Download Garaj Band's Debut Album Garaj

Garaj Band Just Launched Their Debut Album And The Album Name Is Also Garaj.
To Download The Album Follow The Links Below:

01 - Dil Muchlay.mp3
02 - Dil Naal Dil.mp3
03 - Aja Mahi.mp3
04 - Tujh Bin Ghar.mp3
05 - Tum Bin Lagay Nahi.mp3
06 - Yadain.mp3
07 - Tum Bin Ik Pal Chain.mp3
08 - Ajana Morey Balma.mp3
09 - Ruk Ja Ruk Ja.mp3
10 - Jis Din Na Milo Gi.mp3
11 - Tanha Tanha.mp3
12 - Saanchay Sur.mp3

To Know More About Garaj The Band Read These Two Recent Articles From Dawn:

What’s up with Garaj?

Garaj, a musical group whose music is based on a fusion of classical, rock, funk and hip hop, has been making waves on the Pakistani as well as Asian music scene for the past three years now, at the same time representing Pakistan as ambassadors of music.

Garaj has performed from small-time gigs on a local channel to a place like Royal Albert Hall in London (a concert held for the Oct 8 earthquake victims in December 2005), and has been appreciated by both the masses and critics alike. The lineup comprises two very different individuals — Imran Ahmed (guitars) whose major achievements include a selection of one of his poems by a Hollywood artiste record company way back in 1989 and Karam Abbas Khan (vocalist) who hails from the Gawalior Gharana and has a rich classical background (his father, grandfather and great grandfather were established classical singers of their time).

Garaj recently held the launch of their self-titled debut album in Karachi. The show commenced with a band called Moaaz opening for Garaj consisting of Aun Zaidi (vocals), Arsalan Ejaz (lead guitars) and Abdullah Aziz ( rhythm guitars). They started the proceedings with a cover of Junoon’s Lal Meri Patt, an exhilarating performance which got a lot of applause. They wrapped up with an original number called Na Rahe with some profound lyrics and a crisp rock sound.

Garaj finally arrived on stage and the two-member band kicked off with a classical bandish called Rageshwari, a fusion of eastern and western music that also had been performed at the Royal Albert Hall. There couldn’t have been a better start to the gig as it mesmerised everyone there that night. Aaja Mahi was a full-of-life Punjabi folk song which seemed very fresh and involved a multitude of instruments. What followed was the much heard Dil Machle, the video of which has been airing on the local music channels for quite some time now.

The event continued in full swing with a ballad soaked in romanticism, Tujh Bin Ghar Soona, with Karam’s alluring humming. Tum Bin Laage Nahin Dil belonged to the same genre as well and interestingly has been appreciated by Mahesh Bhatt as well.

The mood switched to hip hop with the track Anjana Balma and the rollercoaster ride came to a halt with a bandish called Mian Ki Tori where Karam impressed everyone with his alaap and sargam.

Talking to Images post-performance, the band members unanimously said: “Our album deals with issues of love, lost love, reminiscent of good times and some easy listening, as well as the rich classical element which caters to almost every genre. The best part was the release of the album; we loved everything about it and through it hope to take Garaj to the next level.”

— Shahzeb Shaikh From Dawn

RISING STARS: A Gamble Pays Off

Fusion music with Urdu lyrics sung to a heady mix of western and eastern beats is by no means a new phenomenon. However, the sound Garaj produces is a different ballgame altogether.

lmran Ahmed and Karam Abbas have all the makings of a mismatched combination — Imran is seriously into heavy metal and rock while Karam is basically a classical singer. The latter hails from the famous Gawalior gharana, and is the son of the late Ustad Ahmed Ali Khan. Yet, the gamble seems to have paid off for the music they are making has an interesting edge.

On how this unlikely partnership came about, Imran says, “I had gone to a studio to record when I heard Karam there. I couldn’t get over his voice, and suggested that we form a band. To my surprise, he expressed interest and we got together. We were so thrilled with the music we made that we decided to go ahead with an album. And Karam came up with the name Garaj for the band.”

On why he opted for Garaj over other possiblities, Karam ****, “The word garaj has deep association with classical music, and it is something that comes up frequently when one talks about the various metres in this genre of music. I thought it was an apt name to describe our style of music.”

Commenting on how people appreciate classical music but are not willing to promote it, Imran says ruefully “Although good poetry and classical music is part of our culture, we have let the Indians highjack both, and are doing very little to keep this art form alive. Our objective, when we released our first self-titled album, was to familiarise youngsters with the classical genre by giving it a popular flavour and fusing it with English music.”

“After learning from our experiences, we are now experimenting some more with the sound in our second album. This time round we are blending pure classical songs with western music. There will be a far greater element of the classical genre in the new one as compared to the old, in which we have allowed ourselves to become a little commercial by including pop numbers. Our second album will carry a very different sound from what people are used to,” **** Karam.

With no high-end videos to promote themselves, Karam Abbas and Imran Ahmed of Garaj now realise that they have lost out in a big way. “Today, music videos are so important that even if Tansen showed up in person, he wouldn’t be able to make an impact without one,” Imran **** ruefully.

Considering that Garaj was formed in 2004 and its first album came out early this year, why did it take so long? “Initially, we lacked proper guidance and direction. But we learnt by trial and error, made a lot of mistakes and people put hurdles in our path. Nevertheless, we persevered and have become the stronger for our trials.”

With no high-end videos to promote themselves, since they couldn’t afford any, Karam and Abbas realise that they have lost out in a big way in the past. Says Imran “Today, videos are so important that even if Tansen showed up in person, he wouldn’t be able to make an impact without one!”

So far it has basically been Garaj’s live performances on various television shows that have kept the duo in the limelight. Unlike most bands, they have no qualms singing live, with or without music.

What is it that makes them think that a partnership based on mutual admiration will survive, when many bands before them (formed on the basis of years of friendship) have collapsed? Says Imran, “Generally, ego comes in the way of band members, causing a rift and differences. Neither Karam nor I have any such issues. We are both very down-to-earth, pragmatic people. We’ve seen some very trying times together and survived it all together. I don’t think handling fame and fortune will be such a big problem.”

After speaking to the duo, it dawned on me that without proper financial support and connections, emerging talent in this country tends to have a rough time establishing itself in the rat race of the showbiz industry. Considering that there is always a dire need for newer acts in the music industry, it is a shame when talented people such as the Garaj duo don’t manage to strike it big just because the who’s who of the industry are not willing to give them a listen. If they do manage to rise above all odds, Garaj stands a fair chance of being the next best thing after Fuzon with Shafqat Amanat Ali.

— Shanaz Ramzi From Dawn

Coke Studio Episode 02 Reviewed By Umber Hyatt

Eastern classical music is an exacting science with an ancient history and a noble lineage. The art-form’s legendary Knowledge is steeped in mystery and shrouded in secrecy. It is due, in part, to the tradition of concealment and the arcane beliefs associated with it that the fusion of Eastern classical music with any other music is a rare and often controversial occurrence. Courageously stepping out from an environment where the mere mention of fusion can instigate a heated debate, Ustaad Hussain Bakhsh Gullu accepted the many challenges that Coke Studio had to offer.

The head of the famous Pattiala Family, Ustaad Gullu first met with Bilal Maqsood and Faisal Kapadia on the set of Coke Studio and soon found himself to be in surroundings that he could comfortably identify with - the environment of serious music and professional musicians. Himself a product of early training in classical music, Faisal Kapadia assumed the role of spokesman and within a surprisingly short time Faisal, Bilal and the Ustaad had struck up an easy rapport.

This session, the musical collaboration of Ustaad Hussain Baksh Gullu and Strings, has fundamentally profound implications. It transcends the visual and musical synergy of fusion, and bridges not just a genre gap, but also a generation gap. It conveys a radical change, a paradigm shift that introduces mutual respect. This Coke Studio session silently communicates an important message - the acceptance by the traditionalist of new and evolving art forms and a respectful appreciation by modern artists of their rich and ancient musical heritage.

While Coke Studio’s Episode 1 conveyed the force of passion in music, the second session is subtle, mellow. Classical music, due to its inherently delicate nature, was the most ideally suited for experimental fusion with Strings. The music draws you in gently, inviting you to experience a more finely textured emotional palette. Reflected throughout the session is the signature Strings sweetness that is both uplifting and inspiring. This is a session that will grow on you and stay with you - it has all the ingredients of a timeless classic.

Strings played their live Coke Studio session with a combination of their concert tour band and the Coke Studio House Band and the result was strikingly different. Starting off on an innovative note, Strings reinvent their No.1 hit song “Sar Kiyae hai Pahar” for the Coke Studio sessions, incorporating the entire Eastern rhythm section in a rousing celebration of sound. The Eastern cadence of the additional percussions gives the song an entirely new and exciting flavor. Bilal sings with feeling and emotion and holds unerringly true to key on “Sar Kiyae” while the backing vocalists contribute ably to rounding off this full-bodied Coke Studio version of a familiar love song.

Next, the Coke Studio House Band shine in subdued splendor in the hypnotic fusion number, known informally as The Ustaad Jam. Visibly in awe of the maestro in their midst, the musicians perform superbly - providing the perfect backdrop against which the Ustaad can demonstrate his genius. In a voice that is both soothing and arresting Ustaad Hussain Bakhsh Gullu skillfully plucks notes from the tapestry of sound around him, effortlessly weaving his alaaps over the repetitive and deceptively simple framework of keys, drums, bass and guitars. The Jam develops subtly, building almost unnoticeably to a trancy peak, with tablas featuring prominently towards the end and Gumby getting creative with brushes. All in all, the Ustaad mesmerized his audience - and his musicians. “I felt like I could have played that forever” says rocker Omran of the experience and many from the studio audience were later heard commenting that this indeed was truly sublime fusion.

Virtual unknowns, Saba & Selina are the next surprise that Coke Studio holds in store. Debuting memorably on Coke Studio, Saba and Selina look and sound all set to be stars. Casual and lighthearted “I’m in Love (I’m a Believer)” is the only cover song to feature on Coke Studio and was originally not intended to go on-air. The song came up at one of the informal behind-the-scenes jam sessions and since it sounded good, the girls spent the afternoon rehearsing and later that evening it was professionally recorded. The result of their efforts was good; so good that the song made it to Coke Studio’s Episode 2. Although neither one of these girls is a professional vocalist their talent is impressive. Equally impressive is their courage and confidence. Even seasoned performers will tell you that they still suffer from bouts of nerves when required to perform before an audience or cameras. However, Saba and Selina kept admirable control over their nerves and one must applaud them for a great performance under what must have been extreme pressure.

Bilal follows with “Anjaane”and the Coke Studio version is invigorating, vibrant and dynamic. Between them drummer Qaiser and bassist Shakir provide a solid and punchy groove and guitarist Adeel takes this opportunity to have his moment in the limelight with a flawless solo. As always, Bilal’s vocals are refreshing and distinctively unique.

The Strings continue their Coke Studio session with an effortlessly slick version of “Zinda”. The band does a particularly brilliant job on this song - Keyboardist Haider is especially note-worthy as he boldly abandons the familiar sweet piano sound of the intro for a very retro Ray Manzarek touch at the end. Faisal is impressive vocally and does the poetic interlude beautifully, speaking with expressive inflection.

The famous title track from their second album “Duur”, was the Strings chosen song for fusion and in an inspired (and inspiring) performance, “Duur” is reborn at Coke Studio. Keeping to the traditional structure of a classical performance, the Ustaad introduces the raag with an alaap, gracefully yielding to the contemporary pattern of verse and chorus when Faisal takes over. Faisal sings with striking confidence and intelligent control, creatively leaving space for the Ustaad to embellish with poignant emotion and infinite skill. The effect is spellbinding and the atmosphere unreal. The visual interplay between Ustaad Gullu and Faisal Kapadia is captivating while the vocal collaboration is breathtaking. When the song ended to a resounding applause, a visibly emotional Faisal Kapadia embraced the Ustaad, instinctively adhering to the traditional gesture of deference. Ultimately, “Duur” was the perfect closing to a memorable session.

Coke Studio Episode 01 Reviewed By Umber Hyatt

Musical fusion between rock and qawwali was a natural consequence of the compatibility of the two genres and the pairing of Ali Azmat and Rahat Fateh Ali Khan, a logical choice with exciting potential. Both artists are at the top of their game in their respective fields, have known each other for many years and have a genuine, mutual respect and fondness for one another.

Due to the relentless schedules dictated by both artist’s professional commitments at home and abroad Ali and Rahat got just one opportunity to rehearse together. For those present, the rehearsal was a memorable experience. For the Coke Studio House Band it was the moment of truth - would weeks of rehearsals sans vocals pay off? They did. The atmosphere on the studio floor was electrifying. A rehearsal that started with frayed nerves gave way to the magic of music and the subtle ministrations of Rohail Hyatt. An initially bemused and bewildered Rahat lost no time in absorbing the essence of the environment amidst Ali Azmat’s voluble and enthusiastic suggestions and a dozen musicians collectively preparing to raise the bar and simply rearing to prove their mettle.

Although Rahat Fateh Ali Khan’s album “Charkha” had just been released at the time of the Coke Studio recordings, Rahat and Rohail both felt that this was an ideal opportunity to pay tribute to Ustaad Nusrat Fateh Ali Khan with a rendition of one of his traditional melodies and Shammaan Paiyaan was chosen. A brief and intricately technical discussion with the band ensued and the Coke Studio version of “Shammaan Paiyaan” took shape. Taking advantage of the solid support, both musical and technical, available at Coke Studio, Rahat gave a memorable demonstration of his legendary flair for ex-tempo alaap in a highly emotional and evocative performance.

Rahat Fateh Ali Khan, recently returned from an international tour with Eddie Vedder performing the Michael Brookes versions of Nusrat Fateh Ali Khan’s Night Songs, says he was amazed and delighted with the level of professionalism and dedication evident at Coke Studio. “Today I can say that our musicians here in Pakistan are at par with international musicians,” said Rahat shortly after rehearsing with the Coke Studio House Band for the first time, “I have performed all over the world but I can say, with pride and without a doubt that I have never experienced anything like this.”

Eager to acknowledge Rahat’s contribution as co-writer/composer of “Garaj Baras” Ali Azmat instantly nominated the song as a perfect choice for collaboration. The Coke Studio version of “Garaj Baras” played to audiences across the country and has since received a stunned and unanimously ecstatic response. Garaj Baras ala Coke Studio mesmerizes and is slated to receive a new lease on life at the level of the Eagles, “Hell Freezes Over” version of ‘Hotel California.

“Baalamaan” from Ali Azmat’s unreleased new album “Kalashinfolk” debuted on Coke Studio as the second fusion track. It was chosen as it has its roots in the Eastern classical raag ‘Aimen’ and is a characteristic example of Ali’s surprising musical, emotional repertoire. Naturally, Rahat had never heard the song before so Ali, acoustic guitar and musical acumen in hand, ran over it a few times with him. The rehearsal for “Baalamaan” may have been brief, however, it was obviously cogent as the final performance was scintillating. The two vocalists created the perfect complement to one another and enthralled audiences with their instinctive and fluid performance.

Ali Azmat going solo, but still highly unorthodox, with his big band take on “Deewana” was this weeks unique musical make-over on Coke Studio. The obvious enjoyment of the band, especially the Balochi percussion ensemble and backing vocalist Saba and Selina, is contagious and contributes to the mood created by Ali’s crooning, cajoling vocals.

Hugely popular with younger audiences Mauj front man and Coke Studio House Band guitarist Omran Shafique brought the eternally catchy “Paheliyan” to the floor The highly energetic Coke Studio version gets the adrenalin going and prepares listeners for the finale “Gullaan”. Again, from Ali Azmat’s unreleased second album the song is a frenetic, poetic satire of lyrics and sound - a challenging number to do live, “Gullaan” live on Coke Studio is a phenomenal high!

Nadia Khan's Reply On Abhijeet's Comments About Atif Aslam.

The Issue Is Not Yet Finished ...Watch Out The Nadia Khan Show In Which She's Replying On Abhijeet's Comment About Atif.She Is Truly A Voice Of Pakistan.

Watch Out The Video Below: