Review: Coke Studio Season 4 Episode 2: Kaavish, Nindiya Re
On to Kaavish! Now, this band has truly played with my emotions over the years. I went from crazed fan, to frustrated follower, to indifferent individual. With their appearance on Coke Studio Season 4, the frustrations have returned. How long ago did I hear Bachpan, probably in my own bachpan! Years went by without a debut album, as fans had to wait endlessly for a studio release. By the time Gunkali was launched, I have to admit I had lost all interest in what they had to show the world, and I still haven’t heard the album.
There’s the background of my relationship with the band. With an appearance in Coke Studio, I was obligated to listen to what they had to offer, so I put my feelings aside and hit play. My eyes feel heavy as I close them and let the vocal stylings of Jaffer Zaidi hush my frustrations. His deep, sleepy delivery manages to maintain technical prowess, as he takes us on a gliding trip under the midnight moon. Asad Ahmed is given another opportunity to show his bluesy chops. Absolutely loving the tone, it invokes feelings of Clapton and John Mayer, thanks Rohail for adding that bit in! Really hoping Omran gets a solo or two this season :) Rachel and Zoe are spot on as usual, I have to say I am enjoying their backup deliveries more than previous seasons’ ladies. Kudos to Coke Studio for introducing some new blood in the house band :) Oh, and a XYLOPHONE!! I hope they keep that thing on set as well, truly adds a freshness to the songs similar to what the cello’s did for Mizraab’s “Kuch Hai”.
All in all, a very suble, moving track that stays true to Kaavish’s style. Well, at least the Kaavish I knew before I grew impatient with the album wait. Perhaps it’s time to go grab a copy of Gunkali :)
Review: Coke Studio Season 4 Episode 1: Akhtar Chanal Zahri & Komal Rizvi, Daanah Pah Daanah
Well, here’s a track that a lot of my friends were interested in, as it is an older tune, but I had no idea existed. Another song review without preconceived notions on how it should be :P and no prior knowledge of the artists, NOW we’re getting into unbiased territory! Heheh, anywho, from the setup it seemed the Coke Studio team was looking to extend the success they achieved from the electric chemistry of Arif Lohar and Meesha Shafi from Season 3. It’s hard not to make that parallel on the surface, but as the song starts, I realize I am mistaken.
The speaking monologue at the start really pulled me out of whatever frame of mind I was in and dropped me on a dirt road in rural Pakistan. Akhtar Chanal Zahri actually reminds me of the work Saieen Zahoor did. Not sure how similar they actually are when you drill down to the details, but it felt like they have some common threads. Komal Rizvi enters with confidence, nails the chorus with an energetic delivery. I have heard her name in the past, but can’t recall hearing anything by her yet. Her voice supports Zahri’s quite well, the overall sound is quite pleasing and makes for a great chill track. I like the rhythm of the song as well; both singers did a great job in enhancing by bringing their characters into the performance. Really enjoyed Komal’s dynamic style, especially at the 3 minute mark when she says “Jeeeee-o” and steps away from the mic. Made me smile at how much she and Akhtar Chanal Zahri were enjoying the performance :)
The second part of the song steps back to the tried and tested ‘laal meri patt’, or whatever its official title is. Here, Komal gets a chance to put her talent on display, as Zahri slides into the supporting role. She belts out the lyrics with emotion, and the house band is completely enthralled in the classic track. The beat switches to funk quite abruptly, which kind of caught me off-guard. Little time is given to dwell on it however, as Zoe and Rachel Viccaji put the finishing touches on the contemporary soundscape, for Zahri to bring it home. If you heard the first 30 seconds of this track and the last 30 seconds, you would never guess they were from the same song. Somewhere in between, Coke Studio managed to sew a folksy tune that traveled the country side, met a classic along the way, and ended up in the city.
By the end of the track, I kind of feel happy that they added this ending, as it really completed the fusion CS tries to achieve with its songs. Akhtar Chanal Zahri’s voice fits right in with the Superstition-ish groove, and completes the fusion experiment. As Coke Studio seems to feature completely new artists each episode this time around, we may not get to see these two singers work together again, so perhaps it was best to throw it all in one track. Overall, a great track that may not have been anticipated as highly as some of the other performances, but perhaps used that to its advantage. Full of life, experimentation, and talent. Great work Coke Studio!
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: Jal, Ik Aarzu
Let’s get one thing out of the way first. I don’t consider myself a Jal fan anymore. I was perfectly happy that the first three seasons of Coke Studio stayed away from them. There was a time when I enjoyed their work, but lately I get an arrogant vibe from Goher and Farhan. This isn’t the time to discuss however, but I felt it necessary for the reader to have knowledge of my feelings for them to understand my review a bit better.
Now, the song starts, and I forget all about the negative thoughts I had of these guys. Farhan seems completely comfortable with his surroundings and sings with confidence. Goher has thankfully taken off his jacket (pictured above), and provides a nice aesthetic balance in the duo’s look. Great work by the house band in supporting Farhan’s vocals as they soar to great heights! Tere Ishq Nachaaya slides in with craft, as the pace gallops along, spearheaded by Farhan’s alaaps, interlaced with the Viccaji’s angelic harmonies. What an achievement!
And then, the song gallops into a brick wall. Mast Qalandar? Really? Here is where Jal appears to have bitten off more than they can chew. Why would they choose to cover a NFAK song ESPECIALLY when Farhan can’t even hit the highest notes and reverts to a lower octave? The performance had been flawless up to the 5 minute mark. Why didn’t they end it there? If they wanted to spice it up and add something new, that’s what Tere Ishq achieved! This was one of the most frustrating Coke Studio tracks I’ve heard yet, simply because it seemed to abandon the listener. Whatever they were trying to do, did not translate with me at all.
The first five minutes were undeniable talent, and I scramble for the stop button as soon as the second half starts. Jal, I don’t know what to think of you. Hope to hear more of the Ik Aarzu groove in the future!
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 :)
Usman Riaz, “Fire Fly”
This young prodigy was recently unveiled by the awesome Uth Records. I decided not to post that performance, nor the episode review because I felt it could have been handled differently. THIS is what the Uth Records track should have resembled, in my opinion. Solo acoustic instrumental. Having said that, I’m sure Usman was blown away at the chance to collaborate with a guy like Ali Noor. I wasn’t too keen on the arrangement of it though. Fire Fly, on the other hand, is much more focused on his incredible tapping talent and composition prowess. 6.53 goes by in a flash, a whirlwind of organic sounds, from the thumping and tapping of the guitar’s body to the power chord hammer-ons of the ‘chorus’. Gumby noted that there wasn’t a market for this type of music in Pakistan. While I agree there isn’t a mainstream market for it, I also believe his instrumental stuff will make serious serious waves on the internet in front of a global audience. Guitar enthusiasts in Pakistan (and trust me, there are a lot of those kind of people in the country) do recognize and appreciate this level of competence with a musical instrument. He should stick with more tracks like this, having guest vocalists act as backup, but keeping his talent up front and center. Also, having an awesome video as this doesn’t harm either. Bilal Khan and Shayan Agha did an incredible job, and their hard work pays off in this piece.
Bat for Lashes, “Daniel”
Well, I was supposed to post this a few days ago, sorry for the gap! Featuring Bat for Lashes this time, performing their hit song “Daniel” at the legendary Abbey Road Studios. Bat for Lashes is founded by singer Natasha Khan, a half-Pakistani born in England. She is a cousin (once removed) of squash champion Jehangir Khan, one of Pakistan’s most celebrated athletes. Her father, Rahmat Khan, is the one who coached Jehangir to the heights he reached. Definitely a talented family! She has recently won at the UK Asian Awards for Best Alternative Act, and has also picked up hardware for the song above in the Best Contemporary Song category at the Ivor Novello Awards, both in 2010. These wins were preceded by a slew of nominations in previous years at the Brit Awards and the MTV VMA’s.
Anyways, apart from the history and background, I love her voice, haunting and mesmerizing. The music style is absolutely perfect for her vocals, very ambient, atmospheric, nostalgic tune. Love the kettle drum (thing that makes that thunder rolling sound), wonderful arrangement, deep deep lyrics and, sigh, a perfect package is all that really needs to be said. Hope to hear more awesomeness from her in the future. Represent!
Lazarus, “Drug of Choice”
And now for something completely different. Kamran Rashid Khan, A.K.A. Lazarus, has recently surpassed a million YouTube views for the video above, released only two months ago. Pretty decent video, especially when he dawns the kurta. Brrap brraap, as the kids say! Check the following track for some more awesome skills:
Lazarus, “Lazarus Forever”
There’s even a Discovery Channel segment on YouTube, seek and you shall find. Or I guess I can post it, in a later post. Let these two tracks sink in for now. I am not really into the rap scene (Western or Pakistani) but I enjoy it once in a while. What I like about him is how he represents his country, his family (Uncle’s headband), and his profession (that’s Dr. Kamran Rashid Khan, radiologist) without all the unnecessary profanity that comes with the genre. Oh and the ninja turtle reference on “Lazarus Forever”, definite cool points. I also don’t know of any other brown rapper who has written a song about hockey, that’s just crazytalk! He’s real, and that’s how a rocker like me can appreciate a rapper like him. This mixtape has been on my iPod for the past few months, try it out and see what you think! Good workout soundtrack actually. Spread and share!
Strings, “Mein tou Dekhoonga”
Feel good song for the time being. Here’s an established band, known for their humanitarian efforts and social commentary via their product. Now, in my opinion, featuring poor kids in a music video is a very tricky feat to successfully accomplish. Basically, how do you keep it from being viewed as a gimmick? There has been a recent video which featured children as well, which I won’t name because I feel their intentions were good. However, watching it felt kind of like a drag because it came off as gimmicky to me. The children were just used as a backdrop or as props.
So as this video started, and the little girl comes up to the band and sits down, I thought to myself, “here we go again..” and waited for the vocals to kick in. Also at this point I’m wondering, is that a Fender or Gibson harmoonium? :P
Immediately, there is something different about this song, compared to the one mentioned above. The song is cheerful, positive, and most surprisingly, focused on the children! The lyrics are simple, the delivery is easy to follow, and all these sentiments are followed by the body language of the artists. They are performing for the kids, and the kids alone. They are no longer reduced to being a backdrop.
This is a sentiment we need to start implementing in our lives. As much as we do, we don’t do enough to live our lives for the betterment of not just our own children, but all children that we influence in our daily lives. If we start by having a more positive outlook on our country for starters, then maybe our kids will want to go back in summer vacation, or not think of leaving the first chance they get. Thank you Strings, for releasing this song and video; one day Inshallah we will make your vision a reality :)
On a side note, this song made for some great studying music for me last night. Made me more positive about the 5 tests I had to tackle :P Mein bhi dekhoonga!
