Review: Coke Studio Season 4 Episode 1: Mizraab, Kuch Hai
One word: EPIC. Apart from Bilal Khan, I was anticipating Mizraab’s performance just as much. This time, the performance went beyond my expectations. Everyone knows of Faraz Anwar’s reputation of melting faces with his hot solos, and his ability to create acoustic anthems like “Kitni Sadiiyaan”. When I first heard of Mizraab’s inclusion into Coke Studio this season, I had hoped they would do “Ujhaalon Mein”, as it seemed like one of those songs that would work in a lounge setting. Once Kuch Hai was announced, I was curious to hear what they’d do with their slot. I hadn’t heard this song previously, so came into it without any preconceptions on what it “should” sound like.
The song starts off with an ominous gait, highlighted by the vocal stylings of Mannan, a great complimentary addition to Faraz and the Viccaji’s. This is as ominous as Coke Studio gets. And what’s that? CELLO?? Finally. A string section that sounds complete, and just in time for the perfect song. The orchestral sound that comes with the added instruments really pushes to a lofty perch, where it surveys the soundscape created by Faraz and company. From this vantage point, the song changes ‘acts’ and settles into a nest of contemplation. Leaving ominous behind, The vocals and lyric structure bends creative norms that Pakistani’s just don’t get exposed to in their music industry. Refreshing, to say the least.
As the song kicks into the chorus, I can’t help but think this track would make a great James Bond theme. Might be the strings. The other weird thing that enters my mind is how much it reminds me of Japanese arena rock, with the vocal style and melody structure. Just like that, the piece transitions into the ominous groove as Faraz takes control with an acoustic solo. Beautiful, something very few Pakistani’s are capable of composing and executing. The past five minutes seemed timeless, as the song takes another turn, a light interlude before jumping into the chorus. Wonderful transition, as Faraz pushes his voice to its limits, faltering once but coming off as a character move rather than a miscalculation. The song transitions yet again into the ominous groove (I don’t know what else to call it, clearly). Faraz throws in another solo, this time harmonizing with his own voice. So awesome.. Mannan, with the help of Rachel and Zoe, brings the song full circle as it ends in a swirl of mystic defiance.
REPLAY!
Review: Coke Studio Season 4 Episode 1: Bilal Khan, To Kia Hua
ALRIGHT, let’s get crackin’. I’ll be posting some of my opinions on each of the songs in a separate post so as to keep my thoughts organized and not to overwhelm me. I will do my utmost best to judge the music without any personal feelings for the artists to interfere. So Coke Studio Season 4 kicks off with a performance by Bilal Khan of Bachana fame. I am a huge fan of his, and was anticipating this performance the most.
Perhaps this anticipation raised my expectations too high, but this version just didn’t do it for me. Now, there are two kinds of people who experienced this song and came away with two different impressions. The first is people who make it a daily duty to listen to the acoustic version of this song. Coke Studio departed from that vision in a couple of important places. The second type of person is the one experiencing this song for the first time, who hasn’t really paid attention to the acoustic version so they don’t really have anything else to compare it with. This is the generalization I’ve come to from talking to my friends and music fans.
Now, what was so different? I’m not really sure if it’s one or two things, but you pick up on it right at the start. Could it be the echo effect on Bilal’s voice? Could it be the background music is too…subdued? The muted chords really shape the live version, and give the vocals more power in my opinion. The flow of the chorus in CS seems to push forward, then hold back. Almost a pulsing feel created by the bass line, while the live version keeps that consistent rhythm. As the song comes to the bridge, it feels like another anti-climactic moment. Something’s definitely not working for me, although the Viccaji’s really shone bright. It’s too..atmospheric, like a fog has rolled in and you’re hearing a lost “haara nahin huun mein” coming from the haze. In the acoustic version, this is where the guitar really takes off and powers through the rhythms. It’s defiant, and plows through with a reassuring “haara nahin huun mein”.
As much as I love CS and BK (Burger King and Bilal Khan, they’re both pretty awesome), I have to say I found the song didn’t meet my expectations, and I feel most of it has to do with the way the music was arranged. It’s funny how a song with multiple vocalists, instrumentalists, and state of the art equipment doesn’t end up matching the feel of an acoustic guitar in an empty room. That’s the beauty of music. I hope I didn’t come off as too negative, because this episode hasn’t decreased my optimism and excitement for the release of Umeed, Bilal Khan’s first album. I can’t wait to hear the studio version of To Kya Hua and compare it with the two versions we already have :)
