Golmaal 3 (2010)

Golmaal, Golmaal Returns and now Golmaal 3 – I wonder what is up with Bollywood’s obsession with sequels? But I am not complaining as long as it’s something worth watching and listening to. And considering how Shree Ashtavinayak Cinevision has a repute of bringing out movies to remember, one can keep high hopes from Golmaal 3.

Bollywood’s first trilogy Golmaal 3 stars Ajay Devgan, Tusshaar Kapoor, Arshad Warsi and Kareena Kapoor. Its plot revolves around the lives of two bunches of siblings within a family and their hatred towards each other. The surprising thing is that even though this family lives together, eats together and prays together, they still can’t stand each other.  All we have been told yet is that this quirky family promises to deliver us some hilarious moments, ageless romance and a few heartwarming scenes. They say it is going to be a journey of excitement, madness and love. Oh and since it is Golmaal 3 they claim to have thrice the fun, thrice the magic, and thrice the laughter. Whether their claims turn out true or not, only time will tell but for now we have the music of Golmaal 3, which released recently.

K.K, Anouska Manchanda and Monali Thakur come together to do the music of Golmaal 3. The album opens with (as expected) ‘Golmaal’ and you get to hear ‘Golmaal Golmaal’ all over again. The feeling of déjà vu persists throughout the song and if you don’t really concentrate you might not feel you are listening to something new. The song sure is easy on the lips but what’s the point of making another version of the same Golmaal which has been heard way too many times already when you don’t add freshness to it?

The next track in the album, ‘Apna Har Din’ talks about how you should live each day like it’s your last and enjoy to the max. This track basically sums up the entire story of Anjaana Anjaani in five minutes. It also talks about how the world is selfish and you shouldn’t care about it and only live for your loved ones. Though the concept is nice, Pritam’s music is a major disappointment in this song and even Shaan and Anushka couldn’t save the song.

‘Ale’ sounds better than the earlier tracks in the album but still isn’t what you would call fantastic. Sung by Neeraj and Antara, ‘Ale’ seems like an attempt at a club song but it fails to give off that foot tapping, clubby vibe. It might still appeal to younger people since it’s made for them and highlights how a bunch of friends and have made their own path and live life according to their own terms but I doubt it will find a place in anyone’s favourite playlist this season.

Pritam has added two remakes in this album – ‘Yaad Aa Raha Hain’ and ‘Disco Dancer’. The lyrics of these are exactly the same as the original numbers except the beats have been experimented with to give that Pritam touch to them. While Bappi Lahiri sings ‘Disco Dancer’, it is Sudesh Bhosle who comes behind the mic for ‘Yaad Aa Raha Hain’. ‘Yaad Aa Raha Hain’ might not amuse you but Bappi Lahiri has proved that even at this age, he sure can sing!

The last track in the album, ‘Desi Kali’ is a (much needed) dance track and a pleasant or the only surprise in the Golmaal 3 album. It is high on rhythm, full of beats and easy on the lips, which is why this is one of those songs that you just ‘get’ upon hearing it once. Neeraj and Sunidhi Chauhan have done a great job with the vocals. Sunidhi’s vocals stand out as soon as the song starts and help make it more listenable.  This song has the potential to become popular among the masses and you might see some creative people dancing to the tunes of ‘Desi Kali’ in the upcoming shaadi season. It wouldn’t be wrong to say that ‘Desi Kali’ saves Golmaal 3′s album from being a complete failure.

The album also includes a remix version of ‘Desi Kali’, ‘Apna Har Din’ and ‘Golmaal’ but there’s nothing special about the remixes. The only difference is the increase in the tempos of the songs. The originals are better (if they could be called that) than the remixes any day.

To be honest, the music of Golmaal had a lot of promise, which it failed to meet. Now let’s wait and see if the movie itself meets the expectations of viewers or not – Hafsah Sarfraz

Tees Maar Khan (2010)

For all those who loved Main Hoon Na and Om Shanti Om, it is time to rejoice! Farah Khan is back with her world of cinema, which gives a new definition to a huge star cast, extravagant sets and costumes, larger than life fictional characters, extremely filmy stories and upbeat soundtracks. Farah’s latest offering, Tees Maar Khan is a thriller garnished with a Bollywood tadka, releasing on December 24. Considering how Farah never seems to disappoint, the year 2010 couldn’t have a better ending for Bollywood.

Tees Maar Khan is a comic escapade, which stars Katrina Kaif as an aspiring actress and Akshay Kumar as a con man who steals, cons and cheats all with such boldness that even shame shies away from him! He and his gang, which includes Dollar, Soda and Burger have managed to keep the police, world over, on their toes. Then one fine day international antique smugglers, the Johri Brothers, assign Tees Maar Khan the most important con job of his life. The job involves robbing antiques worth Rs 500 crore from a heavily guarded moving train. To find out whether Khan along with his girlfriend, Anya (Katrina Kaif) and their gang succeed to pull off the greatest heist in history we will have to wait till December 24. Till then we have the soundtrack of Tees Maar Khaan, which has been composed by the superb team of Vishal Shekhar.

To begin with the album has five original tracks and an overabundance of remixes. There’s almost a remix for every track, which is slightly disappointing. Vishal Shekhar should be the last ones relying on remixes. The album has some high and low notes. Read on to hit the high notes and avoid the low ones.

The album opens with ‘Tees Maar Khan’, the title track. This is a very interesting number for many reasons. The fact that Sonu Nigam has given 54 different voices to this track is one of the reasons. It is Bollywood’s sardonic and melodic take on James Bond’s signature tune which is mixed with Bollywood tunes from the ‘70’s and ‘80’s and the lyrics revolve around the character sketch of Tees Maar Khan. Squeaky, electronically tuned with loads of comical sounds makes this one artistically hilarious. The end of this track has dhol beats in it. There is a remix version of ‘Tees Maar Khan’ in the album too. The remix is more bubbly and fast-paced. Both the original and remix have foot tapping tunes which makes you want to press the repeat button for sure.

Next up, in the album is the much talked about Katrina’s item number, ‘Sheila Ki Jawani’. They have advertised it to be the item song of the year and the kind that you haven’t heard before. Well, I will have to agree now that I have heard it a couple of times and seen the video too. The tune of this track seems to be a fusion of desi and urban vibes. Sunidhi Chauhan’s racy vocals stand out even with the energetic tunes. All that can be said just yet is that you will forget poor old “Munni” after listening/watching to ‘Sheila Ki Jiwani’. The remix which is more hip hop and highly pulsating with the sounds and the grooves, is just as good as the original but such songs make me wonder what is Bollywood’s obsession with item songs?

Farah Khan’s films are incomplete without classic Indian songs and that’s exactly what the next track in the album is. ‘Wallah Re Wallah’ sung by Shekhar, Shreya Ghosal, Kamal Khan, and Raja Hasan is a pure qawwali track. This is precisely the reason why it might not appeal to the masses but nevertheless the tune is energetic. Despite that ‘Wallah Re Wallah’ does not make a first impression. You might have to listen to it a couple of times before it grows on you. Even though I cannot understand why, this track has a remix too, which was completely unnecessary. The remix doesn’t impress either.

The album regains its strength with ‘Baday Dilwala’ after a disappointing track. This catchy number is a mixture of English and Hindi lyrics that stand out amidst the fast beat. ‘Baday Dilwala’ is sung mainly by Sukhwindar, who I might add, has done a tremendous job with the vocals making it sound nothing less than perfect. Shreya Ghoshal has also contributed her sweet voice to this track and even though she has a limited part, she has shown a unique side of hers. The lyrics are also very interesting mentioning the most unexpected things like gossip and Filmfare. Coming back to the tune, this is the kind of track that makes you want to get up and tap your feet. Needless to say, you will get to see lots of people dancing to ‘Baday Dilwala’ in the next shaadi season. The remix continues with the fast beat adding a few more energetic notes to the original one. Both are superbly done and trademark Farah Khan songs!

‘Happy Ending’, the next track in the album, is another trademark of Farah Khan’s cinema. This track is made for showing end credits and brings together some of the major contestants from various music talent hunt shows including Abhijeet Sawant, Harshat Saxena, Debojit Saha and Prajakta Shukre at the vocals. If I had to pick out the low notes of this album, ‘Happy Ending’ would be one of them. Though it doesn’t put you off from the track but it doesn’t instantly get you addicted either. The tunes in the introduction sound like acknowledging everyone, wishing everybody success in their future endeavors as the curtains fall to show ‘THE END’. And this is probably exactly what this track will be about in the movie.

The album promises cheerfulness in every track but since it has only five original tracks, it leaves the listener wishing for more. Nevertheless, ‘Tees Maar Khan’ – the title track, ‘Sheila Ki Jawani’ and ‘Baday Dilwala’ are the highlights of this album! – Hafsah Sarfraz

Avraga by Kazak

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

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

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

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

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

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

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

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

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

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

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

Sara Jahaan by Karavan

One of the very few remaining rock bands, and there aren’t many that can give themselves that title, is Karavan. Often compared to Junoon, despite certain disparities such as Karavan having a better guitarist but a weaker vocalist, there are some similarities to the now defunct band. Certain solos and rhythms, from their previous record Gardish and now Saara Jahan may remind listeners of “pre-sufi” Junoon. If that doesn’t get Karavan fans (Karavanis?) excited about the new album then factor in an eight year absence between the two releases, and you have a highly anticipated album.

Even though we have seen plenty of Asad Ahmed over the last two years at Coke Studio, during which time he has proven he is one of the better guitarists in Pakistan, it is with his crew at Karavan that fans can evaluate his true worth. In a foursome that includes Tanseer Daar as vocalist, Allan Smith on drums and Sameer Ahmed on bass; it is Asad Ahmed, and his often wailing guitar, that stand out.

Natural progression is evident in Saara Jahan. Working alongside Pakistan’s top artists has naturally improved Asad’s skills on his guitar, while Sameer still provides bass lines to support the group. A refreshing surprise is Allan Smith whose propensity to use more of his drum kit is now more audible. And even though he lacks the natural talent to be a vocalist (there seem to be only a handful in Pakistan who do) Tanseer continues to work hard with his vocals.

In the process of making an album, engineering, mixing and mastering the tracks are immensely important stages that often get over-looked. However, with Shahi Hasan’s perfectionism to make every track sound crisp, clear and in-sync, plaudits must go to him, along with Faisal Rafi, both of whom were behind the scenes on this album.

All these elements combine well in the opening track of the album. The bass and drums support Asad’s heavy-ish riffs and his solo, while the vocals are decent as they blend in well with the breaks and bridges of the songs. As it is the title track, there seems to have been some good work done on it, with special kudos the mixing.

The title track is followed up by a more somber minimal track in ‘Deewana’. The vocals sound a tad weaker on this track, perhaps the reason for layering, or doubling them up. However, a Spanish style guitar lead complements the song well, perhaps the sole high-point of the track.

It might have been ingenious to squeeze ‘Deewana’ between the title track and ‘Kaisay Mumkin Hai’, the video of which announced the return of Karavan after the hiatus, as it is one of the forgettable tracks on the album. While this song may become a favorite of many fans, the riff that Asad uses sounds all too familiar, almost like Jimmy Page’s riff in ‘Kashmir’, which might irk some Led Zeppelin fans.

The following track may make up for that however as ‘Pyar Main’ has an attractive riff and some sultry leads really spike up the track. Sameer’s bass licks and Allan’s drums really consolidate this track very well. The vocals seem to have yet more production done on them, which sits well with the rest of the track and doesn’t take attention away from Asad’s mini solo midway through. This is the track that proves that Karavan have a tendency to lean more towards rock than pop.

It seems the band might have been trying to go for the EKG (graph that monitors heart activity) effect through the album. Mellow tracks are thrown in between heavy numbers to play around with the tempo of Saara Jahan. This is epitomized by ‘Tu’, the mellowest track on the album. The tabla and acoustic blend in nicely on a simple track. Tanseer’s natural vocals seem to be more evident in ‘Tu’, confirming earlier concerns.

As the trend continues the next two tracks are ‘Choolein Gaey’ and ‘Yaadein’, an upbeat track followed by a more somber one. As much as ‘Choolein Gaey’ is a pop-ish track, one which is present on most rock albums these days, ‘Yaadein’ is a slow rock ballad. Despite an average riff, accompanied with a decent solo by Asad, the former of the two tracks is another weak point in the album. However, the latter more than makes up for it as its mixing is brilliant, particularly of the violin seamlessly blending in with the other instruments.

One of the heavier tracks on the album, ‘Raaz’ sets off from the start with a heavy riff. Asad’s distorted riffs and solos are propped up with solid drumming from Allan and Sameer’s bass licks. Tanseer even tries hard with this track, trying hard to expand his vocal range. Definitely another track that announces Karavan as one of the few bands willing to experiment with harder rock, rather than going for the commercial pop-rock.

Karavan utilize three live tracks, recorded at Al Nasr Arena, Dubai, to wrap up the album. They are crowd pleasers, evident from the loud cheers, especially when Asad comes out with his leads and solos. ‘Rakh Aas’, ‘Sajni’ and the title track from their previous album Gardish comprise of the three live tracks. It should be noted that Karavan live have an eerily similar sound to Junoon live (minus Ali Azmat), especially 4:55 onwards on Gardish.

Throughout this album Asad clearly justifies his presence on Coke Studio (most significantly in the live tracks) just as much as Tanseer exemplifies that sometimes effort can make up for any shortfall in talent. Overall Saara Jahan has a good vibe and is a decent effort for a band that had taken a mini sabbatical from Karavan – Amar Ayaz

Rating:- 3.5 out of 5

Kya Yehi Piyar Hai by Annie Khalid

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

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

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

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

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

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

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

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

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

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

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

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

Rating :- 1 out of 5

Kyun Dooriyan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rating:- 3.5 OUT OF 5

Overload

With their second album, Overload have moved further into the world of hypnotic percussion and frenzied riffs with a distinct female vocalist in tow. As for the dhols… they are still very much a part of Overload’s punch.

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

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

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

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

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

Is this record like its predecessor? Yes and no.

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

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

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

Evolved sound?

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

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

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

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

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

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

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

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

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

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

Ajab Prem ki Gazab Kahani (2009)

The Ajab Prem Ki Ghazab Kahani soundtrack is a crowd-pleaser: it’s got something for everyone. Are you a Hard Kaur fan? She has two songs on the album. Prefer Atif Aslam instead? He lends his voice to two songs, including a love ballad of the sing-along variety. Would rather giggle and dance ala Govinda? There are plenty of ridiculous songs with equally ridiculous lyrics for you to practice the dance steps you learned from Govinda’s films.

The soundtrack to Ajab Prem Ki Ghazab Kahani – the film by Rajkumar Santoshi, who made the brilliant comic caper/spoof Andaz Apna Apna – reflects that same irreverent spirit that was imbued in every frame of Andaz Apna Apna.

The highlight of this soundtrack has to be the dance number ‘Mein Tera Dhadkan Teri’. With a signature Hindi rap intro by Hard Kaur, the song then melds into a catchy dance beat that is bound to be a favourite at mehndis this winter.

Or you can get your fix of love ballads via Atif Aslam in ‘Tera Hone Laga Hoon’ and ‘Tu Jaane Na’, or the rather  drawn-out ‘Aa Jao Meri Tamanna’ (by Javed Ali).

And now, for the cheap thrills. ‘Prem Ki Naiyya’ – currently doing the rounds on television channels – is madcap fun; a typical ‘please fall in love with me’ song but done well musically. Pritam Chakraborty also seems to have taken a cue from A.R. Rahman by including a chorus line ‘silly willy willy willy’ ala the latter’s ‘Chiggy Wiggy’ from Blue. The female twin of ‘Prem Ki Naiyya’ is ‘Oh By God’ with Mika and Sunidhi Chauhan on vocals.

Pritam uses typical trumpet beats, slang and typical dance beats to make ‘Oh By God’ stand out ‘Dil se dil ne taal milayi / baji yeh shehnai!’

The Ajab Prem Ki Ghazab Kahani soundtrack isn’t anything spectacular. But it makes you want to dance, tap your foot all day at work (to the irritation of co-workers), and makes you laugh despite yourself. Considering everyone seems to be under voluntary house arrest owing to the security situation, it’s the time to rely on cheap thrills. And what’s better than this mixed plate of Bollywood music? – Saba Imtiaz

Shiraz Uppal's Ankahi

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rating – 4 OUT OF 5

Wajood Hai Mera

Tough times come and go. Calamities of all kinds hit Pakistan and satiate their desires. Economy often stagnates and so does prosperity. However, one aspect in which the country continues to work is on the music front. It can also be attributed to the media boom due to which grabbing audiences’ attention is not such a big deal. Also, videos can be thrown into the market without even a proper album release. Internationally, the rule is to sign up with a record label and then only a band/artiste is able to release a video. And so four-member band Wajood stuck to the international norm when they signed up with The Musik Records and launched their first video entitled ‘Aisi Lagee’ which was very well received.

Wajood’s a promising four member band featuring Waqas Kureishi aka Vicky on vocals, Waqar Athar aka Jimmy on bass guitars, Faraz Athar aka Sunny on lead guitars and the drummer, Ahmed. And they have a simple philosophy for success: work hard, have faith and eventually you’ll reach your goal. The band is based on a learning methodology, and is working under the umbrella of Middlesex College, London, and had earned a devoted fan base right after recording a couple of their own songs. Their unique perspective has helped make them awesomely talented individuals, but their ultimate aspiration has always been clear – having people recognize that their talent goes beyond harmonies. With a newly released debut album, entitled Wajood Hai Mera, they’re set to achieve their goal.

Speaking of the album itself, it features 10 catchy and rhythmic melodies. The band’s sound is an eclectic, ambitious mix of intricate harmonies, symphonic strings, spicy grooves, pop melodies and hip-hop-inflected rhythms. But it’s the rock touch that grabs one’s attention. Wajood Hai Mera, kick starts with jazzy guitar riffs of ‘Gar Bhuloon Tujhe’. From the first verse, one is hooked to Waqas’s charming voice which blends impeccably with the bluesy feel of the track. The guitar work is phenomenal throughout. The poetry defines how important it is to have that special loved one in one’s heart and mind to carry out major daily activities. Lines such “Gar Bhuloon Tujhe, Hasrat Meri Barh Jaye, Dharkan Bhi Tham Si Jaye, Dhoonde Tujhe Har Sun, Nazaron Ko Na Koi Bhaye” clearly portray how vital the vocalist’s lover is for his frame of mind. I unquestionably rate this as a tune! Rocking way to start the album!

The title track only raises the bar higher. It’s an immaculate piece of high quality rock embellished with sky-scrapping guitar waves making it irresistibly appealing. The lyrics are meaningful and one can feel that it’s all about someone’s existence in this world. The song is based on an individual’s story who has wasted a lot of time, hasn’t met his goals, who had many dreams but never tried his best to achieve them. As Waqas rightly sings, “Sab yeh raste aaj bhi mujhper haste, kehte hain  tu hai kahan? Khoya tune kia paya, dunya mein tu kyun ayaa, basaya kaisa jahan”? The track is a message to the youth who waste their time in frivolity to realize the worth of it and the meaning of life. Sure winner, this one!

As the saying goes, when ignorance is bliss, its folly to be wise, and I was definitely an ignorant person to date, for I considered ‘Aise Lagee’ the best from the house of Wajood. It was only because I had not listened to what Wajood had to offer more. However, the track still remains my favourite on the record. It is a happy-go-lucky track song that has a very lively feel and a perfect romantic effect.  The best way to describe this is as a slick tune with music to match. The pace of this one is much slower than anything we’ve heard in the album so far. The video of the track is directed by lyricist/manager Jaydee. Its concept is really madcap fun where the hero calls the Love Guru to help him with his singing concern and the Love Guru arranges a band for him. The hero, famous actor, Faisal Qureshi now has to lip-sync and has to perform his best to impress the heroin, Sofia. However, when the heroine confronts him, he feels hypnotized and quit singing. The girl observes this cheat game and throws the flower on the ground and walks away. But thankfully, courtesy the tactics of Love Guru, the couple makes up at the climax.

‘Tamana Meri’ is a soft rock number with a likeable beat. But the track is more memorable for its lyrics. Lyricist Jaydee informed me that it was written in mere 8 minutes. Hard to believe, but it proves the notion that creation of artistic pieces don’t depend on time; they just happen!

The mood mellows down on ‘Meri Duniya’, a melodious pop-rock ditty where Waqas gets ample room to showcase his vocal range. Almost anti-desi, more great imagery and poetry in the chorus alongside the jazzy grooves mean you get grinding to this one. I believe this song is best suited for a sound track of a movie.

Wajood’s devotion for the eradication of social evil is eminent in ‘Haara’. This song is  inspired by the legendary poems, Allama Iqbal’s Shikwa and Jawab e Shikwa. The lyricist has defined the situation of someone who is losing every time. It’s just not the situation that is failing him rather it’s his own ego and greed. The band plans to shoot a video of this song based on drug addiction.  This is one rare track where Waqas’s vocal delivery seems average as compared to the other tracks.

Another message-oriented is the hardcore rock ditty, ‘Jo Mai Atka’ which is all about teen infatuation and its after effects of it. Teenagers often end up borrowing money from friends, losing good friends and wasting precious time. This song would make you understand how the lyricist has pictured the phases in song including the flashbacks. He sings, “Pooche mera mann mene kia kia, waqt aur paisa mene bardbaad kia, kitno se mene udhaar lia, zindagi ko mene bekaar kia, jo me atka kia ho gaya, teri yaadein teri baatein deewaana hogaya”.

For a  band comprising of youngsters, these are harsh realities but the way they have taken upon themselves in propagating the ill-effects of the same is simply a commendable job. Bravo, boys!

The album draws to a close with two variants of ‘Gaye Ho Tum’ namely rock and acoustic. I prefer the latter one. Acoustic precision along with awesome lyrics, it is all about lost love and the post affects. Interestingly, it is a true life story of lyricist is Jawad aka Jaydee. The more you listen to this one, the more it grows on you. Definitely thumbs up.

With Wajood Hai Mera, Wajood the band has definitely depicted their origin of serious and professional music the chemistry between the members is exceptional throughout the course of the album. I was especially impressed with the vocal talent of Waqas. The chap has the flair of making it to the top. Guitar work is terrific while drumming, if live, should also be applauded. Production is also crisp. However, the album may also well be remembered for its memorable lyrics. Interestingly, Wajood has been signed by 99musique (an Indian record label) and the album is expected to be released in India later this year. Here is hoping that Wajood manage to survive here and across the border – Shahzeb Shaikh

Rating – 4 OUT OF 5