at the back of my head when talking about someone else’s art, telling me to be very, very delicate with it. The end consumer of any kind creative product can like or dislike it according to personal taste but can never imagine what the artist went through while evolving their labour of love. Yet all references one has of their past work lays down the road down which one will walk while trying to get to the crux of their current work.

In other words, whether you’re a sweet ghazal-loving dove, or a cynic who can only listen to music if you’re allowed to take it apart mercilessly, you know that Shafqat Amanat Ali Khan’s vocal skills are undeniably excellent. He had won Pakistan over with a haunting ‘Sagar’, trickled into his listeners’ subconscious with ‘Ankhiyan’ and melted hearts with ‘Khamaj’. Not for a second does one question his talent while listening to Kyun Dooriyan (KD), Shafqat’s new album – some of the choices he has made on the album; well that’s a whole different matter.

Even after Shafqat had confidently taken his voice down the solo path, he could do no wrong. His first album, Tabeer was well-received, even well-loved. Tabeer sounded much different from the work he had done with Fuzon as it was mostly bathed in a devotional light. Save for ‘Kheriyan De Naal’, which is both devotional but has its roots in romantic folklore, Tabeer dabbled in bringing together the mature pop sound Shafqat seems to favour with classical; as well as experimenting with sound one might not expect to hear on a Shafqat Amanat Ali album.

Kyun Dooriyan is a ballad broken down by seconds of silence. The sound is far more organic than anything we heard from him in his Fuzon days, or even in the more cautiously experimental Tabeer. It might not be pleasing to every ear that expects a certain kind of music from Shafqat, but given a chance, the songs on KD are the kind that will wrap themselves around you and then just grow. At the same time one might notice a slight tendency in KD to be a crowd pleaser – it has that hint of Bollywood, often subtle, sometimes cheerfully bringing to mind the image of Shah Rukh Khan driving on a sunlit open road as the song plays in the back.

The title track, ‘Kyun Dooriyan’ is one of the most freely undulating ones on the album, as far as the tune is concerned. It has all the makings of what could fast become a very popular song, but that doesn’t mean that it isn’t as measured as one has come to expect any Shafqat song to be. ‘Kyun Dooriyan’ unabashedly shows off Shafqat’s vocal range from mellow to melancholy. It is a safe song with a safe tune…but who ever said safe was a bad place to be?

‘Kya Haal Sunawan’ is what follows ‘Kyun Dooriyan’, where the latter is a question laid to his beloved, ‘Kya Haal Sunawan’ is simply conceding. It is soft and melodic, Shafqat’s voice flows effortlessly over the words which are not the pleas of a heartbroken man, but simply those of one who has accepted he feels a certain way about somebody. It is pleasing to the yeas, both in terms of tune and the way it has been sung – but there are backing vocals in the chorus which make ‘Kya Haal Sunawan’ sound like a Bollywood song remixed by one of India’s ‘pop’ acts. While the importance of commercial success is not lost on me, one can’t help but think there has to be a happy compromise between making music that show off one’s music intelligence while being listener friendly – without losing that intelligence.

“Jaayein kahan, tera darr chor ke”, begins the next song. My belief that KD is a narrative is solidified further. Each song is leading into the next, each one an admission of love. And while Shafqat does the whole devotional music thing quite well, one would just like to point out that he has a voice, a manner to his singing that is just so suited to music that is more personal. Even if Shafqat one day decides to focus more on the spiritual branch of music, he would lend his work a whole new dimension by working with lyrics he wrote himself.

‘Jaayein Kahan’ is a bit on the pop-rock side, with lightly heavier guitar riffs slicing through the generally smooth music. The mood is yet again one of surrendering to the force or habit of love. Three songs on, KD is not as intense as ‘Sagar’, nor as ethereal as ‘Khamaj’ but it is that much more real, if only for the singular sentiment that seems to be running though each song, progressing just a bit each time into something that seems straight from the singer’s heart. ‘Jaayein Kahan’ melts into the silence that gives way to ‘Mahiya’.

‘Mahiya’ is downright beautiful. Be it the words adorning the music, the gently sighing flute, the catch in Shafqat’s voice at points – this is one song that comes together completely in the album. Even the backing vocals don’t make ‘Mahiya’ seem ripe for a music video featuring Katrina Kaif frolicking on ice.

However, this reverie of perfection is slightly jarred as ‘Naukar Tere’, a devotional song pulls through with Shafqat’s voice straining dhol, flute and percussions. The jarring gives way to a jolt with ‘Naal Naal’, a number reminiscent of the mood that Fuzon’s ‘Ankhiyan’ balanced itself on. Slightly rough, a little edgy, but flatly charmless. And if that were a minor jolt, ‘Saada Dil’, a synthetic pop number with mundane lyrics shatters almost everything the first four songs of KD create. So much for the narrative theory. Or perhaps this is comic relief? After all, anything that brings forth the memory of rookie music that played on Music Channel Charts back in the day has to be a joke.

There is quick redemption though. ‘Paharhi’ subtly links back with the vein running through the album. The quiet aching of love, shall we call it? One sees KD being a huge hit with those who like their love songs classy. And it doesn’t hurt if the voice singing those songs knows exactly what it’s doing. Except for on the dismal ‘Saada Dil’ in which it is lost behind a mass of electronic sounds randomly thrown together.

‘Tu Hi Sanam’ is a ballad made exclusively for a future film, furnished with the pleasant acoustic guitars, the building up to an interesting crescendo and sloping back to temperate tones that help elevate songs to ‘soundtrack of a life’ status. It is definitely more hopeful sounding than the rest of the songs on the album – one can easily envision this being the anthem of young love.

‘Wo Jaanta Hai’ has a message. One would like to think this says enough – however, the song has instrumental value that a lot of the other songs don’t. It incorporates a blend of keys, string and voice that wind themselves around each other, making a tight composition.

To be fair, KD is a tight production all over, and even if one is to dismiss one’s judgment of the songs that didn’t strike a chord as personal opinion, then save for ‘Saada Dil’, the others are quite decent. Kyun Dooriyan makes for quietly pleasant listen, the kind of CD you’d always want in your car for those contemplative times when the music you listen to can mesh with you easily without being intrusive. And isn’t that what the best kind of art is about? Creeping up on you unexpectedly, whether you agree with it or not – By Amina Baig

Rating:- 3.5 OUT OF 5

Overload

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.

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 – Maheen Sabeeh

Josh

Canada-based band, Josh, teams up with R&B singer/songwriter/producer Pranam ‘Chin’ Injeti on an English song to support the flood victims in Pakistan

As a foreign desi band, Josh has had a very strong presence in Pakistan. Along with officially releasing their album in the country, making their music videos in Pakistan, hosting numerous concerts, recipients of music awards and participants in Coke Studio-2, Josh is a band that the Pakistani audience holds close to their heart.

The music community has come forward and helped hand-in-hand with relief operations in order to help the flood-affected. Josh has also attempted to contribute through a song called S.I.N.G. which is due to be released in North America very soon.

Band member Rup Magon posted on his Twitter account (RupJosh): “We have recorded an incredible new English track called S.I.N.G. – SINGING INSPIRED by the NEED to GIVE… raising funds for Pakistan and other countries in need.” According to the band, the song will “liven up your spirits and break your heart at the same time.”

Josh has worked on the song with singer/songwriter/producer Pranam “Chin” Injeti who is perhaps best known as the vocalist for the ’90s the R&B band Base is Base. In 2009 he helped produce and wrote songs for Eminem’s Recovery album and played guitar and electric bass on tracks by 50 Cent and Drak, among others. Along with appearing on several music shows, he released his solo record D’tach this year as well.