Album Reviews: Ali Azmat - Klashinfolk

Album Reviews: Ali Azmat - Klashinfolk

---

The second coming of Ali Azmat

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

By Maheen Sabeeh

Artist: Ali Azmat
Album: Klashinfolk****1/2
The icon returns

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

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

(Behold the scattered view and it seems it will stay this way
Eyes will keep on watching
When the journey is a moment what is the view of a treveller
What will rise, what will fall, what is happiness)

Given that Ali Azmat's songs have always provided such a transparent commentary on various stages of his life, Klashinfolk, tell us best what Ali was feeling throughout 2007 when he was working on this album till this year when it was finally released.

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

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

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

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

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

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

Push the tempo

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

The emotions bare all, loneliness, hope, love, loss, frustration all tied together in a nifty package.

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

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

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

Take 'Mera Khuda' which is open to so many interpretations but I wouldn't stretch to the love theme.

"Tu Woh Azal Hai/Jo Muhabbat Hai/Yakeen Hai/To Bharosa Hai/Charcha Tera Hai/Jo Numaya Hai/Bayaan Hai/Dekho Tujhe/Har Aas Mein/Chaho Tujhe Har Sans Mein/Tu Ibtida Hai/Tu Inteha Hai/Mera Khuda Hai" (You are the beginning of love, of belief, of trust. You are the topic of conversation that is visible everywhere. I see you in every longing. I long for you with every breath. You are the beginning, you are the end, you are my God). Ali sings while Omran creates a gorgeous whirlwind of music with his power instrument - the guitar. It's the sing-along factor that makes it all the more appealing.

But love does find its way, dominantly on the flirtatious and tipsy 'Yeh Kya Huwa' as the lover asks, intoxicated with the beloved, to never leave. It's a powerful tune, with an air of celebration that just strikes one hard.

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

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

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

And then there are the ultimate tunes, 'Shukria', 'Sawal' and 'Naina' that take this album in a darker direction, and it is here that one finds shades of our surroundings rather magnificently.

Be it 'Sawal' on which the questions remains unanswered and despair finds its way in all honesty or 'Shukriya' that is drenched in morbidity of losing someone and tackles the emotions of loss.

Then there is 'Balaman' that is to Klashinfolk what 'Teri Parchaiyaan' was to Social Circus. A ballad with a punch, a musical character that is soft in approach with the music never overpowering its flavour. Ali sings with conviction that is reminiscent of him on earlier hits like 'Mungagan' and 'Teri Parchaiyaan'.
The only thorny tune is 'You Are'. While musically the bass shines here and the dark haunted undertones make it interesting, it loses points because the song is in English. Had it been in Urdu it would've been far more interesting.

Album Review: VJ Dino - Sun Zara

The fallible debut

VJ Dino has finally launched his debut album, Suno Zara. The ten-track record is, in a word, forgettable. And here's why…

By Maheen Sabeeh


Artist: Dino
Album: Suno Zara

Dino has an unusual voice. It's neither as deep nor untainted like Shafqat Amanat Ali Khan nor does it possess that striking quality that is synonymous with Atif Aslam.

To be blunt, it is a forgettable voice. And that is never, ever a good thing.

Mix an unmemorable voice with an album that has its foot in everything from soft pop to hip-hop, dance, R'n'B, with a pinch of electronica and indie rock and it is everything an album shouldn't be: an incoherent and confusing record with weak lyrics and a singer who needs to assess his strengths before taking on the mike.

It's the same problem that hit Salman Ahmed in 2006 with his solo album Infinity where he attempted singing. But where Salman Ahmed had some interesting riffs to offer (if nothing else), Dino can't even offer these because he is not as accomplished a musician as Salman.


It was in 2004 when Dino sprouted on the scene with his debut single, 'Pari' - a song that dabbles in pop/rock genre with the traditional mix of guitars, drums (or maybe drum machines?) and lyrics about love that is magical and how it completes the protagonist - and it was not a good beginning.


There was nothing wrong with 'Pari' except it didn't possess that unique twist that makes a song memorable. Debut singles are hugely crucial for an artist because it is their first initiation to music fans.
Mauj understood this when they released the strangely worded, funk-laced 'Khushfehmi' as their first single. Another example is Kaavish's bluesy 'Bachpan'.

But of course being one of Pakistan's first VJs since media boom, Dino has plenty of fans who adore him and in all probability loved the song.

A little while later one heard Dino again on the re-done version of Najam Sheraz's 'In Say Nain' but in that particular song Dino's voice wasn't the only flaw. The entire version didn't do justice to Najam's fabulous original. If half the music industry couldn't deliver, what are the chances that Dino could've?

Dino sang jingles time and again but it is now that he has come out with a full-fledged album. And it is safe to say that Dino should stick to being a VJ.
What is the punch line?

On hearing Suno Zara, one is stumped. It is hard to decipher what the album is trying to achieve. Perhaps the biggest flaw is the absence of memorable melodies.

The melody is the driving force behind every song and on this album, they're just weak.

The title track is ample proof.

'Suno Zara' is one of the most minimalistic songs on this record. With subtle acoustic guitars forming the background, its treatment reminds one of Snow Patrol's 'Chasing Cars' where the tune goes completely crazy at the very end with heavy riffs and sensational drums. And that is what is happening here. But where 'Chasing Cars' had the incredible voice of Gary Lightbody and inspired lyrics, here one has Dino hitting notes he shouldn't be attempting. An odd accent creeps in when Dino sings this number. It just doesn't work.

The wordplay is equally boring.

"Faisalay Darmiyan/Khogaye Hum Kahan/Kya Huwa/Kya Khabar/Kyun Huin Dooriyan" (Distance between/We're lost/What happened/Who knows/Why the distance) - this is ordinary stuff.

Noori did a song on their 2005 album Peeli Patti Aur Raja Jaani Ki Gol Dunya, 'Aarzoo' and that tune spoke of distance, miscommunication and a sense of hopelessness. Brothers Ali Noor and Ali Hamza never made a video of this song but it remains one of their finest.

One can't help but be reminded of it because of the weak lyrics on 'Suno Zara' and how the very same theme came to life in Noori's 'Aarzoo'.

And this is another problem with this album. Every song reminds one of a better song done by another artist. And it isn't because Dino has plagiarized. Nope. The real reason is that there is nothing on this album that hasn't been attempted before.

This brings one to the remix of 'Suno Zara'. With its stomping beat, this tune is dull. A beat alone with some sonic trickery will not make up for the lack of originality. Locally speaking, the mix of Strings' 'Duur' at Coke Studio by Zeeshan Parwez and Abdul Lateef's lewa men was far more enticing and musically challenging.

The same can be said for the futuristic 'Bahon Mein Aja'. While the tune is definitely catchy, it is plagued by Dino stretching notes which is disastrous. And the sound isn't as funky as Timbaland's Shock Value which was extraordinary.

And then there are the English lyrics that remind one of a bad version of American rap sensation Usher mixed with British-Indian Bombay Rockers.

"In the day time, I wanna dance with you/In the night time, I wanna dance with you/Baby girl I wanna dance with you cause you're my lady" - have we not heard such lyrics before?

Speaking of Usher and the genre of R'n'B music, there are songs like 'Dekha Tujhko', 'Aja Tu' and 'I need to love ya' - all heavily influenced by the genre but none doing justice to it.

It seems that everything is thrown on the sound wall together through keyboards, clanging beats, sonic effects, guitars, rap (which is neither as hard-hitting as Eminem nor as fun as Snoop Dogg or Usher) and it just doesn't click.

Then there is 'Tere Naal Naal' where Dino samples Modjo's 'Lady' and puts words to that music right up till the end where Modjo and Dino sing together.

Sampling tunes is attempted worldwide, especially by DJs who will mix U2 and Sarah Mclachlan. But Modjo's 'Lady' is a fabulous number. And hearing Dino singing "Tere Naal Naal Mainay Raina" - is another disaster. He can't carry the notes.

The only two songs on this album that are remotely listenable are 'Armaan' with its soft and melancholic guitars and the ominous tone which Dino takes while singing. The other being 'Raat Bahar' with subtle orchestration, its air of gloom and missing one's beloved.

The verdict

Debuts are tricky business. It is the introduction to the world of music and to possible fans. Often debuts can't be daring. Not everyone will pull out a Social Circus like Ali Azmat or a Huqa Pani like Ali Zafar. But a debut record will only last if it is inspired enough to entice a listener from its first single.

In Dino's case, things are different. He is a known veejay who has been around for years and he has a following. That ensures Suno Zara's future with fans, at least the ones who enjoy watching Dino on the small screen and hearing him on his radio show.

Beyond that, Suno Zara has nothing going for it. The album cover, which is the first look at the album, is off-putting. Three different poses of Dino on the cover - that seems too narcissistic.

The press release that accompanied the album stated: "Suno Zara is a fusion of funk, soul, rock and pop all rolled into one sound." And that is exactly why this debut album from Dino is flawed. There is everything from morbid ballads to electronica-inspired tunes, hip-hop laced sonic tricks, tunes drenched in R'n'B influences but it doesn't work.

Why is Timbaland hailed by everyone from critics to fans worldwide? It isn't because he throws everything at the sound wall and sticks it together. It's because he has entered musical dimensions with such a glimmering style that he has made his own unique signature. This is why he has us hooked.

Coming back to Suno Zara, it is clear that it is a love album. But sadly, even with the powerful emotion of love, there is nothing emotionally raw about this album, which makes it hard to connect with the man singing.

Fuzon's 'Khamaj' was beautiful yet fragile, Ali Azmat's 'Teri Parchaiyaan' gave a feeling of vulnerability which is interesting because it is not easy imagining a vulnerable Ali Azmat. Most recently Zeb and Haniya's playful yet melancholic 'Aitebaar' is a great example. It's exceptional not just because of the music but the kind of desperation and desire that Zeb and Haniya fused in the vocals.

Add all this to the fact that the lyrics are don't experiment or offer anything new and one is disappointed even more. There is no harm in attempting love lyrics but it has to be done with some style.

Zeb and Haniya's Chup, Atif's Jalpari and Fuzon's Saagar all used love as a pretext to the songs and it worked. It was simple yet effective but ordinary they were not.

All said and done, this debut from Dino is disappointing. He neither delivers as a composer nor as a songwriter. In all probability, this album might work. It is VJ Dino after all. But for those who have heard music from around the world and are familiar with artists like Usher, Kanye West, Raghav, Jay Sean and Timbaland, this is not the album to grab.

Album Reviews: Zeb and Haniya - Chup

Passion Play

Zeb & Haniya's 'Chup' breaks new ground for Pakistani music

Zeb and Haniya have said "chup" (quiet) to all those who thought contemporary Pakistani music has become a men's domain. Their debut album 'Chup' is breaking new ground for Pakistani music as the first album by a female duo to be released in recent history.

By Saba Imtiaz

Zeb and Haniya have officially arrived, and that alone is a landmark event. Pakistan has not seen the launch of two young talented women in the music industry in a very, very long time - and these two have made 2008 a year to remember for Pakistani music.

Zeb and Haniya (or as their full names go, Zebunissa Bangash and Haniya Aslam) appeared on the Pakistani music scene a few years ago, when a song called 'Chup' by the duo started spreading like wildfire on the Internet. The song was then picked up by radio stations that began playing it. The girls of the 'Chup' fame have just launched their debut album, also titled Chup, which has been flying off the shelves at Karachi's popular music stores. Zeb and Haniya have a cult following and their fans have been waiting for their album ever since they downloaded the song 'Chup'.

Produced by Mekaal Hasan, Chup also features some of the best talent we have in Pakistan today: Gumby, Shallum, Kamran Zafar, Mohammad Ahsan Papu, Omran Shafique, Hamza Jafri, Sameer Ahmed and Sikandar Mufti; as well as Norwegian musician Hildegunn Oiseth.

The album opens with the song 'Chup' and the vocals on this are a treat to listen to. 'Chup' is this sweet, folksy song that packs a jazzy punch because of the use of the trumpet, played by Hildegunn. It has very simple lyrics yet the song is very endearing.

'Chup' is followed by 'Rona Chor Diya' which packs a far stronger punch - the girls sound infinitely more passionate, the music is fiery as is the chorus 'maine rona chor diya' (I've stopped crying). Take a note of the lyrics 'paani barsa / yeh dil tarsa / par jab beeta thoda arsa / maine rona chorr diya' (it rained / my heart pined / but after a while / I stopped crying) and 'ab to bas mai hi khabar hoon / gardish main hoon / rahguzar hoon / toofaan hoon main / tera darr hoon' (Now, I'm the news / I'm revolving / I walk the path / I'm a force of nature / I am your fear) - 'Rona Chor Diya' could very well become the darker, twisted Pakistani version of post-breakup anthems Gloria Gaynor's 'I will survive' and Meredith Brooks' 'B**ch' . The next track 'Kabhi Na Kabhi' has darker undertones - it evokes images of old black and white films and would be perfect for an indie film soundtrack.

Paimana Bitte' is by far one of the best songs on the album. This traditional folk song is sung in Pashto and Dari and it brings home the charm of great world music: that it strikes a chord to someone who can't understand the language. Zeb and Haniya outdo themselves on this track, and Hildegunn's use of the horn is fantastic. It draws to a whispery close all too soon! With this song, Zeb and Haniya have proved that Pakistani music can be produced in an avant-garde manner using regional languages, and one hopes more musicians follow their example instead of constantly warbling badly accented English songs.

The next track 'Kahaan' is fairly forgettable and it highlights the only issue I have with the album; that listening to it from start to finish makes it feel slightly monotonous. Whereas, if you listen to the songs individually they're all great listening. Perhaps the CD would make for a better hear if the track listing was done in a better way.

Chal Diye' has an absolutely beautiful guitar arrangement - kudos to Shallum, Kamran, Haniya and Mekaal, and the song's vocals have more of a classical flavor as opposed to the earlier tracks. 'Ahaan' is another track to keep an ear out for - this alternative pop song will be a big hit if Zeb and Haniya opt to make a video for it.

The ironic thing about the album is that while the lyrics are incredibly simple and on paper would look like love songs, the way this album has been pronounced doesn't make it feel like an album that is only talking about love - Zeb and Haniya's vocals and the music arrangement put an odd twist on the words.

'Seh Na Sakay' is another song with an old-world feel to it, like 'Kabhi Na Kabhi' which features early on in the album. The last two songs on the album are 'Aitebar' and 'Ban Kay Touri Jogan'. 'Aitebar' is an instant classic and here the vocals suddenly sound so much more grown up - even seductive. The song's been complemented by a fantastic video directed by Saqib Malik, who has showcased the concept fantastically through dance. The video, shot in a gorgeous haveli, shows a couple dancing to symbolize their relationship, until the girl closes the door (literally!) on it. Zeb and Haniya look gorgeous as they stand

on the sidelines and sing the song in the video. The line 'raat thee teri to ab din hai mera' (if the night was yours, the day is mine) jumps out - and the song finishes off with mélange of guitar and drums, proving how much better live drums sound on an album.

'Ban Kay Touri Jogan' features Zeb on vocals and is probably the most fast paced song on the album. Zeb holds her own in the face of lyrics that one would usually hear from classical music singers, and it is perhaps the most befitting end to this album.

After listening to the album multiple times, I'm left reaffirmed with the fact that Zeb and Haniya can hold their own in the Pakistani music industry. Chup showcases their talent at singing, guitar and songwriting but more importantly, how to translate that talent into great music.