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

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

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

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

Produced by Mekaal Hasan, Chup also features some of the best talent we have in Pakistan today: Gumby, Shallum, Kamran Zafar, Mohammad Ahsan Papu, Omran Shafique, Hamza Jafri, Sameer Ahmed and Sikandar Mufti; as well as Norwegian musician Hildegunn Oiseth.
The album opens with the song 'Chup' and the vocals on this are a treat to listen to. 'Chup' is this sweet, folksy song that packs a jazzy punch because of the use of the trumpet, played by Hildegunn. It has very simple lyrics yet the song is very endearing.

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

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

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

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

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

'Seh Na Sakay' is another song with an old-world feel to it, like 'Kabhi Na Kabhi' which features early on in the album. The last two songs on the album are 'Aitebar' and 'Ban Kay Touri Jogan'. 'Aitebar' is an instant classic and here the vocals suddenly sound so much more grown up - even seductive. The song's been complemented by a fantastic video directed by Saqib Malik, who has showcased the concept fantastically through dance. The video, shot in a gorgeous haveli, shows a couple dancing to symbolize their relationship, until the girl closes the door (literally!) on it. Zeb and Haniya look gorgeous as they stand on the sidelines and sing the song in the video. The line 'raat thee teri to ab din hai mera' (if the night was yours, the day is mine) jumps out - and the song finishes off with mélange of guitar and drums, proving how much better live drums sound on an album.


'Ban Kay Touri Jogan' features Zeb on vocals and is probably the most fast paced song on the album. Zeb holds her own in the face of lyrics that one would usually hear from classical music singers, and it is perhaps the most befitting end to this album.
After listening to the album multiple times, I'm left reaffirmed with the fact that Zeb and Haniya can hold their own in the Pakistani music industry. Chup showcases their talent at singing, guitar and songwriting but more importantly, how to translate that talent into great music.

Album Review: Ramchand Pakistani OST

The Ramchand Pakistani OST is a triumph If Ramchand Pakistani is to be judged by its soundtrack - as many south Asian films are – then it has already moved hearts with its poignant background score, released in Pakistan this week. By Maheen Sabeeh
Ramchand Pakistani, the upcoming and much anticipated film from Mehreen Jabbar has already created enough buzz to become the next best thing happening in Pakistani cinema post Khuda Kay Liye. Thankfully, there is someone like Mehreen to follow in Shoaib Mansoor's footsteps with a thinking film as opposed to a commercial one.
The human drama that has been screened at international film festivals such as Tribecca and Seattle (among others) has managed to win universal acclaim. BBC, Variety, New York Times, Film Journal International, New York as well a few other highly credible publications have given this cross border tale of relationships, identity and human struggle two-thumbs up. Featuring Nandita Das, Rashid Farooqi and Syed Fazal Hussain in pivotal roles, Ramchand Pakistani - which is based on actual events - has already carved an audience for itself with favourable reviews from the foreign press. As for its date of release, one waits very eagerly.
Though no date has been announced, the recently held launch of its soundtrack was proof of an approaching date of release. And if the film is to be judged by its music - which is the case in so many South Asian productions - then the film is going to be poignant and soul stirring in the least. In simple terms, Ramchand Pakistani is an amazing album. Not just for it's incredibly rich and powerful sound paired with the moving vocals of Shafqat Amanat Ali Khan and Shubha Mudgal but also that it transcends one into the distant and dry desert of Sindh where Champa loses her son to the land beyond the line of control. The low-key and truly talented Debajyoti Mishra (Raincoat, Choker Bali) heralds the music direction with brilliance, while from Pakistan Anwar Maqsood pens the lovely and often heartbreaking words, Rohail Hyatt plays the role of sound engineer while Shafqat Amanat Ali Khan joins Shubha Mudgal on the daunting vocals. It is an infallible combination. The soundtrack of Ramchand Pakistani is not very extensive - barely four original songs and an instrumental. But what takes it a step further is the selection of classic folk songs from Sindh that lend the album an authentic integrity.
It is unfortunate that folk music has withered away into the background while other genres have moved and found a voice in mainstream music. Needless to say, there is immense talent in the rural deserts of Sindh or the distant, culturally rich villages of Punjab. With Ramchand Pakistani, traditional folk music, is dug up and reinvented to fit today's times without loosing its edge. Lingering flutes and sweet woodwinds, Ravanhatha - a two string stick fiddle - and various beefy percussions such as North Indian drums, matkas and possibly others meet acoustic and bass guitars and keyboards to form a dreamlike and beguiling soundscape.
Like the film that is spun around the borders of India and Pakistan, the soundtrack too meets experts from India and Pakistan for its creation. Another man who must be mentioned is SM Shahid, the musicologist who plays the role of consultant to this ambitious and sonorous record. The album not only incorporates folk influences but also delivers three iconic numbers from legendary folk artists like Allan Fakir, Ustaad M Jumman and Mai Bhaagi as a tribute. One can hear Ustaad M Jumman's 'Yaar Dhadee', Mai Bhaagi's 'Neem Key Neechay' and Allan Fakir's 'Tarrin Paunda' on Ramchand Pakistani OST. These are songs that listeners in Pakistan may know well but for listeners abroad, these are unknown numbers. Ultimately it is this music that is a true reflection of the vast culture and tradition of Pakistan. Ramchand Pakistani has given these songs and these folk legends a platform that will take them to the world. With all these giants of music tied together on one album, with well-crafted songs, it makes this OST one of the finest ever. The wall of sound The intricately constructed sound of Ramchand Pakistani never wallows in its own melancholy. It weaves a magic that changes moods sporadically. Whether it is the tragic and somber 'Phir Wohi Raastey' or the colourful 'Teri Meri Preet', the nostalgic tale of land that is 'Meri Maati' and the majestic 'Allah Meg Dey', the magic is persistent throughout this outstanding record. The video of 'Phir Wohi Raastey' is running on airwaves these days and it is easily one of the 'best' tracks Shafqat Amanat Ali Khan has ever sung.
While the musical arrangements that make most use of percussions and the bluesy flute with Ravanhatha's subtle entrance in the middle, form the structure of this tortuous tune, it is the voice of Shafqat Amanat Ali Khan that elevates this song to a different level. With Shubha Mudgal in the background, the song belongs to Shafqat as he sings, "Phir wohi raastey/Phir wohi rahguzar/Jaane ho ya na ho mera ghar woh nagar/Yeh kahani nahi jo suna doonga mein/Zindagani nahie jo gawadoonga mein (Once again, those roads/ Once again, those pathways/ I do not really know if that land is my home / It is not just a tale that I can simply narrate/ It is not just a life that I can simply lose)" - he brings a level of depth, touching inner despair in ways inconceivable.
Changing lanes, the album drifts away into something lighter and truly beautiful with 'Teri Meri Preet', a song filled with love and romance. And here one encounters Shubha Mudgal in all her glory, singing the words with as much conviction as with power. The striking melody, sonorous and lighter musical tones with meatier drums in full force and coupled with poetic notions of an enduring love makes 'Teri Meri Preet' a full notch above average love ditties. There is an undeniable and earnest charm to this song. If 'Teri Meri Preet' sees Shubha on a slightly restrained note, on 'Meri Maati' she lets go completely. The somewhat subdued number that reflects on the overwhelming love most people possess for their soil and the identity that remains attached to it is and a condition where that soil, that world is taken away, leaving one with a feeling of an irreplaceable loss, is captured by Shubha magnificently. And then finally… the magic happens, the tune, which unites the vocals virtuosos Shafqat Amanat Ali Khan and Shubha Mudgal together. 'Allah Meg Dey' is a departure from the melancholic notes of 'Meri Maati' and again one finds shades of hopefulness. Complimenting each other's vocals, Shubha and Shafqat deliver like pros. This ornamental ditty that's at once intimidating yet inviting in its complete splendor. And finally there is 'Ramchand Ka Safar' an instrumental tune, grand in sound, filled with the tender flute, weeping Ravahatha and a mélange of other instruments, evoking the figure of a lone boy walking across a stranded street. Mysterious at times, haunting at others, it's as powerful as the rest of the songs. With Shubha's slight humming in the background and dialogues from the film interspersed to add more character, its commands attention.
The beauty of this album is not just in its meticulous treatment of each song but also its drifty character. From familiar territory towards the unknown, it ultimately finds its way into your dreams, reminding you of ancient folk tunes and the power of tradition that you may have forgotten. For the director, Ramchand Pakistani is another milestone. If Raincoat was drenched in the theme of yearning and Choker Bali was about the regal, Ramchand Pakistani is about identity and loss. Heartfelt and poignant, the album catches the emotional ambiguity at the soul of the characters that are spun around two borders, struggling for survival against adverse situations.
Bridging the divide The score of Ramchand Pakistani stems from two sides of the border - India and Pakistan. And it is a reflection on the film itself that connects stories and people from around the world. At the press launch of the music, one connected with Nandita Das who spoke of her delight working in the film, vis-à-vis a telephonic conversation from Bombay while Mehreen Jabbar thanked the supporters of the film from New York. That is a reflection of how Ramchand Pakistani has helped in bridging divides and bringing people together. The film and its music may not be boasting of many superstars but it is this kind of a project that has already put Pakistan on the map. Ramchand Pakistani may not have the ingredients to become a box office moolah spinner, but it is a film that will reflect the power of sensitive storytelling that Pakistan can be proud of. Most importantly, this film is a collaboration in the truest sense. Indian actress Nandita Das shares frames with Pakistani actors with Mehreen Jabbar at the helm of this project. Even the music collaboration is not a one-off where a Pakistani song is incorporated in a film because of its popularity while musicians and music directors disagree on the rights of credits. Ramchand Pakistani OST is exactly how a collaborative music album should be. Experts meet from both sides of the border on a common page and together create a complete album. This is not just another Bollywood-meets-Pakistani pop music effort. And getting Shafqat Amanat Ali Khan from Pakistan and Shubha Mudgal from India is a musical casting coup. Two of the most powerful singers from the subcontinent not only unite but also sing original numbers. Ramchand Pakistani OST is truly inspired, beautiful and extremely intelligent. It is an album that commands attention and we better listen up!

Source : http://jang.com.pk/thenews/jul2008-weekly/nos-06-07-2008/instep/mainissue.htm

Album Review: Rahat Fateh Ali Khan - Charkha

Background: Rahat Fateh Ali Khan is no stranger to the audience of Indian and Pakistani communities the world over. Born in 1974 at Faisalabad, Pakistan, Rahat Fateh Ali Khan was tutored by his uncle, the late Ustad Nusrat Fateh Ali Khan, in the art of classical music.

An extremely gifted child, he started his musical raining at the tender age of seven. Under the tutelage of his illustrious uncle, he went on to do his first stage performance at the age of 11. After two decades of captivating performances for international audiences, Rahat Fateh Ali Khan is today a star in his own right, one whose art is thoroughly appreciated worldwide.

Amongst his most notable achievements is his contribution to the soundtrack for the 1995 Hollywood film Dead Man Walking in collaboration with Eddie Vedder, the lead singer of Pearl Jam, alongside his uncle Ustad Nusrat Fateh Ali Khan. In 2002, he worked on the soundtrack of Four Feathers in collaboration with James Honor.

More recently, he has worked with Mel Gibson, providing backing vocals for the soundtrack of Apocalypto. In addition to the above, Rahat Fateh Ali Khan has received many nominations and awards in India for his soulful music. (Quoted from the sleeve of the album Charkha).

The Album

Upon learning that Rahat Fateh Ali Khan has come out with an album, I decided to give it a listen. Having heard his mesmerising vocals in at least one song in every hit that comes out of Bollywood these days, my best bet was that the album wouldn’t disappoint.

Rahat sounds at best to be ‘going through the motions’ on what is supposedly his debut non-film album (excluding his qawali volumes). He appears to be having an off day(s) while recording the album as there is no way one can compare his efforts on this offering to earlier hits such as Jiya Dharak (from the film Kalyug), Jag Soona Soona (Om Shanti Om), Naina thug lainge (Om Kara) and O Re Piya from the lesser successful (Aaja Nachle).

The fluency with which one witnesses him deliver hits is just not present here. Some of the tracks appear too influenced by his recent attempts to sing for Hollywood, which unfortunately puts spirituality in the background rather than in the foreground. Songs such as Rang Rangeela, Tere Bina and Kanday Utay seem to suffer from this phenomenon and are in non-conformance to the greater scheme of this qawali-pop album. Even Rahat seems aware of his shortcomings on the album and has attempted to make up for it by adding his biggest hit to date, Jiya Dharak Dharak, as the finale on the album.

Negatives aside

Dunga Pani, a song penned by Rahat himself, is a harrowing ditty with a bluesy composition that stands out among songs that appear mediocre at their very best. It definitely does justice to Rahat’s mantle of being the sole-successor and pupil of the legendary maestro Ustad Nusrat Fateh Ali Khan. So does the pop-rendering of the sufi-folk kaafi number, Sainyaah (written by mystic poet Shah Hussain).

Another saving grace is the album’s title track which sounds divine (even the remix-techno version) simply because of the poetry of Bulleh Shah.

Another positive is that the composition of the entire album is credited to Rahat which means that unlike certain other Pakistani musicians, he hasn’t yet succumbed to the charms of Indian composers.

Bollywood state of mind

At times, Rahat’s ‘please Bollywood’ frame of mind seems to dominate certain compositions and they appear more made-for-Bollywood rather than this album. Such filmi songs include Morre Aangan, Aaj Hum and Na Janay Kahan which lack the otherwise free-flowing rhythm that is a requirement of qawali music.

Instead Rahat appears to be trying to impress with a more eastern-classical ghazal style mixed with filmi-pop. Hopefully, this isn’t going to be his future direction for musical production. It is pertinent to note here that this frame of mind seems to have an impact on the entire spectrum of Pakistani music and is responsible (partly) for the shuddering halt (of late) to the progressive development of the Pakistan music scene.

Why remix?

As regards remixes of two of the album’s songs, a note of caution: Anyone who has heard originals will testify that remixing never actually improves the quality of the original song, although at times it does create a work of art on a very different scale. Then again, why remix when the original isn’t the best song in the world to begin with.

In short, this album isn’t his best piece of work and will please only the most ardent fans of Rahat Fateh Ali Khan.

By Savaiz Bukhari
Dawn

CityFM89 Reviews AJ's New Album Laut Aao

i just found the album review of Laut Aao done by CityFM89. Check out what they are saying about the album and decide yourself its true or a lame.

Ahmed Jehanzeb: Laut Aao 4/5
Music Reviews
1 / Jul / 2008
Unlike most of the other classical fusion singers, Ahmed Jehanzeb has a knack of writing extremely catchy melodies and coming up with some very fresh ways to arrange them. What I like most about Ahmed’s work is the thought that goes into every song, there are layers of backing vocals and instruments that give his songs a lush orchestral wash without losing any of the pop sensibility. The opening track “Chandni Raatein” will have you singing the chorus long after its over, it’s a fun cheerful number and sung with a lot of character. “Main Aur Tu” has classical raag singing layered over a kicking beat that goes into a soaring orchestral chorus.

While “Bol Mahiya Ve” is a little uninspired because of its forced desi-ness, songs like “Laut Aao” have a funky groove that is soothing and sexy. I don’t approve of having too many remixes in the album, but thankfully this one has only 3 and interestingly enough, one is a “blues mix’ of “Tere Bina Jeena” which at the very least was something different.
This is a great album in every sense of the word. It has exquisite production that really brings out wonderfully crafted melodies of Jehanzebs songs. Jehanzeb progresses with every piece of work he puts out and this album should be regarded as one of the best releases of the year.

Source : http://www.cityfm89.com/website/print.aspx?pid=393