Wednesday, June 24, 2009

I found more of myself in the film in the character of Maya than in any other movie I have done so f


By movietalkies
Tuesday Jun 23 6:14 PM

How was it for you to go back to college in the movie "New York"? What did you enjoy the most about it?

Well I started my career before I was at the age to go to college. So it wasn't an experience of going back to college but rather was like a first time college. I got a chance to experience what that life would have been like. That is probably the reason why I enjoyed it so much. The first day when I landed there I was honestly very awkward and felt completely out of my space. It was a different film for me from what I have done before. By the end of the film I didn't want to leave. The whole process of making "New York" was such an amazing journey for me. I think I found more of myself in the film in the character of Maya than in any other movie I have done so far.

In the song 'Hai Junoon', the three of you have really good chemistry and you are just outstanding and are having so much of fun.

I am really glad to get some appreciation for that because the two of them were looking at me during the whole song like do you mind. Can you stop jumping? Can you stand still or do a movement which requires both of your feet on the ground rather than off the ground? I don't know but I was having fun. There wasn't much choreography. Kabir, Adi and the choreographer said just be spontaneous and have a good time. So I was next to two really spontaneous people who love to dance and so I decided to jump enough for all three of us (Laughs).

How much do you identify yourself with the character of Maya you play in "New York"?

Maya, the character I play in "New York" is and will always be very special for me because I think it is a character the most similar to me. Not necessarily the experiences that she goes through in the film but for the ways she is. Her nature, her personality, the kind of joy and carefree attitude she lives her life is where I identify Maya with me. Towards the end of the film, the way she loves and the ways she is to people is very similar to what I am in real life. While discussing with Kabir about my character, he used to just tell me look in your inner self and that is where you will find Maya.

How was it working with Kabir?

When I first saw Kabir I thought to myself that this is the kind of person I am never going to be able to relate to. There was no connection at all. On my first day on the sets I realized that this man is a very intelligent and knows exactly about human nature. Kabir has been a documentary film maker before making films for our industry. His insight and understanding of human nature has made this film really special. He knows how to relate to everybody and will look at you and understand the kind of person you are. He was like a friend to all of us. He helped all of us find our inner self and made that connection that he wanted to come across in the movie. He did all of that with no pressure, no stress and in the most painless way. It was a wonderful experience to work with him.

Do you find yourself fortunate enough to be working with the renowned production house for "New York"?

Of course! It is actually a dream come true to work with Yash Raj. They are an institution by themselves. I have been very fortunate with other film makers as well. People who I have always worked with have really supported me but definitely working with Yash Raj is a personal achievement. Every actor does want to do a Yash Raj film and I think the fact that I got to do a film like this is great. The film is a new film and has not been seen before. The film is important, dramatic and still emotional which is why I feel it touches your heart.

The music of the film is already topping the charts. What are your views about the music of the film?

The music of the film really took me by surprise. I thought that this is going to be a film which will be more about the story and less music. I knew music would be there but in what capacity was the question. When I saw the film I realized how important role the music has played in taking forward the pace of the film. Music takes you into the story completely. Pritam has just done an amazing job. The music is so unlike from what he has done before.

An interview with Salman Khan


Ritesh Sharma, TWF, Bollywood Trade News Network

Salman Khan avoids intrusion in his life and profession but ends up drawing maximum attention for both right and wrong reasons. He is ready with the second edition of his television show 10 Ka Dum while awaiting the release of four of his big films. In a candid chat with our correspondent, the actor answers every question in good humour.

Hi, finally we manage to catch you?

(Ha...ha...ha). Yes, I have been running all this time. I am tired and I need a good sleep. I am just back from London after shooting for LONDON DREAMS and now I start shooting for 10 Ka Dum. It's work, work and work and nothing else.

Do you still feel the same about the media, hold grudges and wishfully avoid them?

I never avoided the media. Truly, speaking I don't have any grudges. See, I am ready to give all the answers. Actually, I have changed. There was a time, when I would show my annoyance but every action is guided by a reason. The media annoyed me. I still feel there are certain questions, which are personal, which only my parents or maybe the ones who are really close to me have the right to ask. If someone asks such questions, I can always get annoyed. My fans never ask me such questions...not even my senior colleagues because they know it might be in bad taste and be demeaning. Now it's different. I have grown over the years and avoid all the questions. (Laughs)

So you say you have changed...

Of course I have. I think that's the best thing to do. I have stopped reacting to things. In fact that helps. This is the new way to be in news. Earlier, whenever I said something, it got misrepresented. Now, that I don't at least the news doesn't get distorted. Earlier I wasn't matured. Now I have cooled down.

But controversy never seems to elude you.

What can I do? I don't create it. I know the media's problem. A good article is always boring but if you spice it up, it works and that is how people get such stories.

The latest one is Claudia...

Which Claudia? (Laughs) Schiffer? Or are you asking about Ciesla?

Its former Playboy model and actress Claudia Ciesla who is being linked with you?

(Ha...Ha...Ha). I know. I too have been reading about all these in the newspapers. Okay let me clear it out. I know Claudia, as an actress, she had come to my house only once, spent some time and even met my family. That's all and nothing more.

Apparently, you had to compromise on your fee this year for 10 Ka Dum.

Compromise! (Gives a mischievous smile). Recession... recession!!!! See they made me cut down my fee citing recession as a reason. (Grins)

In fact it is said that you are doing it at half the price.

No...no...no... come on... I also have some market value. I can't cut it down so much. (Smiles)

You must be thrilled to be thrilled to host it once again.

Of course I am thrilled. It was during the last year only when I knew that this show is going to be a hit. And now that it's a hit I am hosting it for the second time and I would now love to host it for another couple of seasons. See... I love this show. It is a common man's show and my fans also get to see me as the common man. I am just like them and today whatever I am it's because of the public. They have made me what I am; else I would not even get the job of a darwaan (gatekeeper). They have the body and height and I don't even have that.

Okay, tell me why didn't you vote in the just concluded general elections?

See, I know that this is one thing that will be asked now but I wasn't in India. Had I been here I would certainly have voted. I was shooting in London... a lot of money has gone in the project and I was doing my work with my costars, director and the producer. I don't want to show off by flying down to India to vote only to get clicked outside the polling booth. And where there were only 27 per cent, 36 per cent and 47 per cent votes in some places my one vote wouldn't have mattered much. But yes, had I been in India, I would certainly have cast my vote.

But Shah Rukh Khan flew down all the way from South Africa to vote.

May be he has more money than me. I am not that rich. (Laughs)

However, you campaigned for everyone in Bollywood this year.

(Cuts in) No, not everyone, but only my friends.

Who would you invite as guests in 10 Ka Dum this time.

This time it's up to the channel. They will take a call but I am really looking forward to have some interesting guests. Last time was fun and I still feel Aamir should have attempted the last questions and made more money. It was one of the best episodes.

So you don't have any problems with Aamir?

I don't have any problems with anyone. And why are you asking only about Aamir. I don't have any problems with Shah Rukh. (Smiles) And even if there's a problem why should I tell you. (Ha...ha...ha). Look I have matured now.

But last year you invited so many of your friends to the show.

I think I am not left with any friends. (Laughs once again). But I would really love to have people like Sanju (Sanjay Dutt), Govinda, Sunny (Deol) and Dharmendraji to the show. Among women I would really love to have Madhuri (Dixit) and Sridevi as guests. Let's see what happens.

So, how has your shooting been going on?

I have four releases. First it's WANTED and the MAIN AUR MRS KHANNA and then LONDON DREAMS comes sometime near Diwali and then VEER.

And both VEER and WANTED are action films.

In fact, VEER has more action. The story is based in 18th century and it was more taxing than WANTED. And I am not saying this because it's my production. We have shot most of the film and the shooting in Jodhpur is over and the rest will be shot soon.

You have also written the story of VEER. So are you seriously considering scriptwriting?

See it's in my blood. It's as simple as that. I will write more of it in future and I am enjoying life. I have four releases this year and it's after a long time and all are different kinds of films. So you know how immersed I am in work.

Okay so when do you get married?

Soon...very soon. My parents are putting pressure on me (laughs). So eventually I will.

411 Movies Interview: India de Beaufort



If you are not watching the new screwball, slapstick comedy meets fantasy TV series, Krod Mandoon And The Flaming Sword of Fire on Comedy Central right now, you should. In the adventures of the ragtag resistance movement led by the aptly named Krod Mandoon (Sean Maguire) against the evil, tyrannical, and eccentric Dongolar (Matt Lucas), Krod is joined by his would-be girlfriend, the Racoon Pagan warrior, Aneka, played by British actress India de Beaufort. The singer, song writer, and musician shifted over to the acting scene several years ago on The Basil Brush Show before appearing with Simon Pegg in the movie Run Fatboy Run. Now India is getting a lot more face time in this great new TV series. And if you haven't seen Aneka's fire dance yet, you are truly doing yourself a
disservice. I spoke with India last week via phone to talk about what's going on with Krod and her acting career:


India de Beaufort as Aneka.

Jeffrey "The Vile One" Harris: So did you know Krod was "dork" spelled backwards?

India de Beaufort: It actually took me a while to realize. I didn't realize straight away. In fact no one even told me until the end of the shoot. I didn't really look for it, but I know now.

TVO: It explains a lot about Krod, doesn't it?

IB: It does. I think there's actually a story behind it. Peter Knight said there was some guy at his school when he was growing up who wasn't the brightest of the bunch, and they used to call him "Krod," and he didn't realize it was dork spelled backwards, so it was kind of like a silly joke or something.

TVO: So how did you get this role?

IB: I auditioned just like everybody else. I went through the exact same process.

TVO: Did you have any doubts, concerns, or hangups about Aneka and the way she behaves? She's definitely a sexually aggressive in how she approaches certain things.

IB: When I read the script, I just loved the character. And I only ever read the first episode, but when I auditioned I had only seen the first one, so I hadn't read anything about her fire dance or you know she has a couple of other a bit naughty scenes among the scripts. And I read those after I'd gotten the role. And I think I was originally a little bit concerned just because I take my job very seriously, and I love what I do and I didn't want people to watch the show and think that I was there for the wrong reasons. So I wanted them to hopefully respect me for playing the role. And there's always that sort of worry when there's a character that's so sexually relative, but after reading it a few times, the writing's just so funny and its intelligent and knowing that Sean Maguire and Matt Lucas were involved, I couldn't turn it down. And once that we shot the scenes, and now that I've seen it all out, I'm not worried at all because I love the role of Aneka. I really believe in her, and after playing her she's more a feminist character because she's saying, "I'm equal to every other man in the world. Men enjoy sex. I enjoy sex." You know, she's out there putting out this strong statement. And some people see it that way and some people don't, but for me playing her personally, I completely respect her and I love playing her.

TVO: So what was the shoot like, and where are you with the show right now?

IB: We're all back. We're all done, so now we can just sit back and watch it. The shoot was incredible. I mean it was really just one of those life-changing experiences, and I had so much fun. And I was fortunate enough to be with a group of people who really believed in the project and wanted to get the job done and do it well but also have a great time. We spent everyday just laughing and messing around. I work with a bunch of men who were all just big kids fulfilling their fantasy of sword fighting and being a part of that is just phenomenal.

TVO: Would you consider yourself a fan of fantasy before you started working on this show?

IB: Oh yeah, I'm a huge fan. I'm slightly addicted to Charmed, anything really with sort of the fantasy realm. Harry Potter, Heroes I love . . . just anything really. It's really amazing how the writers create this universe that's endless, and I have no idea where that imagination comes from. And being a part of something that when we walk on the set, we're walking into a world that somebody created. They took pencil and pen and then went down on paper sat down and they got to a point where we're sitting in it. And that's just so much fun to be a part of.

TVO: Krod wants to settle down with Aneka and for her to be his girlfriend, while Aneka wants to be her own girl and do things her way. But do you think Aneka is interested in Krod, and could you ever see her settling down with Krod?

IB: I don't want to give too much away, but Krod loves Aneka. He absolutely adores the ground she walks on. And they have this relationship where she wants an open, free relationship, and he wants a monogamous relationship and sort of seeing the challenges that brings, but there is more to Aneka than her sexual free-ness and her being a great warrior. She has levels and depth and vulnerability and later in the series you'll see more of that come out, and it may or may not be related to her feelings for Krod.

TVO: How did you get into acting and is acting something you've wanted to do your whole life?

IB: I've always wanted to be in the business. Both my parents were performers. I was a singer first. I've been in writing and singing since I was about 14, 15. And then I went into a children's TV show called The Basil Brush Show on the BBC in the UK. And I could sing on the show and was what required me to be one of the principal roles and that was my first introduction to acting. And then from there I went back to music and continued writing and continued trying to make it in that way, and then the role of Maya in Run Fatboy Run came along, which was directed by David Schwimmer, and David sort of took me to one side after we finished shooting and said, "Look. I really think that you should take this seriously, and this is the direction you should head in," and he saw potential, and he was the first person to really believe in me. I had people back me in music before but never in acting. When he took a stance and showed me some confidence, I took him seriously, I mean you have to; he's someone that's that talented. So I went away and trained for a year with different acting coaches and really found out my strengths, my weaknesses, the things that I loved about it, the things that I didn't like so much, and before long I just fell in love. So I put the music to one side and started heavily pursuing acting and auditioning and getting the roles and getting as much information as I possibly could and then Krod and I was fortunate enough to land the role.

TVO: was my first exposure to you playing the daughter of Simon Pegg's landlord, Maya D. Gas. I'm a huge Simon Pegg and

IB: I love Simon . . . and he's just the nicest guy, isn't he? I saw him a few weeks back when I was in London. Every time I see him, it just reminds me of how delicious he is as a person. I just love him to death.

TVO: I definitely agree. Your role in Run Fatboy Run wasn't a huge role, but I enjoyed it whenever you were on screen and you definitely had a good presence. And I love seeing you develop on this show, and I'm sorry to say this, but the fire dance was one of the greatest things I've ever seen in the history of television.

IB: *Laughs*. Yeah, that was the most nerve-wracking thing I think I've ever done. I had to down a beer before I went out and did that. I shouldn't admit it because I'm not a wine, cocktail drinking kind of a girl. I have an older brother, and so, so I watch football and I like a beer. And before we started shooting it, I was so nervous, not so much about doing it, but doing it in front of my peers, the people I've been working against. We were quite a way into the shoot by then. We were almost at the end of the shoot, and the idea of taking my kit off in front of them was mortifying. And then I got out there – the stage that we shot it on was sort of a laminate (?) material and it got covered in joo(?) once the sun went down. So I was slipping all over the place. I wear these hair extensions to play Aneka, and my hair extensions came out when I was throwing my head around, and it was all a bit of a nightmare. I mean I learned that day – I went to – this is absolutely terrible and I can't believe I'm admitting this, but to train me to do that, they sent me off with a dancing coach, and I got out of a car and I realize I'm outside of a strip club in the middle of Budapest. And I went inside, and this teacher they give me, she was a contemporary dancer, and because they knew it was going to be around some kind of pole, they brought me to a strip club, and it was during working hours. And I walked in and there were some girls on the side kind of sitting there in their very sexy lingerie and things and the owner behind the bar. And there was only one pole, kind of a full crowd, and I had to get up and learn pole dancing in front of all these people who didn't speak a word of English . . . I mean the whole thing was just crazy. I had a great time, and I learned to pole dance. So we choreographed this routine completely around the pole. And most of what I learned is that poles are on ball bearings, so when you swing around it, it goes wicked and you can really put down your feet (?). And then I got there on set on the day, and the pole was in fact a tree. So we had to throw out all the choreography that I've learned and I just had to wing it. So they still somehow managed to edit it and make it look half-decent, but the actual experience itself was a bit all over the place. By the time I'd done it, I had a blast, and I really enjoyed myself and I think it was one of those freeing moments where you never thought you'd do it, but you do it and you have a lot of fun. I might continue the pole dancing lessons if possible.

TVO: Please don't get offended when I say this, but I've never been more jealous of the citizens of Budapest.

IB: *Laughs*, Oh Jeffrey, that's very sweet of you. I promise you the takes that they saw were nowhere near—

TVO: I mean a lot about acting is about letting go of your inhibitions. And you really embraced the spirit of that character, and it was great.


"I might continue the pole dancing lessons if possible."

IB: Well the good thing about Aneka is that because she is so strong and feisty and can have these weighty foundations, if I had gone up there and showed that I was nervous and timid it probably would've been A.) more embarrassing and B.) I wouldn't be doing my job. And the great thing about playing Aneka is that because she has this really feisty – I can hide behind that myself. And so when I play her, I can pretend I am her and get away with so much more. Whereas me myself, I don't think I could probably pole dance in front of 300 men. I'm afraid of how I'd look.

TVO: Do you India find yourself attracted to Krod in any way? I mean, he's a little incompetent but I find his devotion to one woman very admirable.

IB: Me as a person, I'm a one-man woman. I'm all about trust and men being faithful and honesty and someone being a good all round person and Krod really has all those qualities. And I think it's kind of cute the way he gets things wrong and is a bit silly, you know. The only thing I probably wouldn't like is he's always messing with his hair and the way he looks. I can't bear those kinds of guys. Everything else about Krod, I love and obviously, Sean is gorgeous. So Sean playing Krod is a big plus. That's a character I do love.

TVO: So not like Dongolar or any of those guys?

IB: I don't think there's anyone in the show, a character – I mean Krod is probably the first guy I'd go for. And after that, Rafe obviously . . . and he's a very good looking guy . . . but I have funny taste in men. I don't go for the traditional hero. I don't know really know what I go for . . . but I've never really gone for the leading man. I'm not a leading man kind of woman, but you never know it might change.


"Everything else about Krod, I love and obviously, Sean is gorgeous. So Sean playing Krod is a big plus. That's a character I do love."

TVO: What's the most important thing you look for in a guy you want to date?

IB: Hm. In a guy I want to date. The guy personally, I just want to laugh. I spend my life around funny men, and if they didn't make me laugh it would be a bit strange. It's really important that I laugh. It's also important that you're sexually attracted to them. But I think the biggest one, the biggest thing that guys tend to miss, is that girls want to go on dates that surprise them. You know every girl in the world has gone on dates where they sat in a restaurant or sat in a coffee shop, or sat and talked or sat and eaten, and if you do it that way then you're kind of just the same as ever other guy that went before. Whereas if a guy took me rock climbing or to the beach or just something that kind of breaks the ice and is more relaxed and sort of allows you to be in an activity – you know just really breaks the ice, that would make a huge difference. And it's true because that's what all my girlfriends say, "if a guy would just do something a little bit out of the blue, a little bit abnormal, something unpredictable it would make a huge difference." So there's a big hint.

TVO: I'm going to be taking a lot of notes when I transcribe this interview.

IB: *Chuckles*.

TVO: You mentioned Heroes earlier. Are there any other shows you like to watch in your leisure time?

IB: . . . I'm so addicted to Heroes it's not funny. I'm usually waiting for Monday nights to come around. And I used to really like Lost and then I got a bit lost. Charmed I've been watching a lot of the reruns of recently. I love Gossip Girls, Desperate Housewives, all those kind of "chicky" shows. I love Monk, a detective series, I love Monk. There are many, many shows I adore.

TVO: For a more ladies type of show, I like Mistresses which we just started getting over here.

IB: I love Mistresses, but is it the British version here or . . . ?

TVO: I get the British version on BBCA.

IB: Nice. Because Sarah Parish is in Mistresses, who is the wife of James Murray who plays Rafe Longshaft in our show. That's a bit of trivia for you.

TVO: James Murray from Primevil?

IB: Yes.

TVO: That's another show I love, I just started watching series 3 and I'm going nuts.

IB: Well I'm fortunate because there's a lot of good TV around.

TVO: You guys have the best TV over in England, besides the fact that we get Krod here.

IB: Yes. England hasn't got Krod yet. England's still waiting, so you guys got it first.

TVO: So how many episodes did you shoot for Krod for this season?

IB: We shot six episodes. And hopefully if people watch and tune in and enjoy the show, then we'll maybe shoot ten or more next season.

TVO: Well, I'm definitely watching right now. I love this show. I love Aneka, I love Krod, and all these characters, and I hope we can see more. India, thank you so much for your time, it's been amazing speaking with you. And God save the queen.

IB: *Laughs* Thank you, Jeffrey. God Save the Queen.

TVO: And the Sex Pistols too. Thank you so much India, you're amazing. Tell Krod to watch out.

IB: I will let him know. When I see Sean later, I'll tell him.

TVO: Tell Sean to watch out too.



If you'd like to find out more about India, you can look up her , or look her up on Facebook or Twitter (her user name is India de Beaufort) where you can also listen to her original music and songs.

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Album Review: Rahat Fateh Ali Khan - Charkha

SOUND CHECK: Rahat Fateh Ali Khan: Charkha

By Savaiz Bokhari


Background: Rahat Fateh Ali Khan is no stranger to the audience of Indian and Pakistani communities the world over. Born in 1974 at Faisalabad, Pakistan, Rahat Fateh Ali Khan was tutored by his uncle, the late Ustad Nusrat Fateh Ali Khan, in the art of classical music.

An extremely gifted child, he started his musical raining at the tender age of seven. Under the tutelage of his illustrious uncle, he went on to do his first stage performance at the age of 11. After two decades of captivating performances for international audiences, Rahat Fateh Ali Khan is today a star in his own right, one whose art is thoroughly appreciated worldwide.

Amongst his most notable achievements is his contribution to the soundtrack for the 1995 Hollywood film Dead Man Walking in collaboration with Eddie Vedder, the lead singer of Pearl Jam, alongside his uncle Ustad Nusrat Fateh Ali Khan. In 2002, he worked on the soundtrack of Four Feathers in collaboration with James Honor.

More recently, he has worked with Mel Gibson, providing backing vocals for the soundtrack of Apocalypto. In addition to the above, Rahat Fateh Ali Khan has received many nominations and awards in India for his soulful music. (Quoted from the sleeve of the album Charkha).

The Album

Upon learning that Rahat Fateh Ali Khan has come out with an album, I decided to give it a listen. Having heard his mesmerising vocals in at least one song in every hit that comes out of Bollywood these days, my best bet was that the album wouldn’t disappoint.

Rahat sounds at best to be ‘going through the motions’ on what is supposedly his debut non-film album (excluding his qawali volumes). He appears to be having an off day(s) while recording the album as there is no way one can compare his efforts on this offering to earlier hits such as Jiya Dharak (from the film Kalyug), Jag Soona Soona (Om Shanti Om), Naina thug lainge (Om Kara) and O Re Piya from the lesser successful (Aaja Nachle).

The fluency with which one witnesses him deliver hits is just not present here. Some of the tracks appear too influenced by his recent attempts to sing for Hollywood, which unfortunately puts spirituality in the background rather than in the foreground. Songs such as Rang Rangeela, Tere Bina and Kanday Utay seem to suffer from this phenomenon and are in non-conformance to the greater scheme of this qawali-pop album. Even Rahat seems aware of his shortcomings on the album and has attempted to make up for it by adding his biggest hit to date, Jiya Dharak Dharak, as the finale on the album.

Negatives aside

Dunga Pani, a song penned by Rahat himself, is a harrowing ditty with a bluesy composition that stands out among songs that appear mediocre at their very best. It definitely does justice to Rahat’s mantle of being the sole-successor and pupil of the legendary maestro Ustad Nusrat Fateh Ali Khan. So does the pop-rendering of the sufi-folk kaafi number, Sainyaah (written by mystic poet Shah Hussain).

Another saving grace is the album’s title track which sounds divine (even the remix-techno version) simply because of the poetry of Bulleh Shah.

Another positive is that the composition of the entire album is credited to Rahat which means that unlike certain other Pakistani musicians, he hasn’t yet succumbed to the charms of Indian composers.

Bollywood state of mind

At times, Rahat’s ‘please Bollywood’ frame of mind seems to dominate certain compositions and they appear more made-for-Bollywood rather than this album. Such filmi songs include Morre Aangan, Aaj Hum and Na Janay Kahan which lack the otherwise free-flowing rhythm that is a requirement of qawali music.

Instead Rahat appears to be trying to impress with a more eastern-classical ghazal style mixed with filmi-pop. Hopefully, this isn’t going to be his future direction for musical production. It is pertinent to note here that this frame of mind seems to have an impact on the entire spectrum of Pakistani music and is responsible (partly) for the shuddering halt (of late) to the progressive development of the Pakistan music scene.

Why remix?

As regards remixes of two of the album’s songs, a note of caution: Anyone who has heard originals will testify that remixing never actually improves the quality of the original song, although at times it does create a work of art on a very different scale. Then again, why remix when the original isn’t the best song in the world to begin with.

In short, this album isn’t his best piece of work and will please only the most ardent fans of Rahat Fateh Ali Khan.

Album Review: Inteha — Kehna Chahta Hoon

Album Review: Inteha — Kehna Chahta Hoon




Soundcheck: Inteha — Kehna Chahta Hoon

Sunday, 19 Apr, 2009 | 04:08 AM PST |

by Asfandyar Khan


There’s something about Xulfi and his studio, Xth Harmonic. Nearly every band that goes in there ends up coming out sounding eerily similar. Perhaps it’s Xulfi’s little additions to a band’s material; perhaps it’s the engineering of the record itself. Either way, it’s fairly easy to listen to a record and tell whether or not Xulfi had his hands all over it.

Sometimes that can be a good thing, but with records produced at Xth Harmonic it seems to be a bit overwhelming — suffering ultimately from overkill.

Inteha acquiesce to the same fate. Listening to Kehna Chahta Hoon makes one yearn for the band itself rather than their produced material — which one can rather easily ascertain would be quite different from the band’s live performances. The songs are pristine, almost packaged. The music ends up sounding more by-the-numbers and mechanical as a result, and it’s a shame because some of the songs may well be able to stand up firmly on their own.
Paradoxically however, two songs seem to benefit from the overproduction; Talaash and Dastaan. The former goes through a couple of movements, almost as if it were a classical piece. Introduced by distinctly ethnic string work, the song soon finds itself amidst standard pop rock fare — only to become a quite different entity in the middle.
Stabbing staccato strings make the band sound Coldplay-ite, before the end anyway when some rampant riffs take things into a very distinct, Call-like atmosphere. The song itself as a whole doesn’t stand up for any other reason other than the fact that it’s not the sum of its parts. But those parts themselves are quite interesting.

Dastaan features some rather tasty rhythms, with drum work that takes it upon itself to fill up the sound, and bass lines that don’t seem to want to be on the periphery. Naukhez’s vocals here are a fair display of his ability as well. Throughout the album, in fact, he seems to not wait for an invitation to flex his larynx.

Like most albums these days — especially those from Punjab — there is the requisite Punjabi track (Muk Jaandi Aye). Why bands feel the need to chuck in a token Punjabi track escapes me. As with most tracks of its nature, Muk Jaandi Aye manages to elicit absolutely no emotional response except a slight sense of annoyance. Coming just after the song that everyone identifies with the band, Anjaana, is a tracking misstep as well.

The rest of the album seems a bit hit and miss. Some of the songs come across as mediocre ballads (such as the title track, Kehna Chahta Hoon) while the tabla in Manzilain seems as if it’s there for absolutely no reason whatsoever. Naukhez’s vocals here are particularly annoying, for every syllable seems to be unnecessarily dragged out.

Aao Na seems to manage to pick up the latter part of the album. It’s a song where everything seems to come together quite nicely, despite the band trying to overarch. Nausher’s guitar work seems to possess actual intent, as subtle arpeggios provide a lush backdrop to Naukhez’s vocals. The overblown chorus too seems perfect for the song.

There’s a lot of flute work going on throughout the album, and it seems to somehow work on only one song (Aao Na). Again, here it seems over-indulgent and extravagant for many of the songs did not need unnecessary ‘beautification.’ Sometimes, sparseness works far better, and it’s not always true only of singer-songwriter material. Unlike Jal, Inteha seem more at ease with the overdrive pedals at their disposal. The overdrive guitar tones do seem to lack a bit of punch however, and perhaps their quasi-grittiness wasn’t appropriate for an album of this nature.

The two brothers who make up Inteha, Nausher and Naukhez Javed, are undeniably talented, but they seem to either lack confidence in their abilities or have, in my opinion at least, convoluted views on music. Their songs do not need the help of multiple instruments to breathe; neither should ostensibly layered and complex arrangements be mistaken for depth and substance. Similarly Nausher’s vocals at times reach too high; too far. Some restraint would work wonders, as would a desire to actually work on songs as whole packages rather than consisting simply of instruments. On more than few songs it seems as if the vocals and the other instruments are striving for attention; competing where there shouldn’t be competition.

Kehna Chahta Hoon is probably one of the better pop-rock albums to come out in a while, based solely on the barren compositions not the final product. That, however, isn’t saying much. The strength of an album remains in its longevity, and within a couple of months Inteha’s mantle will be taken over by another band — one that’ll sound not too dissimilar. But for now, if you long for Jal-esque pop rock, you could do worse.

Album Review: Ahmed Jehanzeb’s 'Laut Aao'

ALBUM REVIEW: Ahmed Jehanzeb’s Laut Aao

By savaiz bokhari


Our two cent on the Wonder Boy’s second album.

Ahmed Jehanzeb has proven himself to be a talented musician. So far he has one hit album to his credit as well as several title songs for Pakistani television dramas and the one-off collaboration for a song on Shoaib Mansoor’s Khuda Kay Liye soundtrack.

I quote here from his album sleeve: I am what I am only because of the true love, guidance and comfort provided to me by my family. They are the foundation and proof of (who) I am. I thank my family especially my father, Capt. Sabir Ahmed, without whose support I would have never achieved what I have today.

Jehanzeb further shows his understanding of music’s (spiritual) nature when he outlines his philosophy in these words: I strongly believe in the saying ‘Music is food for the Soul’. It is the best way of communication. In my point of view music provides purity and clarity to one’s soul. It is the truest form of expression for an artist. True music requires education, training, hard work & like any other field, raw talent has to be nurtured and that is the reason I was given the opportunity to educate myself in the art of classical music.

His recent album, Laut Aao, predictably starts off with the song released earlier as a single and used in the promotional video of the album, Chandni Raat Mein. The single demonstrates that Ahmed isn’t just all about sad ditties. This one’s more contemporary and has a faster tempo than his earlier sombre style. Interestingly, Ahmed humbly gives all the credit for the success of the song to the video director, Kookie V. Gulati.

If Chandni Raat Mein sets the tone, Mein Aur Tu is evidence that people with contrasting composition styles should work together (Sachin Gupta and Ahmed in this case) on a joint composition if they compliment each other. The more rock-inspired composition of Sachin blends almost organically with Ahmed’s melodic vocals and rather haunting compositions.

In Bol Mahiya Ve the opening sequence featuring the vocals (in English) by Tara Baswani is yet another organic progression which gives way to a near-qawwali harmonium synthesised effect in mid-song. Ahmed’s advanced control over folk singing shines through this very interesting tune. Lagan Lagi, however, disappoints as it is in the ‘please Bollywood’ mode and is uselessly techno in its sound. Ahmed’s vocals don’t go very well (despite his best efforts) with this sort of music. Up next is the title track, Laut Aao, and despite being a haunting number it isn’t exactly the best song in the album due to the remix effect. The song could have done without the brrr-ing effect which is mostly distracting for the listener.

Tere Bina Jeena is another song that Ahmed must be swearing by as the album’s next hit (he has even included a blues-mix version of the song towards the end accompanying similar rehashed versions of Chandni Raat Mein and Mein Aur Tu). While the song is lively, it seems short on something. Dekha Mein Ne Nahin is another song possibly composed for a Bollywood production rather than being a pop number.

Amazingly, Jiss Ko Bhi Lageya is vintage Ahmed at the start coupled with some vintage rock guitar during the chorus. This is one song that can be predicted as a true hit. Jab Tumhari Yaad is again in Ahmed’s newfound ‘pop-rock’ style. It comes across as one where the singer is probably burying his past and preparing to move on.

The rock infusion seems to have added a contemporary feel to Ahmed’s work, and one feels it would be fantastic if he can follow up more on this style of music composition.

Music Album Review: Fuzon - Journey

Music Album Review: Fuzon - Journey




The second coming of Fuzon

After 2002's phenomenal Saagar, Fuzon is back with a new album and a new vocalist. The big question: does it work? Instep finds out…

By Maheen Sabeeh

Artist: Fuzon


How has the journey been?

It's been long a while since Saagar. A lot has happened. Shafqat Amanat Ali Khan has gone solo while Rameez Mukhtar has been brought in… in his place. In between guys like Ali Zafar and Atif Aslam have come and are beating in the hearts of the people.

Nusrat Fateh Ali Khan's protégé, his nephew has taken his legacy forward and has come out with an album that is easily one of the best ever made in Pakistan.

There is a lot of competition out there. But Fuzon still took a plunge and that took courage. Since their first single 'Neend Na Aaye' has released, there is a debate happening.

Is Rameez imitating Shafqat?" or "He is good!" or "No, he isn't". Instead of debating, let's take a look at the full-fledged journey of Fuzon and then decide…

The best song on the album is without a doubt, 'Neend Na Aaye'. The music is lovely, no long painful solos here. Rameez's vocals shine through like magic. He is impressive and without a doubt, a talent that is very good for Fuzon.

Emmu's tryst with keyboards is, as always, soulful and forms a rich sound while Shallum's The Edge-like (U2) guitar playing is sharp yet not too ambitious as is the case with most guitarists in Pakistan.

Unlike Saagar, there are not too many ballads. Most of the songs dabble in the pop-rock genre that is more on the faster side.

'Abhi Hum Kahan Hain' is one example. Simply put, it is infectious, split amidst gloom and subtle hope. Halfway into the song, Rameez hits some serious notes and suddenly the melody slows down, and then Emu and Shallum run the show, passively and aggressively respectively. It works.

'Choo Le' kicks some serious butt. The opening riff strikes an uncanny resemblance to Junoon's 'Yeh Mazaa Zindagi Ka' and for the first time maybe, Shallum pulls a Salman Ahmed on a song and it's really interesting. It's the kind of riff that is instantly addictive and Shallum stretches it into varied directions without making the song about the riff alone. Rameez moves with the pace and the rhythm. A thumping song.

'Paree' is another. A fun-filled number, Shallum's flirting with guitars is charming while Rameez, it seems enjoys the image of 'Paree' who comes into his dreams. This tune should be a hit at gigs for the band and with Shallum's ability to improvise, it'll be one hell of a song to see live.
'Tu Kahan' is actually even better. As Rameez sings, "Roshni Kahan Gum Gayo/Abhi Tau Yaha Jala Tha Dia/Kho Gaye/ Kahan Kho Gaye/Abhi Tau Yeh Dil Laga Hee Nahi Tha" - it sounds hurtful, which is exactly how it should be.

Come to ballads and the one that is most effective is 'Suna Suna'. Shallum's very subtle with guitars, stringing soft notes while Emu providing ample support vis-à-vis keyboards. The real charmer, however, is Rameez. He is emotive and he sings freely and goes on, "Teri Yaadon Mein Jiya Yeh Khona Laga/Suna Suna Yeh Sama Karkey Na Ja Balma/Aakey Na Ja Balma" - a throbbing tune.

'Jo Dil Ne Kahan' is a moody tune. Slightly trippy, beautiful and sharp. Instruments here vary and form an incredible soundboard. Rameez is delightful, full of conviction and appealing all the way.

There are some flaws. 'Atish O Aab' begins with a hypnotic thumping sound and launches into tipsy flute and powerful guitar. But the melody is extremely weak and doesn't fit in anywhere in the album. Skip it.
Another is 'Teri Yaadaan'. It's loud, chaotic and shows the limits to Rameez's vocals. Same problem plagues 'Dholna' where vocals fall extremely short.

A little rewind…

When 'Aankon Kay Saagar' came out, it catapulted Fuzon to instant fame. It wasn't the video that did the trick. This was a simple video that was a platform for the band to perform, courtesy Sohail Javed.

Rather Shafqat Amanat Ali Khan, the 7th member of the famous Patiala gharana with his beautiful voice, and musicians Shallum and Emu as a lethal trio that caught attention.

One year later, 2002, Fuzon released their phenomenal debut, the mighty, nay, mightiest Saagar, and for the first time fusion was created in a way that was musically fresh, crisp and accessible that is a problem with fusion records here.

Alas! A band came that was catering to mature audiences as well as the youth and wasn't trying to become the next big pop act. They stayed true to their name and made fusion. It was understandable why they became a band that rose high.

Music critic Nadeem Farooq Paracha termed 'Saagar' among the ten best albums of all times!

Why was Saagar so good? There are three reasons. (A) Shafqat Amanat Ali Khan (b) true fusion that was musically fresh, lyrically simple and cohesive and (c) the coming together of Emu and Shallum who didn't hurt the beauty of the album by being ambitious with riffs, throwing in long solos. They gave it a structure that was contemporary.

Songs like 'Khamaaj' make your heart skip a beat every single time. This was music that was long-lasting and would continue to play with your heart and mind for a long time to come. And hey, it still does.

It is simply unrealistic to expect a band that doesn't even have the same vocalist to beat Saagar. It is like expecting Salman Ahmed to make something as incredible as Parvaaz without the powerful Ali Azmat.

It is our history

Bands breaking up in Pakistan are a norm. It happened with some of the best. Vital Signs took a break and never came back. Rohail Hyatt and Shahi Hasan became producers par excellence while Junaid Jamshed continued as a soloist and a great one at that until 'religion' came calling.

With ten albums to their credit, Junoon was the groundbreaking rock act that the subcontinent ever produced. Ali Azmat went solo with Social Circus and proved his mettle as a musician while Salman Ahmed turned a vocalist and made an album, Infinity, and is doing well for himself in the United States.

One-album old Aaroh broke up with Farooq Ahmed and Khalid Khan sticking together and creating a new album while Nabeel disappeared into oblivion.

Jal too broke up after one single. Atif Aslam became a superstar as a solo act and Gohar Mumtaz continued as Jal with Farhan and Shazi and they too are doing well.

Two albums later Noori is AWOL. Gumby left and so did Mohammed Ali Jafri while brothers Ali Noor and Ali Hamza are still united although we don't know if and when an album will come out.

I could go on about Karavan and Raeth but it would be futile.

The bottom line here is this: separating doesn't mean the end. It never has and it never will. But it does mean that some of the magic does disappear. Take the greatest musical act of all times, The Beatles for example. John Lennon and Paul McCartney when together were awesome. As soloists, they raked in the moolah and made some seriously good music. But did they surpass Sgt. Pepper's Lonely Hearts Club Band?

No, because as drummer Gumby once said, "A band is a unit. Everyone has a role to play and it is when everyone plays a part, something incredible happens."

Fuzon's biggest asset was Shafqat Amanat Ali Khan. His voice is like magic, unbeatable, inimitable and tugs at the heart, whether it is in the form of Bollywood ditty, 'Mitwa' or in the joyful 'Deewanay'.

He came with knowledge that has been passed on to him as legacy. It is heritage. Songs like 'Khamaaj' are not just beautiful because the piano solo or the guitars are lovely but also because it was a raag that was made contemporary and on that front, Shafqat was the expect.

How can then we expect the new Fuzon to retain and recreate the same magic?

Perhaps the only one who can is Shafqat. I say perhaps because Fuzon was a band and Shallum and Emmu did play a role and produced the album.

The mistake Fuzon made, they kept the name. They shouldn't have. As long as we keep calling them Fuzon, we will continue to think of the old Fuzon and this isn't the same band.

All said and done, Journey is a good album. It is patchy in places but over all, it is a decent effort for a debut act and that is exactly what they are. This is the first time Emmu and Shallum are working with Rameez and that makes it a first.

Fuzon has a long way to go and chances are that they will survive. The industry is small and there is room for them as well as Shafqat.

SOUND CHECK: Vitology: the definitive Vital Signs discography

SOUND CHECK: Vitology: the definitive Vital Signs discography

Album title: VS-1
Year of release: 1989
Rating: ****


This is the album that proudly defines the beginnings of Pakistani pop music as we know it today. Eschewing the one-dimensional sonic set-up of pre-Signs local pop, the Signs stretched the home-grown pop dynamic by adding to it allusions to slick ‘synth-pop’ — all tastefully weaved together with inspirations gathered from the melodic filmi music of composer Robin Ghosh and vocalists such as Alamgir.

The resultant sound is a breed apart compared to what had come in the name of Pakistani pop music before; kicking-off with the conceptually cheesy but highly infectious patriotic chestnut, Dil Dil Pakistan, the album confidently sprints across vintage teeny-bopper trappings such as Gori, Ankehn, and Samjana.

But this is just the surface stuff dished out to attract a new generation of teenagers who had rolled into a new socio-political reality at the violent end of the repressive Zia-ul-Haq dictatorship.

Lying beneath the bubbly teen anthems is the heart of the album, melodically manifested by three outstanding numbers: Doh Pal Ka, Musafir and Yeh Shaam.

Doh Pal Ka is a standard pop-rock number, but without the pretentious bombast of 1980s “hair-metal.” What’s more, the galloping tune never loses sight of melody even as guitarist Salman Ahmed exhibits his early moorings for spontaneous riff-making, an art he would eventually perfect with Junoon.

Musafir on the other hand is literally dripping with melodic appeal, displaying the early beginnings of the Signs’ melancholic side. A highly underrated number, Musafir sees vocalist Junaid Jamshed demonstrate infectious vocal dexterity, and keyboard/synth-player, Rohail Hayaat create his initial opportunity to play around with Floydian atmospherics.

Yeh Shaam is cut from the same cloth and is even more brooding in mood. Salman Ahmed does well to make his guitar faithfully follow Junaid’s longing vocals.

Album title: VS-2
Year of release: 1991
Rating: *****


The incredible commercial success of VS-1 turned the Signs into an overnight sensation. But sudden stardom also came with a cost, as fissures started to appear on the band’s gold-plated armor.

The psychic clash emerging from Salman’s boisterous persona and Rohail’s sulking disposition saw the unceremonious exit of Salman who was soon replaced by Rizwan-ul-Haq.

Then Junaid too threatened to leave, wanting to pursue engineering as a profession. In the chaos, the Signs managed to collect a lucrative sponsorship deal from a cola company. However, out of this mess arrived not only the band’s finest (and darkest) album to date — it also remains to be perhaps one of finest sonic documents of local pop music in the country, even eighteen years after it was first released.

The stand-out tunes are many, led by Ajnabi, Hum Rahey Rahi, Nazar, and Yadh Rakhna. Each track is a convincing testament to melody-rich pop music offered on a dark, brooding Floydian platter. Each member of the band seems to be in top form, especially vocalist Junaid and synth-player and producer, Rohail. New guitarist Rizwan-ul-Haq feels right at home plucking out melodic riffs and leads and hanging on well with the album’s somber mood.

Bassist Shahzad Hassn, who unfortunately remains as one of the scene’s most underrated player, too comes into the picture, steadily pacing up with the thumping, galloping drum dynamics of Bazaar and the apocalyptic, Aisa Na Ho. No doubt, VS-2 remains to be an evergreen gem and a definite Pakistani pop classic.

Album title: Aetibar
Year of release: 1993
Rating: **1/2


The year 1993 was perhaps the most stable period in the band’s career. Maybe that’s why it decided to pull itself out from the brooding, forlorn disposition it found itself on VS-2 and create an album that was closer in sound and mood of VS-1. But the attempt to revert back to happier music was a disappointment. Apart from the lovely title-track, Aietebar and the meaty Yeh Zameen there’s not much else on the album apart from disposable pop fluff.

Album title: Greatest Hits
Year of release: 1994
Rating: **


This was a formulaic greatest hits package that missed out on some vital VS moments.

Album title: Hum Tum
Year of release: 1995
Rating: *****

This was a formidable album which, like VS-2, emerged from tense intra-band turmoil. Rizwan was shown the door, replaced by technical guitar whiz, Aamir Zaki, who after recording just three songs was asked to exit as well and former Awaz six-stringer, Assad Ahmed was taken on board. But before Zaki’s sudden firing, it was band leader, Rohail who quit, clashing with Junaid over a contractual obligation the band had for a series of concerts in the US.

The band toured without Rohail, but returned to take him back in to the fold and instead asked Zaki to depart, allegedly on Rohail’s behest. Also, Junaid, though at the peak of his singing abilities, had started to show the first signs of an emotional and existential crisis that would eventually see him quit music and take up preaching some six years down the road. And if we (gladly) skip the first two songs of Hum Tum –— especially the cheerfully xenophobic, Hum Jeetain Gay — each and every song is a more-than-direct allusion to a band melting helplessly away towards an eventual break-up — but what a melting indeed.

Quite like VS-2, the mood on Hum Tum is somber, but more stoic and fatalistic, as Junaid brilliantly mouth’s Shoaib Mansoor’s words of fatalistic resignation, misunderstanding and unrequited emotions on such gems as, Jana, Jana, Hum Tum, Dair Hogai and Namumkin.

Rohail paints in loads of sonic allusions to Floydian landscapes, whereas delivering one of the funkiest VS tunes in the shape of the epic, Main Chup Reha. Asad’s playing and fiddling with the wah-wah pedal is a retainable treat on this song.

The album’s musicianship, production and vocals prove that VS had hit a peak of sorts and would have been able to dish out at least a few more decent albums. But alas, that was not to be, and perhaps never will.

Album title: VS-Remixes
Year of release: 1999
Rating: *


An interesting idea, but one that just fails to take hold as most songs here are reduced to tin-like dance routines and cynically regulated into the obnoxious jhankaar territory. Only the remix version of Dil, Dil Pakistan, and the last recorded VS song, Maula escape mediocrity, but only just. — NFP

Hotline.zip (30.49 MB) By NaZia Hassan

Hotline.zip (30.49 MB) By NaZia Hassan





Aa Haan
Ajnabi
Hamaisha
Hum Aur Tum
Khubsoorat
Paisa
Telephone Pyar
Teri Yaad



DOWNLOAD ::

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Hotline.zip

Album Review: Akash - AKS

Album Review: Akash - AKS




The first reflection of Akash

A gothic sound and a number called 'Rock Funda'… Instep checks out Akash's debut offering.

By Sajida Khanum


Although a new and upcoming rock band, Akash are not entirely novices and have been wowing the Pakistani youth with hit singles including 'Ji Liya' and 'Armaan', edgy music videos and their electrifying live performances nationwide.

The band constitutes 4 members. The front man is Sam, real name. Akash, whom the band is named after and rightly so, not only has he lent his vocals, but produced, composed, penned the lyrics and completed all other audio production for Aks. Other band members are Kenny (Xerick) on drums, Miki (Shaleem) rhythm guitar and Fiz (Faisal) on bass-guitar; however Sam has also had some input in the drumming and guitar side of things too on a number of songs in the album. The busy man laboured over Aks in his own studio where he is also currently working with other upcoming bands and artists. Sam is also preparing Aks for release across the border, where the band has garnered some interest from young Indian fans.

Aks' CD cover has a dark theme reflecting the haunting, gothic sound of the album, not to be fooled though as there is plenty of variety here to keep listeners on their toes with a handful of slow ballads and some happier, upbeat numbers.

The album has a tres generous helping of 19 songs, (including an intro and two remixes) proving to be a real treat, not to mention value for money for Akash fans.

Aks starts with an intro, setting the scene for the songs to follow, a sentimental and dramatic ambience, with Sam's Urdu verses backed by the customary guitar strings and drum percussions.

The hit song 'Ji Liya' kicks off the album, A mega rock anthem, which brought Akash into their own, having them establish their own distinct sound with its gothic charm. It has been firmly slotted in the winning half of the local chart scene in recent weeks, definitely an exciting number with its full on 'head banger' chorus. If 'Ji Liya' is your cup of tea, you will also like 'Hum Azaad Hain', a patriotic tarana with a difference, again a 'haunting' rock number with a strong and captivating melody, although I felt it is let down by poor production which is quite noticeable in this song upon closer listening. Then there's 'Tum Kahan Ho', a reprise of 'Ji Liya', a melancholy, more acoustic 'Ji Liya' that is, which involves lots of raag's. Unfortunately these raags and the high-toned singing doesn't really harmonise well with the backing music, although die-hard 'Ji Liya' fans may beg to differ.

'Piya' is a stand alone song and has a sentimental and edgy rock sound, This song could be imagined as an old romantic ghazal from a 60's Pakistani's movie, sang from the heart by the great Mehdi Hasan, pictured on a hero like the late Muhammad Ali 'pining for his heroine' , but now imagine that fused with a heavy rock sound! We can be happy with the fact that this is Akash's own labour here and certainly not lifted from some old movie and Sam's vocals are really outstanding here.

'Kho Gaya Hoon', is an instant favourite for its infectious sound, seems Akash are paying homage to the classic 90's Paki-pop genre here, so one can say it has a huge dose of comforting familiarity.

Sam is experimenting with his vocals well in 'Kabhi' and 2005's big hit 'Aaj Phir', The latteris a soft and delightful ballad. This number reveals Sam's vocal miscellany, as he dabbles in eastern classical territory, for someone who isn't properly trained in classical music it's quite a pleasant surprise, particular those of us not accustomed to heavy rock sounds.

'Ajnabi', 'Kyun' and 'Na Mil Saka' are experimental fusion sounds. 'Ajnabi' starts with the blissful sound of violins, soon caught up with drum percussions and the chorus is quite catchy, these factors create a song worth appreciating; however one may find a slight inconsistency with Sam's vocals.

'Kyun' starts with a promising intro with the flute followed by heavy Akash signature drums and guitar notes, Sam's back on form with much gusto packed into his vocals.

After the flute and the violins, the Sitar's turn is up next in 'Na Mil Saka'. Fused with an acoustic guitar, makes a nice Eastern surprise in this heavily western influenced album, however it loses its charm gradually from around the first chorus. It has a nice 'show-off' guitar solo in there though to finish the song off, which is impressive enough to win its listeners back.

No modern album is complete without an instrumental thrown in; here we have 'My Last Breath', which can be described as intense with blazing guitar solos and heavy riffs and with a boldly emphasised melody.

'Zindagi' and 'Tanha' (alternative version of Ajnabi) are two unplugged numbers, soft acoustic and melancholic sounds depicting a lovers yearning. Listen out for the violins too!

The happier, upbeat numbers well suited for parties like 'Rock Funda'; a heavy and engaging 'fun' rock ditty complete with English rap, with an impressive composition and for those of you who have seen the lighthearted, funny video for 'Armaan', you will already be familiar with this entertaining, boogey-able number.

'Do Tin Chaar' also is a fun number, a medley which starts with a country and western sound and will have you swept up into a silly mood, complete with it's tongue in cheek lyrics.

Aks comes to a close with the remixes for 'Armaan' and 'Ji Liya', ending the album on an optimistic note, both remixes are loyal to the original songs, but with added thudding bass lines, definitely great for parties, maybe better suited for the young'uns.

I found this album more to be more of a thrilling ride for the younger listeners, or for the ''young at heart'' of course therefore it isn't really recommended for all, it certainly isn't 'easy listening', and at times I felt it lacked an altogether more wholesome sound with slightly less than adequate production quality, however these two factors can be overlooked in contrast to it's freshly baked, hummable melodies, quite distinct in their sound, these songs will play in your head long after you have stopped listening to them, and for the sheer quantity of the songs giving it an added bonus, also noting that the band haven't compromised on creativity, with its many experimental sounds making it an overall excellent effort from a new rock act.

Album Review: Strings - Koi Aanay Wala Hai

Album Review: Strings - Koi Aanay Wala Hai




The impeccable return of Strings

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

By Maheen Sabeeh



The fifth element

Koi Aanay Wala Hai is the most impeccable album in markets right now, the only one that is as brilliant in its sound, concept and creation as Rahat Fateh Ali Khan's Charkha.

A turn of the decade is what Koi Aanay Wala Hai is for Strings, the most consistent musical act of Faisal Kapadia and Bilal Maqsood, who have never failed to surprise us.

Their latest, the gorgeous and thoroughly conceived video of their comeback single, 'Koi Aanay Wala Hai' that features John Abraham, looking his best as an angel, was a sign of things to come.

Startling effects, cloudy skies, an innocent love and Strings looking suave, stylish and perfectly coordinated in black suits, singing and playing guitar in their element, and that too in the skyscraping surroundings of Kuala Lumpur, it was the perfect pitch to tell their fans that they were back, indeed.

The now-monster hit has Faisal trooping along with natural ease to Anwar Maqsood's words, "Dhadkan Keh Rahi Ha/Yaha Koi Aanay Wala Hai/Sawan Keh Raha Hai/Badal Koi Chaanay Wala Hai" while the song is one that grows on you, slowly and steadily.

A sing-along factor persists throughout, a riff-rock treatment, and the biggest asset of the band, Faisal's voice, that never lets you down with Bilal sings softly 'Koi Aanay Wala Hai' as chorus hits, its an impressive beginning.

Now together for 18 years, this is a band that has miraculously avoided repetition on their records. It is as if Strings pick up an idea and 50 seconds later steamroll it on their way to a new concept and that is what they have done with Koi Aanay Wala Hai.

The wall of sound

If one were to define this album in one word, it would be 'masterpiece'. And that is because this is an album where 12 songs are woven together so artfully that one can't help but just marvel at the Strings.

And here is why Koi Aanay Wala Hai is a milestone for Bilal Maqsood and Faisal Kapadia. The band has retained their signature but for the most part, the album is an out and out experiment, which is not easy. Because by the fifth album, listeners tend to expect a certain sound. To take a 360-degree turn at this stage of their careers, it shows courage. It is the kind of step that has reaffirmed faith in the band once again.

Koi Aanay Wala Hai can be divided into two parts.

One, edgy, abrasive over-the-top rock songs that can play lesson to other aspiring rock acts (and current existing ones) and two, beautiful, soulful poppy tunes that remains the forte of Strings.

From the infectious 'Koi Aanay Wala' to the celebratory air of 'Aik Do Teen', the soft gloom of 'Titliyan', the introspective 'Sonay Do' and the excellent wake-up call of 'Jago' there is not a single flaw on this album.

Anwar Maqsood deserves equal applause for improving to such a level from last time that he just stuns you. And yes, there are still phrases like 'Badal, Ghata' and some of the other usual suspects but they blend so well with Faisal's inimitable vocals that one can't complain.

For the most part, the album remains positive and that is delightful. Rock music tends to get morbid, which eventually makes it tedious and sometimes forgettable.

And yes, it is also a rock album, in most places. And not the kind of monotonous album that has a mind-numbing number of riffs placed at equal distance. But mature rock that will remain embedded in memories as a classic.

It is present on the bouncy 'Aik Do Teen' with its jubilance that hits you in the soul while the words tell you a magical story about a fairy with a wand. If granted a wish, what would it be? It starts off from materialism and eventually ends at a better world as the wordplay goes, "Aik Do Teen/Kaisa Badla Scene/Dunya Thee Haseen/Jo Maanga Sab Tha/Har Basti Mein Ujala Tha/Haaton Mein Niwala Tha".

Faisal sings with such enjoyment and precision that he takes you inside the world of this story because it is written with such depth that imagination can almost paint a picture inside your head.

Move on to 'Jago' and one finds scorching guitars, a glimpse of hope and Bilal's energetic call to wake-up and see the world.

'Jab Logon Mein Tera Dil Ghabraye/To Tum Khud He Se Poocho/Kyun Tarey Raistey Hain Uljhay/Tum Un Par Daikho Chal Kai/Jag Utho Dekho" – what a pleasant concoction of rock and pop seamlessly woven together.

The blistering rock continues with the re-worked versions of 'Jab Bhi Mein (Strings 2) and 'Jab Say Tumko' (Strings). And this is exactly how songs should be re-worked.

Both tunes get massive makeovers even as the melody remains the some. And usually that can kill the song. 'Qaraar' re-done on Ali Haider's last album Jaanay Do and 'Khwab' re-done by Salman Ahmed on Deewar are two prime examples about how re-worked versions can go wrong.

Thankfully no such problem comes here.

Jagged guitars, stimulating keyboards, and a lot more energy than the first time, 'Jab Bhi Mein' is in one word, rocking.

'Jab Say Tumko' is even funkier - the most out there, meatiest number Strings have done, ever. Assaulting riffs, Faisal Kapadia's vocals passionate and very different on most parts – slightly hypnotic and twisted around admirably – and drums sequenced to a perfect sound to match the loud guitars – what a reinvention it really is.

Now it can be understood where Strings have been for five years.

They were creating rock magic and making sure at the same time that old pop fans don't get disappointed.

Hence we find numbers like 'Sonay Do', Titliyan', 'Hum Safar' and 'Keh Dia' and they tell us why Strings are the kings of pop.

The magic of Bilal's light vocals on 'Sonay Do', the level of optimism is not lost. And it has to be said that 'Sonay Do' is to Koi Aanay Wala Hai what 'Khirki' was to Duur. The main difference remains the musical treatment and the tone, which remains positive. The subtle instrumentation that creates a mood of tranquility and simplicity is top-notch.

And the feeling of is surrealism comes with Bilal calmly singing, "Neeli dhoop ki kirnay/Haathon mein rakhta hoon/mujhay urtay hee janay hai/Yeh manzar kya suhana hai/Aankh lagi to dunya badli ho/Sonay Do".

'Sonay Do' is a song is one that almost anyone can relate to. The catchphrase, "Aankh lagi to dunya badli ho/Sonay Do" is so true to these rapidly changing times.

'Hum Safar' which is next in line for a video, at the able hands of Jami (shot in Moscow) is the gentle ballad of this ambitious record with a wailing guitar, engaging ambience, and fierce emotions with an emotive Faisal Kapadia singing as stunning studio wizardry makes its mark. It's a beautiful tune. And equally beautiful is 'Keh Dia' that celebrates falling in love, joyful moments that come through from "Haee Ya", a subtle guitar playing in the background, while 'Titliyan' with its sonorous flute, bluesy tortuous guitar and lush instrumentation and two voices that compliment each other flawlessly is incredible.

'Hum Hee Hum' is not as excellent as the rest of the 11 tracks. It is, however, a cut above average. Confident, self-assuring tune that falls in the traditional category of straight-up pop rock. A video is already out vis-a-via Mobilink tie-up. And while it is a corporate video, it does match to the mood of the song, which is reflective of hopeful, happy youngsters.

The last two songs on the album, 'Zinda' – that was created for Sanjay Dutt-John Abraham starrer Zinda - and 'Aakhri Alvida' – that was made for Sanjay Dutt-produced Shootout at Lokhandwala featuring the mighty Dutt himself alongside Vivek Oberoi – bring the album to a fitting end.

It was a smart call to put these two tunes on this album because they gel well with the rest of the songs like two pieces that complete a puzzle.

Whether it is 'Aakhri Alvida' with its haunting undertones, mournful guitars weaving a gloomy world of uncertainty and goodbye or the lingering effect of 'Zinda', both songs belong to the album.

Simon Cowell admits mistakes made in handling Susan Boyle

Simon Cowell admits mistakes made in handling Susan Boyle

Even the acerbic judge of American Idol and Britain's Got Talent can admit he has made mistakes. The music producer recently wrote in the Daily Mail that he felt mistakes were made in handling the YouTube sensation Susan Boyle, who suffered a breakdown after she lost the show's final.

"Looking back on it all, it has become clear to me that we didn't handle the situation with Susan as well as we could have," Cowell wrote.

Cowell recalled thinking that Boyle didn't instantly jump out at him. "I certainly didn't think: 'Here comes a phenomenon who is going to become the most famous woman in the world, I wonder if she can mentally cope with it?'" Cowell wrote.

A few weeks later when the two appeared on Oprah via satellite, Cowell said Boyle was handling her newfound fame well. It wasn't until the finale neared that Cowell started to see the cracks.

Cowell became the most concerned when Boyle lost the competition. "During the final show, when the dance group Diversity won, I looked over at her face and thought: 'Christ, she doesn't know how to deal with not winning.'"

Cowell vowed his continued support of the singer, but he also questioned if - "mistakes" or not - this could have been handled differently. He said Boyle's family believes the show did the right thing.

"They said that Susan has always wanted to sing and had sat at home for years, wishing that she had a chance. We had given her that opportunity.... Yes, there have been problems, but overall I think it is a positive experience for her. I'm glad we gave her this opportunity and - more importantly - I think Susan is as well."

Angelina to enter politics

Angelina to enter politics

This may just be a wild rumour, but what a delicious one nonetheless! Angelina Jolie is known for her work in Hollywood - and already has one Oscar win on her resume - but she may now be getting fed up of the glitz and glamour of being a Hollywood powerhouse. The actress is rumoured to be looking at entering the political arena.

The Daily Express quoted a friend of hers, "Ange has admitted she's getting bored with Hollywood. She said she's now got her sights set on Washington. She is passionate about people's rights, war and justice and thinks she can get more hands-on and make even more of a difference by getting into politics. She admires Obama and thinks she could make a big difference too if she were in his position."

While that doesn't mean that Angelina Jolie will be running for President of the United States anytime soon, it could mean that she may start looking at politics as her next career step. The actress has been a UN Goodwill Ambassador for eight years now, working specifically on causes related to refugees, and she and partner Brad Pitt recently donated a million dollars to IDPs in Pakistan. If Angelina were to join politics, it wouldn't be the first time someone has abandoned the paparazzi in favour of politics.

Former US president Ronald Reagan also worked in films and current Los Angeles governor Arnold Schwarzenegger remains to be one of Hollywood's most famous crossovers into politics. Actor Kal Penn recently left medical drama House to take up a job with the Obama administration as well. Given Hollywood's fascination with politics - a huge slew of celebrities endorsed and campaigned for President Barack Obama - Angelina's move could just be very welcome!

Hrithik steps out of Agneepath remake…and is replaced by Abhishek

Hrithik steps out of Agneepath remake…and is replaced by Abhishek

We bet Karan Johar is now wishing he'd just asked Abhishek Bachchan to star in the Agneepath remake first. It was announced recently that the filmmaker was planning to remake the 1990 hit Agneepath, which starred Amitabh Bachchan and Mithun Chakraborty. The film, which was originally produced by Karan's late father Yash Johar, was one of Amitabh's most iconic. And Karan wanted Hrithik Roshan - who he has earlier worked with in Kabhi Khushi Kabhie Ghum - to play Amitabh's role. However, the actor has said no to Karan.

According to a source quoted by the Times of India, "Hrithik was a tad apprehensive about stepping into Big B's shoes. Moreover, Karan too had second thoughts after he had approached Hrithik for the role. Besides, Hrithik had date problems. He will soon be busy with Sanjay Leela Bhansali's Guzaarish (with Aishwarya Rai Bachchan) and since Karan plans to start shooting the film in early 2010, Hrithik suggested that it would be wise for Karan to go ahead with another actor."

And that other actor is none other than Amitabh's son Abhishek Bachchan. Abhishek, who has often said that Agneepath is one of his favourite films, was reported to be "overjoyed when Karan asked him to play the role that his father has originally played. It has always been Abhishek's dream to do once what his father has done in his career, and he sees Agneepath as the perfect opportunity."

Amitabh and Mithun both won National Awards for their work in Agneepath, and while the headache of who will play Amitabh's role of Vijay Dinanath Chauhan may be resolved, Karan is now on the lookout for an upcoming actor to step into Mithun's shoes.

This definitely looks set to be one interesting film, and after Abhishek's commendable performances in Sarkar and Sarkar Raj, it will be great to see him in an intense film after the light hearted Dostana.

House is world's most popular TV show

House is world's most popular TV show

US drama House, starring Britain's Hugh Laurie as unconventional medical genius Doctor Gregory House, outgunned rivals in 2008 to become the world's most watched fiction show on television.

According to ratings agency Eurodata TV Worldwide, House and his team of canny diagnosticians last year gathered more than 81.8 million viewers.

That was far more than the 2007 and 2006 winners in the same TV drama category, CSI: Las Vegas, about a team of forensic experts, and its spin-off CSI: Miami.

The agency bases its figures on data collected in 66 countries from Austria to Georgia to Norway to the United States that represent a potential audience of 1.6 billion couch potatoes.

In the TV comedy category, the US female-star cast of Desperate Housewives for the second year running beat Monk (US) and Ugly Betty (US), attracting 65.3 million viewers worldwide in 2008.

The Bold and the Beautiful, also a US show, with 24.5 million viewers was the most popular soap for the second consecutive year, thrashing Mexican telenovela Marina and US competitor The Young and the Restless.

– Courtesy: AFP


Kabul Express director Kabir Khan talks about his latest production, New York

Lata Khubchandani

Outlook India

Outlook India: Isn't 9/11 the peg for too many films?

Kabir Khan: The film deals more with the aftermath of 9/11. Bollywood has made only one mainstream film with 9/11 as a peg. That's too few considering the event has changed the world.

Outlook India: You portray post-9/11 prejudices. Will that make the film controversial?

KK: The script is very balanced and does not in any way try to provoke a controversy.

Outlook India: What triggers off enough interest in an idea for you to want to make a film?

KK: It could be a headline, a story on TV, a person... anything. Once you develop the idea, you realise whether it can hold a screenplay.

Outlook India: Kabul Express had autobiographical strains. What about New York?

KK: There are some experiences that find their way into the script but nothing as direct as those that went into Kabul Express.

Outlook India: How did 9/11 affect you considering you were there at the time?

KK: I witnessed the shift in people's perceptions. There was a sense of paranoia on security issues. This forms the backdrop of New York.

Outlook India: You seem to have found a working relationship with Yash Raj Films?

KK: Yash Raj allows me to make my kind of films....I can't get a better producer than Aditya Chopra in this industry.

Outlook India: Why this cast?

KK: The audience is going to see career-defining performances....That I can promise!

Outlook India: Neil Nitin Mukesh claimed it was one of his toughest films.

KK: Not just for Neil, but also for John and Katrina, the film was a huge challenge because of the difficult characters they had to portray.

Outlook India: Can one class you as a serious filmmaker?

KK: I'm very uncomfortable with the tag. I set my stories in the real world and that need not always be serious.

Outlook India: What next?

KK: I've started work on my next script but it's too raw and unresolved to articulate it.



Bollywood gets on the 'lets make a film about 9/11' bandwagon

Instep Desk

Bollywood's fascination with 9/11 seems to have come several years too late. Releasing in the near future are two Indian films that are set against the backdrop of the tragedy that took place in New York in 2001. While Hollywood has already made 9/11 the subject of several films, and has been done and over with that years ago, Bollywood has only just latched onto the bandwagon. And by the look of it, they don't seem to be letting go anytime soon. These two films come after Bollywood has produced several films about terrorism including Mission Istaanbul, Kabul Express, A Wednesday, Shoot on Sight, Mumbai Meri Jaan et al.

Also releasing is Total 10, a film about the 26/11 attacks in Mumbai, which gives a cinematic verdict to the accused in the case, Ajmal Kasab. According to British newspaper The Times, at least 18 film titles were registered - some even while the operation against the Mumbai attacks was ongoing - with the authorities in India, and so one should expect several more films about 26/11 soon.

But while terrorism and the Mumbai attacks are still relevant given the number of countries that have been direct targets of it, including our own, one doesn't understand why 9 years later Bollywood has suddenly awoken to making films about 9/11. The angle that Bollywood seems to be capitalizing on is that of Indian Muslims living in New York at the time of the attack and how the stereotypes and racial profiling of Muslims in the US affected them. From the storylines one has read of the two films in question, they seem to be in the same vein. The films in question are Kabir Khan's New York, which stars John Abraham (who plays a Muslim character), Katrina Kaif and Neil Nitin Mukesh, and Karan Johar's My Name is Khan, which stars Shah Rukh Khan, Kajol and Jimmy Shergill, who portray a Muslim family as well.

While My Name is Khan has no set release date as yet, New York hits Indian cinemas on June 26, and according to the film's cast and crew, it is more a story of the relationship between three friends as opposed to dealing with 9/11 directly. One will have to wait and see what New York holds and whether it attempts to challenge stereotypes or perpetuate them. But in any case, Bollywood should rethink the 9/11 angle: it just seems too recycled.

Album Review: Atif Aslam - Meri Kahani

Album Review: Atif Aslam - Meri Kahani




Changing lanes: Atif Aslam

Atif Aslam is back in the spotlight with Meri Kahani - the album in which he not only sings but also dons the role of songwriter and lyricist. Instep takes a look

By Maheen Sabeeh


Artist:Atif Aslam

Album:Meri Kahani**1/2

The upside and downside

A lot can be said about a musician who has managed to bowl out everyone and is still standing strong at the crease. The magician bowler in this case is Atif Aslam, who has managed to make himself the biggest artist of our times. And now he's back, with a new album, Meri Kahani, that he himself has claimed, is the real deal.

This album has come after Atif has made it in India, sung for Bollywood which led him to pick up his first-ever Filmfare nomination. In the last three years, Atif managed to team up with Indian composers and released Doorie, which made him an even bigger icon and made his mark in and across the border, which is as successful as it gets.

One example is the fact that he has sung on the upcoming Bollywood film Race, which features some of Indian cinema's biggest actors such as Anil Kapoor, Saif Ali Khan, Akshaye Khanna as well as babes Katrina Kaif, Bipasha Basu and Sameera Reddy.

Amidst all this success there has also been criticism, for selling himself short to Bollywood, going totally over-the-top filmi with Doorie and not making an effort with his image as far as videos go.

But all that is perhaps in the past. To his word, Atif has indeed changed gears and has made a visible effort in surprising listeners, vis-à-vis the music, lyrics and vocals.

In Meri Kahani he has teamed up with some of most exciting musicians of our times such as Farhad Humayoun, Sheraz Siddiqui, Mahmood Rehman of Overload as well as guitarist and producer Sarmad Ghafoor and has attempted an album that is definitely different than his previous works. It is a milestone compared to Doorie.

But does it surpass the magic of Jalpari is the big question...

Inside the story

Meri Kahani is an album that sees Atif Aslam in a composition mode. He has composed most of the songs himself while some he has co-written with his brother and manager Shahbaz Aslam. The bulk of lyrics have also been penned by Atif along with Shahbaz, Faiz Ahmed Faiz, Sarmad Ghafoor and Shah Hussain.

The debut single off the album, 'Meri Kahani' may not be the album's shining moment but it is a start as one unravels the sound behind the album. That said, this particular tune and its video is not too impressive. Even though it is sharp in terms of sound, it sees Atif downplay his vocals. Atif has vocals that shine out. One could identify that voice anywhere. But not on the tune that is 'Meri Kahani'. The full throttle of Atif Aslam's voice does not ever come through on this tune. And that remains the biggest disappointment. You have to listen very hard to decipher the words and while that mystery element is fun in some musical cases, here it isn't. Plus the video is also another dud that is a cut between 'Ehsaas' and 'Hum Kis Galli Ja Rahein Hai'.

But the single is just a teaser. The real distinct ditties are really inside. And this is an album split between hard rocking numbers, soft pop ditties with ballads here and there.

The mood, like the music varies. It is fiery and optimistic at times, introspective and heartbreaking at others, showcasing the varying emotions of the icon himself. And that really is one reason why it is a commendable effort. Meri Kahani is personal reflection and that is the exciting bit.

From the blistering and meaty, 'Yaaro' which is a confident nod to friendship as Atif sings, "Kitni hai khusiyaan/Kitney gham/Milkey raheingay sada/Hongay na yaaro kabi juday" to the aggressive and socially-conscious, 'Hungami Halaat' where the music like a riding rollercoaster and full credit to Mahmood Rehman for some solid guitaring. Lyrically, this is a well-thought out song. As Atif sings, "Kab tak samaiton ga/Kab talak behlaon ga/ Dil ki mein jout ko/Kaisay Jalaon ga/Kis ka hai saath yahan/kaun zakham bharey/Yeh josh hai rawan/Tum jo ger sung/Chaley hangami halaat" - it is a fine angst-ridden number. Of course had Atif been aiming for a higher pitch, the impact of the tune would've been double.

Then there is the relatively softer and sober, 'Chor Gayai' which leaked on the internet as a rough cut with the title, 'Chupke Se Aaye' and is simply superb. In some ways it is reminiscent of the softness of 'Kuch Iss Tarah' but a lot more mature. As Atif sings, "Kyun chor gayai woh rassetin/Kabhi saath chaley thay jin pey" - it remains the most melodic song on the album without a doubt and in many ways, is a signature Atif Aslam tune. Brilliant.

'Joug' with its tipsy mood and mysterious air where deciphering words is a task but its softness, qualifies as a worthy listen. As Atif croons, "Hum sab jhoom lay" - you end up intrigued wondering where the song goes next. And that is a really beauty, the unpredictable nature of the song.

A duet comes through with 'Kaun Tha (Kapkapi)' and this is perhaps the slowest song on the album and has a really morbid feel to it even though the melody is a tad weak. The female vocalist whose name is given as S.K.J has a honey sweet voice and Atif has downplayed his own vocals but that factor is one that I am not fond of at all.

Another ballad-like number is 'Mann Hota Hai' where the beginning of the lone piano teamed up with Atif Aslam stuns with its morbid character as Atif croons, "Khabon sey khilanay ko mann hota hai/Kisi ki na pey ro du tau/Khiloney tuut jayein/Koi mujhe sey poochey/Khun rota hai/Mann Hota hai", it works as a moody song.

Introspection gives way to 'Kinara' where Atif has gone demure in his singing as he says, "Pal ka yeh jeevan hai/Kaisey yahan jeena sikhon/Dhundla say eh manzar hai/Sehmi si khamoshi hai/Yeh meri zindagi bus ek khwab hai" - it is a lyrical gem.

Continuing the soft trend is 'Humrahi' but it neither shows off Atif's vocals too well and neither does this have a melody that sticks to you. On the other hand, while 'Mai Nee' is musically an interesting number even as it struggles with the melody and consequently struggles in grabbing one.

The big verdict

Compared to Doorie, Meri Kahani is a mature step up. It is sharp in sound, guitaring by Mahmood Rehman and Sarmad Ghafoor in most places is excellent. And as far as sound goes, this is an album filled with rock ditties and spread well throughout. Even the soft songs are musically interesting as well as distinct. As a songwriter Atif has grown up and that reflects throughout.

The one and the only problem is the vocals. It is as if is deliberately trying to downplay his voice, which is a factor that plagues this album throughout and doesn't work. In other words, he sounds suppressed. Atif has been criticized for being off-key in the past and perhaps that has led to this strange fact. But even so, one ends up missing the voice that was present on the average Doorie and the fun-loving debut Jalpari and the sheer power and impact that came through.

Atif's voice is his biggest asset and one doesn't feel the full-throttle, which is a huge disappointment. The impact of even good songs like 'Hangami Halaat', 'Yaaro', 'Chor Gayai' among others, hence is diminished tremendously and that just shouldn't happen.

And ironically enough, the man who replaced Atif in Jal and since then has struggled, namely Farhan Butt, has done the exact opposite in Jal's new record, Boondh. Where Atif sounds restrained, Farhan has never been more exciting, loud and clear.

Meri Kahani is patchy in places, partially because melodies are weak in some places and the voice at others. However, Atif has taken a crack in trying out a different, somewhat beefier sound. And as a result, Meri Kahani has some solid rock elements in it. Meri Kahani is proof that Atif is a talented artist. And just for making a conscious effort, this album should be heard.