The time is now

Only a few existing bands can boast of a career spanning two decades in the Pakistan music industry. Though thick and thin, and lifetimes of many rock bands, Strings have been a venerable force at the heart of our modern music industry.

 Similarly, Atif Aslam has set himself apart from the rest of the pack. After a tumultuous breakup with Jal the band, he has gone on to make his own mark in the music world — in Pakistan and beyond. Now the two powerful entities join forces to release Ab Khud Kuch Karna Paray Ga, a music video (or anthem) describing the current situation and state-of-affairs of our country.

The band wrote the song keeping in mind that it would be a collaboration, and the only person that they had in mind was Atif Aslam. It was his broad appeal as a musician which created the interest — and working with the young musician proved to be worthy experience. Speaking of collaboration, there was one more person Strings was very eager to work with: director Jami.

Both Bilal and Faisal praise Jami’s understanding of the vision of Strings, “Jami is a part of Strings. He understands our ideas and tastes; and most of the time our concepts are very similar,” said Bilal.

Jami reciprocates by saying, “Strings are family, I just can’t say no to them.” He added that they approached him with an idea about doing something for Pakistan in terms of an anthem or a message. “We decided to go completely basic with this video because that’s the only way the concept could have come across. The video features powerful imagery that we haven’t re-created — and instead got from news channels.”

The video of Ab Khud Kuch Karna Paray Ga is very simple but hard-hitting in terms of content. The band and Atif are shot in and around Karachi buildings. It’s kinda old-school like that which is pretty reminiscent of the times when music videos were just that — shot around Karachi with just the band singing along.

The truly stirring stuff is when we see the news footage: suicide blasts, violence, corruption, etc. Granted it may be clichéd but that is exactly what the band wanted. “We always show the pretty side of Pakistan in most of our music videos and never the real stuff,” said Faisal. “I think we need to face reality and face our problems,” Bilal added. “Strings have always been a very romanticist band, we’ve never been politically charged — until now.”

“Currently we have quite a few problems which led to the decision of what to show and what not to show. We didn’t want it to be overtly graphic that people would just be turned off by it,” said Jami. “So we selected a couple of shots just to get the message across.”

And what about the message? “The video itself doesn’t have a concept — it’s a neeyat for all of us. The band had this idea of what it was going to be and it was pretty clear to them; we need to do something for Pakistan and we need to do it now,” said the director.

“The easy way out right now,” Bilal added, “would be to go abroad and make music. We’ve done that. But now because of what’s happening here, we’re staying right here.”

However the band admits that because of the current conditions of the music industry, it is now relying on the most powerful medium of them all: the music video (and in part television) to spread their music. “Our focus is music videos now. Simply because it is more effective than churning out a 10-song album. With albums you tend to spread yourself too thin, so we’ve decided to focus on releasing singles — and it is better to have your attention on one project or song at one time so that you get a better results.”

Faisal Kapadia added, “Also the current situation is very bleak. On all levels, whether it’s the music industry or the political landscape. All we hear is people talking about change and not actually taking that first step to change. Music videos like these can inspire a first step in people. And it doesn’t have to be a violent first step.”

In Ab Khud Kuch Karna Paray Ga the content featured is from actual footage which might give it an extra edge in terms of credibility — but will it do good with the masses? The initial response to it is mixed; some love it outright whereas others call its rawness as mediocre.

However, Strings, Atif and Jami are very serious about this music video and its message. Are we seeing a music revolution in the making? Only time will tell. “We’re working on another single at the moment,” said Bilal. “It’s going to be even bolder in terms of concept.”

It's good to be Aunty Disco Project

Last weekend Aunty Disco Project performed for two back to back nights as Omar Bilal Akhtar, Yasir Qureshi, Ali Alam, Rahayl Sidikey and Giles Goveas took to the stage at the PACC in Karachi. And if that wasn’t enough, the following night they were featured on Coke Studio 3 (CS3). It’s safe to say things are definitely looking up for them.
The concert made for a very intimate show. It’s something that ADP has always excelled at — the band members always talk, cajole and have fun with their audience. It hardly matters to them if people show up or not because ADP fans are always there near the stage to cheer them on.

Being sponsored by a popular audio equipment company has its perks — the band had at its disposal a state-of-the-art sound system and they were their own sound engineers. Instead of having to rely on somebody else, they could tweak their own sound on the go.

The sound itself was quite remarkable, though at times Yasir’s darbuka seemed to drown amongst the rest of the music. However, the bass, which often tends to drown out, was quite prominent. Overall, the sound was very good considering it was a small stage.

The 15-song playlist that the band performed that night included Dastaan-i-Dil, Raat Jaagi, Jaane Wale, Hum Na Rahe, Mujhe Sahara Do and Kisi Aur Kay Intezar that showcased its new sound. Even established tunes like Sultanat and Nazar were performed. Joining them on these performances was all-round musician Miqdaad Mohammad on the saxophone. His subtle influence was something that really infused life into the concert.

Ali Alam also performed a special song that he wrote some 10-odd years ago. Citing that Kitnay Vaday still reflects present times, he said it only made sense to play it today.

They performed a bunch of covers that were very interesting: Madonna’s Like A Prayer (a rocked-up version), a funky cover of Chromeo’s Night by Night, and a very special cover featuring DJ Talal Qureshi (Yasir’s brother) of Aerosmith’s and Run DMC’s Walk Like This. They closed the set with a medley of great hits which drew cheers from the crowd.

These past few years, ADP has taken a visible 180-degree turn on its vision by shirking away from record companies, relying heavily on radio plays, bringing out their own album, etc. The band had a much more rebellious attitude then than it has now. They’ve worked hard to come this far, getting gigs such as CS.

But all has not been well on this journey. After an amicable split with Imran Lodhi who then left for Canada for further studies, the remaining band members could not imagine that they would never see him ever again — the singer-songwriter passed away in Canada earlier this year. Drummer Omar Khalid also parted ways with the band to settle abroad. Rather than fall with the hits, the band mustered on, drawing in not two but three replacements —Ali Alam (singer-songwriter), Rahayl Sidikey (bass) and Giles Goveas (drums). This drastic change would ultimately have an effect on ADP. The beats are now stronger, the songs more melodic and the band actually sounds more rock than it has ever before. Especially more towards the ’90s rock.

Ali Alam brings in his own songwriting aspect to the band which only compliments Omar Bilal Akhtar’s skills.

Rahayl on the bass sets the pace of every song. Being an established bass player, he was the much-needed missing piece that the band now finally has. Also, we’re getting to hear more of Yasir on percussions and the darbuka. He’s a unique element to the band and it’s his input that sets the band apart from the rest. Not to tread over Omar Khalid’s drumming for the band, but Giles approach is much more intense. His beats are packed with layers that help bring about the rock in each of the songs they perform.

ADP’s CS3 performance was far better than some of the established bands we’ve seen. Rather than playing a cover — which others have crashed and burned on — it played its own anthem, Sultanat, which has matured along with the band over the years. The changes reflected in it ultimately reflects upon the band itself. Gone is the melancholy-esque rock track; instead the tempo is slightly upbeat and the rock turned up all the way to 11. They’ve extended the song, given it a middle, thrown in a great solo and given each band member the power to flex his music muscles.

After a rather bleak second episode of CS, all it took was a bunch of Aunties to bring the music back! After all, it’s a band like ADP that really brings out the essence of Coke Studio. Young band, wide audience, established producer; you just can’t go wrong with that mix.

So all in all, quite a good week for the band. And to top it all off, they are all hard at work on a new album. It’s not over for the Aunties just yet.

Dawn Life Styles Special: Phone Packages

Kamijee -- Jeevan

Kamijee’s understanding of the music genre and his experience is collected in his new album, Jeevan. It spans over 10 tracks of diverse compositions that are inspired by classical and contemporary music.

The album also features eight musicians across each of these tracks, which goes to show the diversity available in one album. According to his website, “Jeevan is an album that explores various themes. But mostly it is about our true companion that goes with us on the journey of life. This companion is time.”

The title track features Rahat Ali on supporting vocals whereas the track itself is a power ballad complete with prevailing guitars provided by Sayyam from the band Gurus Trilogy. It immediately sets the tone of the album and is clearly the track which has received the most attention.

The following track, Tum Ho Khafa, features Ali Raza on vocals. Though the track is more of the same, it is the vocal camaraderie featured on the track between Raza and Kamijee that plays out interestingly. The lyrics of the song are provided by Shoaib Mansoor.

Kamijee has a unique sound, and at the beginning of the third song, at the strum of the sitar (played by Imdad), you realise the effort he has put in to make each song sound unique. Again, Sayyam’s guitars under careful direction by Kamijee, bring about a powerful force within the song. This time they are accompanied by the vocal rendition of Mohammad Ali.

Na Janey features Glen John (Gurus Trilogy) on vocals whilst Sayyam continues to rock it out on the guitars. The track has a foot-tapping melody, making it probably the most infectious track on the album.

Arooj Aftab is featured on the ever-so-tricky English track. It’s not surprising that Kamijee ventures towards the English language on this album, he’s spent the last six years abroad and the album itself is available on iTunes and Amazon. Unfortunately, this is one track sticks out like a sore thumb. Not because it’s bad, but because it has a feel unlike any of the other tracks. But a good effort put into it nonetheless.

Half-way through the album is You & Me, a track that shows off the musical prowess of Kamijee. A pure fusion and progressive track, it is short and sweet, which makes you want to put it on repeat.

Rahat Ali joins in again on Har Dum, a special track as it features Oud Guitars as played by Naser Mua. The sound of the album changes drastically here and gone are the harsh, loud and rocking guitars. In its place is a much mellow sound as Kamijee lets us hear his melancholy side.

Yeh Shaam features Hamza Jameel on vocals as Sayyam returns for guitar duty. One of the poignant Vital Signs tracks, it has been covered on and off by various young bands. Kamijee’s cover doesn’t sound drastically different, however it does sound more rocky compared to the ballad that it originally was. Definitely an interesting cover to listen to.

And now for the remix. DJ Ali Mustafa provides a sped-up, remixed, popped up version of the title track, Jeevan. Clearly a bid to try on the Indian market, the song feels rather like a cheaper version of the title track which is light years ahead.

Finally, at the end of the album there is a track written especially for Junaid Jamshed. Allah Hu is a somber yet powerful number written by Kamijee himself. It sounds as if at the end of the album he is giving thanks for the chance given. It makes sense as this album is a worthy listen from start to finish.

An Animated Life: Roy Disney

Amid the clutter of today’s glittering computer-generated animation features, only Roy E. Disney stood by traditional 2D animated features.

It was Roy who guided Walt Disney Studios through its recent revival of animation, starting with 1995’s Aladdin, and going through to The Little Mermaid, Beauty and the Beast and The Lion King. In 2003, his association with the Disney Company came to a peak when he stepped down as vice chairman of Disney’s board and chairman of the Disney Studio’s Animation Department. Nevertheless, he continued to be part of projects, acting as a consultant on stories, simply because it was difficult to step away from a company that shared your family name and your very ideals.

Roy’s journey with the Disney Corporation began when the company itself came to life. He was only seven years old when his father, Roy Oliver, and uncle, Walter, set up Disney. Young Roy learned both from his father who was comfortable in the shadow of Walt, and at the same time he also learned from Walt himself, who used the spotlight to his own great advantage. It was only natural that Roy too take the mantle that his father and uncle had set up.

In 1952, after attending university and college, Roy landed a job as an assistant editor on the popular TV show Dragnet. Pretty soon, the family business came calling and Roy answered; he joined the Walt Disney Studios the year after and a 56-year journey with the company began.

During this time, he dedicated the first 20 years to nature films, including the Academy Award-winning True-Life Adventure features The Living Desert and The Vanishing Prairie. One of his short subject films, Mysteries of the Deep received an Oscar nomination. It would be the first of his second Oscar nods.

After the death of the founders of the company, his father and his uncle, Roy desperately tried to make his own place in the company. However, it would seem that the Disney company and Roy would have two different paths to take. Roy left the company in 1977, but remained on its board as a director, a position more to do with photo opportunities rather than actual say in the company. It was also around this time that the company dwindled down from its glory years. But Roy had different plans.

Disillusioned with the Disney management, Roy then diverted his attention and became a successful financer. Along with his partner, Stanley Gold, he invested in various businesses and not only gathered enough cash to bring in radical changes at Disney, but also the inspiration to do so. Roy allied himself with the billionaire Bass family of Texas, returned to Disney’s board and forced out the studio management, paving the way for the hiring of a new team led by Michael Eisner, Frank Wells and Jeffrey Katzenberg. Katzenberg would later on be forced out by Eisner, and would form his own studio along with David Geffen and Steven Spielberg under the name DreamWorks.

As the chief executive, Roy set out to revive the company as an animation giant. One of the first steps included a $10 million investment in a in a digital ink and paint system developed by Pixar. Thought it seemed like the right thing to do, and a minor decision, the investment in Pixar would not only pay off, but also come to compete with Disney on equal terms as an animation goliath.

There would be more upheavals for Roy as tensions between him and Michael Eisner also rose. Eisner, already experienced once with the disillusionment of Disney in the past, had enough of it. He resigned from Disney in 2003 (with Eisner following in 2005) and stayed on as director emeritus and a consultant, titles he held until his death.

Roy E. Disney died on December 16, after a long battle with stomach cancer.

Originally published here.

The Phantom Rickshaw and Other Eerie Tales

Rudyard Kipling is best known for the story of Mowgli from the aptly titled novel, The Jungle Book. It was Kipling’s fascination with the Indian subcontinent during the height of the British Raj that truly set him apart from his peers.

The Phantom Rickshaw and Other Eerie Tales comprises seven short stories which were originally published nearly 125 years ago but remain timeless, for readers of the subcontinent in parti-cular.

Kipling was one of the great subcontinent romanticists of his time. Born in Bombay, and returning to British India after his education in the United Kingdom, Kipling joined The Civil and Military Gazette as an assistant editor at the age of 17. It was these times, during the 1880s, that the British Raj was at the peak of its glory and splendour. The Indian subcontinent was part of the British Empire and for an Englishman like Kipling the cultural stories of this exotic land made him feel more at home than the newspaper headlines he was printing.

It is because he drew so heavily from his own experiences that nearly all of Kipling’s stories are told in the first person. And because of this writing style, the reader is automatically drawn in and mesmerised with the adventures narrated.

The short stories collected in the book include ‘The Phantom Rickshaw’, ‘The Strange Ride of Morrowbie Jukes’, ‘The Return of Imray’, ‘My Own True Ghost Story’, ‘At the end of the passage’, ‘The Man who would be King’ and ‘Without benefit of Clergy’. All of these are set in and around exotic lands and times; from the exciting journey across the Khyber Pass into what was known as Kafiristan to the many colourful characters that come across the reader’s way.

There are fakirs, princesses, soldiers, sepoys and other fantastical yet real characters that populate his stories.

In the preface Kipling makes it clear that the book ‘is not exactly a book of downright ghost stories’. He admits that ‘it is rather a collection of facts that never quite explain themselves.’ Out of all the stories, the most notable is ‘The Man Who Would Be King’, which tells the daring tale of two Masonic conmen who venture upto the Khyber Pass and beyond it in search of the elusive Kafiristan.

The story was eventually adapted for the big screen in 1975, in a film directed by John Houston and starring Michael Caine and Sean Connery.

Critics refer to Kipling as being classist, racist and even sexist at times. Most if not all of his stories do have a tinge of these elements, but then such were the times in general. Nowhere in literature does the British attitude towards the people of the subcontinent, and the region itself, become more apparent. Fellow British author Eric Arthur Blair (better known as George Orwell) called him the champion of British imperialism.

There are no close comparisons to the works of Kipling, though many authors have written about various cultures. What separates him from the rest is his total dedication and devotion to the form of short story.

In fact, Andrew Rutherford called Kipling ‘an innovator in the art of the short story’, a fact that would be recognised by the Nobel Foundation which awarded him the Nobel Prize in Literature in 1907.

The Phantom Rickshaw and Other Eerie Tales makes for a gripping read, especially for children. It features an introduction by another English author born in India, Ruskin Bond.

Bond writes ‘It is Kipling’s brilliance as a storyteller and stylist that carries the reader along and obscures some of his faults.’ And concludes with: ‘At times his own heart may have remained hidden, but he looked closely into the heart of others. And the rest was genius.’ This book proves Bond right.

The Phantom Rickshaw and other Eerie Tales
By Rudyard Kipling
Introduction by Ruskin Bond
Penguin Books, India
ISBN 0-143-06790-0
170pp. Indian Rs199

Originally posted here

Going Kostal: Omran Shafique

A member of Co-Ven, frontman for the band Mauj, a guitarist for Ali Azmat, guest musician on Coke Studio (and part of the house band, a year later as well), and member of a musical collaboration known as Kostal. No, these aren’t a group of people, in fact, all of these musicians are actually one and the same; Omran Shafique.

When not playing music, Omran is laid-back and the epitome of comfort. Playing on stage, he is a beacon of raw musical energy, channeling it through his guitar. There’s absolutely no denying his musical talent, some of his fans have gone on to say he is the next Salman Ahmad, though musically they are worlds apart.

Omran, or Momo as he is called, started off with Mauj sometime in 2000 in Houston, Texas. In 2004, they released their first music video with Khushfehmi and soon after recorded an album which seems to be stuck in limbo. It’s a stigma that has attached itself with Omran, whose hard work is now buried somewhere in the annals of a record label company. “The point is that the label isn’t even telling me what the release status is, whether they will release it or not,” says Omran, “and that is incredibly frustrating.”

He refers to Mauj’s first album, Mauj in Technicolor, which so far has only seen the light of day on the internet through Amazon and iTunes, but has yet to see any form of release in Pakistan. “That’s the way it’ll be in the future,” says Omran, “more and more musicians will end up going through Amazon and iTunes, simply because it gives the control and the profit to musicians rather than record labels.” He quickly adds, “Being a musician in Pakistan is not about making money, you do it to make music and that’s about it.”

And that’s been the aim with Co-Ven, a true underground band that makes music for the sake of making music, and is in no way limited to Pakistan. But how does Omran balance his music between Mauj and Co-Ven? “I’m sort of an honorary member of the band, I don’t have to be there all the time, but when I do get the time, I’m always there.” Talking about Co-Ven’s new direction he said, “I’m loving the sound of the new songs they’ve been doing, and I hope to perform with them sometime soon.”

As if Co-Ven wasn’t enough, and the fact to deal and coordinate with a band in another city, Omran is now working hard on bringing Kostal, a band on another continent altogether, to our coast. Kostal began when Omran received an email from a producer/DJ in Texas who wanted to work with him. Omran replied and the two of them met up.

What followed was a small meeting where they decided that they should work together, but for Omran, Mauj was a priority. “I remember I was moving to Pakistan to try and get Mauj off of the ground,” he said.

Taha Malik (the producer/DJ) added, “And I was just about to get my set up off the ground, making my own personal studio. But once that was done, I started to work with other musicians to get Kostal off the ground.” These other musicians included the likes of Labh Janjua (Mundian Tuh Bachke-Punjabi MC feat Jay-Z), RDB, Punjabi Outlawz, Tehseen Javed, Sukhbir and others.

In 2005, they finally met up and recorded their first track together as Kostal. Jaan Jaye, which has also been made into a video recently (directed by Uns Mufti), was the result of that first recording. So what makes Kostal different from Mauj or even Co-Ven? “It’s more hip-hop based stuff, it has a very electronic sound,” says Taha. “I’d ask Omran to play a chord or he’d play me this progression and then I’d just mix it up.”

The experience for Omran was also surprising, “Normally, while recording music, I would play stuff and jam, but this was different. Whatever I played with Taha he’d just twist it around and place it in a different sequence entirely.” The resulting music is an elaborate mix of rock and hip hop, a genre of music unheard of locally thereby making it a breath of fresh air.

Once the song was recorded, Kostal finally took a form of its own. “We want to collaborate with everybody from around the world,” says Taha, and once they start listing down their recent collaborations one might think they already have done so. With collaborations with such diverse artistes such as Samy Elmousif, a French Morrocan rapper based in Canada; Shab Malih a Ra musician (a form of folk music mixed with Spanish, French, African-American and Arabic) and even the likes of Stereo Nation, whom they have recently worked with. “It was an exciting experience,” says Taha, “I mean, I was dancing to their music at weddings and now I’m working with him.” The track which will appear in a Gurinder Chadha film will bring Kostal to the global playground of musicians, one which has always been the goal of the band. “We want to work with as many different local and international musicians,” says Omran, “and that’s what Kostal is all about.”

The band is finishing up on their debut album and will most likely be released electronically, worldwide, through Amazon and iTunes later this year. Jaan Jaye’s music video has already been shot, and according to Omran and Taha it’s a video that shouldn’t be taken too seriously. “It was Uns’ concept and it’s just me and Taha acting like a bunch of rappers,” Omran said about the video.

Although now that even Kostal is seeing some sort of finality, what about Omran himself? According to the musician, he is on the fence as to whether he stays in Pakistan or relocates back to Houston. It all depends on the fact whether or not he still enjoys being a musician. “It’s just so different now. I’m finding myself picking up the guitar for reasons other than just playing music and having fun.” Granted, extra frustration must come from an album which he worked on so hard to release, and is now stuck nowhere. “I’m actually sick of the album, I’ve heard it so many times,” he says, which is naturally true. Omran isn’t the kind of musician that sticks around with one kind of sound for long. It would seem that the status of the album is no deterrent for Omran who already has started to work on another Mauj album. “I have about five demos ready and waiting,” he said. “I just need to take some time out for this and start work on it. And naturally, we want to be doing more shows.”

More seems to be a key word with Omran. Whatever the format, whatever the band, he is continuously looking forward to making more music. And although an unreleased album might be an anchor of frustration for him, Omran’s not the kind of musician that is deterred by such an anchor. In fact, more than anything, it’s given him more and more opportunities as a musician. Let’s just hope he sticks around in Pakistan and continues to explore more music opportunities, so that his audience has a chance to see and hear him.

A Tale of Two Cities

By Sonya Rehman and Khaver Siddiqi

“It was the best of times, it was the worst of times”. Charles Dickens’ literary masterpiece, ‘A Tale of Two Cities’ begins with these words. Though the novel has a theme of self-sacrifice and resurrection, the starting line of the novel can be applied here in Pakistan, to the two of its largest and most prominent cities; Karachi and Lahore.

Indeed both cities have seen the best of times and the worst of times, as far as the music industry is concerned, but how do these cities relate to one another? How does their music combine and form the modern music scene as we know it?

The music that originates from the Punjab is as intricate as its historic architecture. Lahore, the Garden of the Mughals, has seen a myriad of melodies, genres, and vocals alongside a variety of musical instruments (both new and old) over the past few decades. This has given rise to the city’s diverse sound of music and rapidly evolving culture.

From the earthy qawwals of Nusrat Fateh Ali Khan, the Punjabi ditties of Abrar-ul-Haq, the pop sensations; Atif Aslam and Ali Zafar, the underground Lahori grunge/rock revolution (of a handful of bands) in the early 90s and to the revolutionaries of yesteryear – Noor Jehan, Farida Khanum, Ustad Amanat Ali Khan and many more. In addition, the dhol maestro, Pappu Saien, and the master of the ek tara, Saien Zahoor (both of whom have shared their glory performing for people at shrines to concerts), to the fresh crop of commercialized Lahori pop acts (of both the past and today), to the jaded, angst-ridden rockers/bands such as Shahzad Hameed, Call, and eP…music from Lahore has been assorted at best.

Infact the Lahori music scene has churned out so many musicians over the years that it would be almost impossible to list each band/musician down. Nonetheless, each has contributed to the country’s music scene on a macro level – making it what it is today; pulsating with promise.

Even though things have been on the downslide – given the worldwide economic recession and the security situation within the country – our local musicians have still managed to stay in the game by taking out albums (some of which are completely self-funded), and playing at concerts and gigs throughout the country.

Therefore, given the innumerable genres, the music from the Punjab cannot really be ‘defined’ as such, rather, just ‘felt’, and taken in. And perhaps this is what sets the city of Lahore’s music apart from Karachi’s music scene. Where Karachi carries its very own, signature sound, melodies from Lahore come wrapped in unrequited love, Sufi-istic devotion, and nostalgia – which oft reminds one of luminous diyas, and fresh jasmine.

On the other hand, Karachi as a city can best be described as a potpourri of people, traditions, lifestyles and history. This stepping stone of Mohammad Bin Qasim, a picturesque city of light and lightlessness, has its own distinct sound which permeates through the air and settles amongst its populace.

Music has been a vital part of this city, whether it is the sound of the drums at Abdullah Shah Ghazi’s Mazar or the tone of socialism in Faiz Ahmad Faiz’s poetry, the music (and its words) very much echo the mood of the city. It is somber and realist, laced with satire and melancholy. Karachi music has no definite history to speak of, such as Lahore has. This is because compared to Lahore; Karachi is a modern city with a modern sound. It is the sound of realism, sometimes the harshness of reality and sometimes an echo of its soul.

The music from the city by the sea is gritty, real and often makes many political statements. ‘Social Circus’ by Ali Azmat is an album that, in recent times, speaks this city’s language. Take this album and drive along the streets of Karachi and you’ll find yourself traveling the city with an accompanying soundtrack. From the raging guitars of the intro track accompanied by the blaring W-11 and all, to the calming rushes of the waves at the coast, this album really does speak the language of this city.

But its not just Azmat’s album that beckons the sights and sounds of Karachi, bands like Strings and Junoon evoke a particular Karachi sound. In terms of heritage, giants like Allan Fakir and Abida Parveen evoke a rich texture unto the language of the entire province. Going further deep into heritage we come to the mazars of Karachi, most particularly the Abdullah Shah Ghazi, the monument that is perhaps the epitome of this land, long before our time and the British Raj. One will often find people from all walks of life loitering about the mazar; some simply paying their respects through prayer whereas others through their stories of song. And it is those stories of song that truly paint an unseen picture of the city by the sea. No matter where you are in the world, if you hear tracks by these artistes or the songs of these faithful, one would be compelled to think of Karachi.

Comparisons between Lahore and Karachi are ultimately inevitable. Though we are one nation and one people, we speak many languages and we have a collective history of many generations. Though the two cities are so vastly different, so vastly apart, they are indeed just branches of the one same tree.

In Pakistan, we have at our disposal, a thoroughly rich and diverse cultural heritage, which has blossomed over the decades, if not centuries. From almost every facet of what ‘art’ encompasses – such as; music, fashion, poetry, architecture and so on.

That being stated, there is a hidden but devastating war taking place. Unlike our neighbors that celebrate, support and cherish their culture, our culture is slowly being eroded by ourselves. Our children are more familiar with Miley Cyrus’ songs and Aamir Khan’s 15 minute memory that they are ambiguous and lost to the rich culture that is their own.

And what is the result of that?

The result is we are now on the brink of losing our identity. Our art and culture must be held on to with an unflinching zeal. It must constantly be nurtured, nourished and cultivated without letting and allowing ‘borrowed culture’ from overseas sully it. For in these trying times, art seems to be our only release, making everything, at the end of the day seem all the more worthwhile.

The Big Life: Dom DeLuise 1933-2009

Dominick "Dom" DeLuise was a man of many talents. He was an actor, comedian, film director, television producer, chef, and author.

DeLuise was born in Brooklyn on August 1, 1933 and made his acting debut aged six in a school production of Peter Rabbit. His obese shape won him atypical roles at the time, including that of a coin which had rolled under a bed, and a very young, very fat Thomas Jefferson. Back then, he had no desire to act professionally. Instead he wanted to become a biologist and after leaving school he enrolled at Tufts College to study the subject, but lasted only one term. He immediately joined join Cleveland's Cain Park Theatre in 1952. From there he went to Broadway in 1960 and only four years later he would make his television debut in the "Dean Martin Show." It was the same year that he would make his debut in feature films in "Fail-Safe", a powerful drama about the cold war. However, drama was not his calling.

If there was one thing he excelled at though, that was making people laugh. DeLuise had a broad, slapstick style of physical humor. He derived this approach from his, Jackie Gleason, star of the sitcom the Honeymooners. DeLuise was a master improviser of throwaway lines, gestures and bug-eyed looks of surprise delivered casually with perfect timing. Such a talent was not overlooked, and hence it gave him plenty of opportunities in the entertainment business.

DeLuise appeared in a score of movies and TV shows, in Broadway plays and voiced characters for numerous cartoons. Writer-director-actor Mel Brooks was particularly fond of DeLuise and admired the portly actor’s talent for offbeat comedy. Brooks cast the actor in several of his movies, most notably in Blazing Saddles. He also appeared in Brook’s The Twelve Chairs, Blazing Saddles, Silent Movie, History of the World, Part I, Spaceballs & Robin Hood: Men in Tights.

Brooks called him "A big man in every way. He was big in size and created big laughter and joy." His co-stars would often praise the actor for continuing to joke when the cameras were not rolling; a fact particularly recalled by Gene Wilder. DeLuise appeared with Gene Wilder in several films, including "The Adventures of Sherlock Holmes' Smarter Brother" which Wilder directed. "During three months of rehearsals and prerecording our songs, Dom DeLuise kept us laughing," Wilder wrote in his memoirs. "When the actual filming started, he kept the whole crew laughing, not just with his acting but also between takes. He was the funniest man, in person, that I've ever known."

DeLuise co-starred frequently with Burt Reynolds in such films as Smokey and the Bandit 2, The End, and The Cannonball Run (Parts 1 & 2). They would go on to make nine movies together and ultimately become the best of friends. “A great big piece of my heart is gone," Reynolds spoke about DeLuise, "It seems to be a cliché these days to say someone is irreplaceable, but for me, Dom is."

"He was born funny," said DeLuise's agent, Robert Malcolm. "He knew how to charm you and how to make you feel comfortable." Veteran actress Doris Day, with whom DeLuise worked on 1966 film The Glass Bottom Boat also shared memories about DeLuise. "I loved him from the moment we met. Not only did we have the greatest time working together, but I never laughed so hard in my life."

DeLuise enjoyed considerable success and fame with movies. But his luck with TV did not fare too well. "Lotsa Luck," a sitcom in which he played a bachelor New York City bus company's lost-and-found department custodian, ran for only a year. He also starred in "The Dom DeLuise Show," in which he played a Hollywood barber and widowed single father of a 10-year-old daughter which also ran for only a year. In 1991, he hosted the short-lived syndicated return of the classic comedy-reality show "Candid Camera." That barely lasted two seasons. But it didn't waver DeLuise's attitude.

DeLuise battled a weight problem for most of his life, sometimes weighing 325 pounds or more. In later years, Mr. DeLuise wrote several cookbooks and children's books and occasionally appeared as a television and radio chef. He said his interest in cooking came from his mother. "She was always ready to cook at a moment's notice," he said. "She carried around two meatballs in the bun in her hair." Though he continued to find new ways to make people laugh, the same cannot be said for him trying to maintain his health which continued to deteriorate through the years.

Dom DeLuise died at the age of 75 in Los Angeles on May 4, 2009. He is survived by his sons Michael, Peter and Dave, all of whom work in the entertainment business; his wife, Carol; and three grandchildren.

The Luminous Actress – Natasha Richardson

Natasha Jane Richardson was born on 11 May 1963, the daughter of the actress Vanessa Redgrave and the director, Tony Richardson. Entertainment was part of Richardson's heritage, her maternal grandfather was Sir Michael Redgrave, who himself was a well-known English stage and film actor, director, manager and author.

Richardson's father was producer Tony Richardson. Her aunt is actress Lynn Redgrave, with whom Richardson along with her mother appeared in the 2005 Merchant Ivory film "The White Countess." Her sister Joely Richardson is an accomplished actress in her own right, starring in the hit TV series, Nip/Tuck.

Though she may have been overshadowed by the very public profiles and successes of her family members – in particular her mother's – she too garnered some respect and praise for her own performances.

Her relationship with success was not limited to famous family members. Her first marriage was to producer Robert Fox in 1990 lasted only for two years. During the filming of Nell in 1994, she met and fell in love with Irish actor Liam Neeson. They were married and went on to have two sons.

She was also known for her humanitarian efforts, especially raising millions of dollars in the fight against AIDS. Her father, director Tony Richardson, died of AIDS-related causes in 1991.

Richardson was actively involved in The American Foundation for AIDS Research (amfAR), becoming a board of trustees member in 2006, and participated in many other AIDS charities including Bailey House, God's Love We Deliver, Mothers' Voices, AIDS Crisis Trust and National AIDS Trust, for which she was an ambassador. Richardson received amfAR's Award of Courage in November 2000.

Though her career was not illustrious as some of her relatives', she did have some shining moments on the silver screen. Richardson portrayed author Mary Shelley in the 1986 film Gothic, an adaptation of Frankenstein directed by Ken Russell. The following year she starred opposite Kenneth Branagh and Colin Firth in A Month in the Country, directed by Pat O'Connor. Director Paul Schrader signed her for the title role in Patty Hearst, his 1988 docudrama about the heiress and her alleged kidnapping. Her performances opposite Robert Duvall and Faye Dunaway in The Handmaid's Tale and Christopher Walken, Rupert Everett, and Helen Mirren in The Comfort of Strangers (directed by Schrader) won her the 1990 Evening Standard British Film Award for Best Actress.

In 1994 she appeared in Nell opposite Jodie Foster and future husband Liam Neeson. Her marriage to Neeson brought with it more Box Office friendly movies, such as The Parent Trap (1998) with Lindsay Lohan and Dennis Quaid, and Maid in Manhattan with Jennifer Lopez. Additional film credits include Blow Dry (2001), Chelsea Walls (2001), Waking Up in Reno (2002), Asylum (2005), which won her a second Evening Standard Award for Best Actress, The White Countess (2005), and Evening (2007). Her last screen appearance was as headmistress of a girls' school in the 2008 comedy Wild Child.

On 16 March 2009, Richardson sustained a traumatic head injury, while taking a skiing lesson at the Mont Tremblant Resort in Quebec, Canada. Paramedics which responded to the accident were told they were not needed. Although she returned to her hotel room about an hour later was taken to Centre Hospitalier Laurentien after complaining of a headache, and was transferred from there to the Hôpital du Sacré-Coeur de Montréal in critical condition. The following day she was transferred to Lenox Hill Hospital in New York City, where she died on 18 March.

An autopsy conducted on 19 March 2009 by the New York City Medical Examiners Office revealed the cause of death was an "epidural hematoma due to blunt impact to the head," and ruled her death an accident.

Following her death, there was an outpour of grief and tributes from her friends, family and close friends. Actor Kevin Spacey, the director of London's Old Vic, said: "There are no words to express how tragic Natasha Richardson's untimely passing is for the theatre community." Oscar-winning director Sam Mendes, who worked with Richardson in a Broadway production of Cabaret, added: "It defies belief that this gifted, brave, tenacious, wonderful woman is gone." Ken Russell, who directed her in 1986's Gothic, praised her "ephemeral delicacy and intelligent beauty". Dame Judi Dench said she had a rare "luminous quality", and that Richardson still had great work ahead of her.

Natasha Richardson died in a New York hospital, close to the home she shared with Neeson and their two sons.

Everything that Glitters isn't worthy of Oscar Gold

Every year, the Oscar buzz hits Tinsel Town, and Hollywood celebrates the best of the year's movies.

Though we hear of the best, what about the worst? That's the same question John Wilson asked himself and in 1981 he created the Golden Raspberry Awards (also known as the Razzies), an annual ceremony dedicated to celebrate the worst in Hollywood. It is intended to counterpoint the Academy Awards by honoring (or dishonoring) the worst acting, screenwriting, songwriting, directing, and films that the film industry had to offer.

Bill Cosby, Tom Selleck, Paul Verhoeven, Tom Green, Ben Affleck, and Halle Berry are just some of the stars who have come up to accept the awards in person, and nearly all of them have done so with much vigor and enthusiasm unlike many of their fellow thespians, writers and directors, who totally ignore even the existence of the awards.

But the Razzies are persistent. Each year, they host the awards in a modest ceremony, attended by people of the press mostly. And this year was no different, while we saw Slumdog Millionaire sweep aside The Curious Case of Benjamin Button at the 81^st Annual Academy Awards, at the Barnsdall Gallery Theatre just a day before the Oscars, the 29^th Annual Golden Raspberry Awards were handed out. And this year, it was The Love Guru that was the worst of them all.

Worst Picture: The Love Guru

There's no doubt about it, Mike Myers attempt to create another character after Austin Powers falls flat on its face.

Worst Actor: Mike Myers in The Love Guru

Although Mike Myers has established himself as a sort of character actor, this Razzie will surely prove otherwise.

Worst Actress: Paris Hilton in The Hottie and the Nottie

Socialite Paris Hilton is clearly better at doing nothing than acting.

Worst Supporting Actor: Pierce Brosnan in Mamma Mia!

If you've seen the movie, then you realize that Brosnan clearly made a mistake. Though he had enough of being a spy, becoming the co-star in a musical based on ABBA was clearly not a good idea.

Worst Supporting Actress: Paris Hilton in Repo! The Genetic Opera

Two Razzies for Paris have clearly sealed her fate as a proper actress, but knowing Hollywood, we haven't seen the last of Miss Hilton yet.

Worst Screen Couple: Paris Hilton and either Christine Lakin or Joel David Moore in The Hottie and the Nottie

Just goes to show that either coupling wasn't good enough to save this movie.

Worst Director: Uwe Boll for 1968 Tunnel Rats, In the Name of the King: A Dungeon Siege Tale, and Postal

Uwe Boll is a director from Germany who is notorious for making movies about videogames. Actually, to put it more clearly, he is notorious for making BAD movies about videogames.

Worst Screenplay: The Love Guru written by Mike Myers & Graham Gordy

Though Myers is an alumni writer from Saturday Night Live, and the Austen Powers movies, his flare for writing is clearly fading away.

Worst Prequel, Remake, Rip-off or Sequel: Indiana Jones and the Kingdom of the Crystal Skull

There can be no doubt that Indy's last outing left a bad taste with everyone who saw it. Granted it was filled with adventure, but watching a geriatric archeologist's computer generated body double jump around from place to place, didn't bode well with cinema goers.

Worst Career Achievement: Uwe Boll ("Germany's answer to Ed Wood")

Uwe Boll is such a bad director that he has been honored with a prestigious award for Worst Career Achievement and being ranked right up (or down?) there with Ed Wood as one of the worst directors of our time.

The Razzies are a refreshing award show, clearly showing us that not everything that glitters on the silver screen is worthy of Oscar gold.

Patrick McGoohan: ‘l am not a number. l am a free man.’

His work influenced countless television shows, writers and actors. But it was the late ’60s television series The Prisoner (in which he starred and co-created) that captured the attention of audiences around the world.

McGoohan played the lead character in The Prisoner, known only as Number 6, this role struck such a remarkable chord with audiences that it has continued to reverberate in re-runs, festivals, university courses, doctoral theses and even a quarterly magazine: All this after just a 17-episode run of the show. The show’s legions of interpreters have perceived elements of the cold war, mob mentality, mind control and more in the show.

Broadcast in 1968-69, The Prisoner tells the story of a nameless spy who resigns his position only to be kidnapped as he is about to walk away. He wakes up in the Village, a resort-like community that is actually a high-tech prison. He is dubbed Number 6 and often struggles with the camp authority figure, Number 2, who pressures him to say why he resigned. Number 2 was played by a different actor each time. A remake of the TV show has recently been filmed, with the US actor James Caviezel as Number Six, and Sir Ian McKellen as Number Two.

The Prisoner remains one of the most enigmatic and fascinating television series ever but McGoohan’s career was not limited to it. In fact, it ranged ranged from success on the stages of Londons West End to starring in a popular spy series called Secret Agent in the United States. It was however in the later stages of his life that he gained critical acclaim in motion pictures and other television shows. His portrayal of King Edward I in Mel Gibson’s 1995 film Braveheart was much talked about and he won Emmys as a guest star on Colombo in 1975 and 1990.

Colombos Peter Falk once described McGoohan, who also occasionally worked as a director and writer on the Columbo mysteries, as being “mesmerising” as an actor. “There are many very, very talented people in this business, but there are only a handful of genuinely original people,” Falk in 2004 during an interview. “I think Patrick McGoohan belongs in that small select group of truly original people.”

In 1977, he starred in the television series Rafferty as a retired Army doctor adjusting to civilian life. TV Critics and historians point out that this was probably the main inspiration for the current TV series, House M.D. McGoohan’s The Prisoner is also credited for giving inspiration to shows such as LOST, Heroes and 4400, shows which are multilayered and multifaceted.

McGoohan turned down an offer to be the big screen’s original James Bond, appeared in films such as The Three Lives of Thomasina, Mary, Queen of Scots, Silver Streak, Escape From Alcatraz, Scanners, Ice Station Zebra and Braveheart. He would usually play villains and almost menacingly so.

Patrick McGoohan, a two-time Emmy Award-winning actor, starring in television series, motion pictures and stage dramas, died on 13 January 2009 at St John’s Health Center in Santa Monica, California, following a brief illness

Jumping the Shark

“lt’s great to be back,” says Saad Haroon, stand up comedian. “It’s been ages since I’ve done this and I’m looking forward to do ing more.”

He’s talking about stand up comedy, more importantly, his latest act featuring his new improv comedy troupe. This is the same Saad Haroon that brought us BlackFish, Pakistans first-ever standup improvisational comedy troupe, and now he brings us Shark.

But why create a new troupe? “BlackFish is what it was, and I don’t want to recreate the same thing over again,” said Saad. “That was a different kind of philosophy, with different people. With Shark, we have others — people who are passionate about comedy.” When asked about comparisons to BlackFish, Saad replied, “There is no comparison, that was different and it was a long time ago.”

Finding people for the new troupe wasn’t easy. “About six months ago, I started spreading the word about Shark,” said Saad. “Then the audition process began and it was quite difficult and tedious, because you’re looking for people who have the talent and can easily be taught too.”

Speaking of the process, Saad said, “Once we had everyone then began the training, because with improv comedy you have these strange philosophies and techniques that’s quite different.” And once they were ready, they had planned out their shows.

But a call for charity would have it differently. They recently had their first show at the PACC as part of a charity event. Starting off the show Saad said, “We were supposed to have our first show in December, but we decided that a good cause should come first, so welcome to our very first show.”

The audience welcomed back Saad to his element and welcomed his troupe even more. The show started off with members of the troupe asking for suggestions from the audience on pieces of paper. Sprinkled with the odd celeb in the background, the audience settled in as the show began with Saad introducing his troupe.

Danish Ali joins the troupe after having been with Saad on his TV show. “Danish was the first person to be interested and it’s great having him here.” He’s joined by Sohaib Khan, Sana Nasir, Sohaib Junaidi, Jaffer Hashim, Daniyal Ahmed and Umair Pervez and the troupe is complete.

Overall, the first half of the show was filled with giggles, guffaws and laughs. And although you might have seen some segments before, Saad and his troupe made sure you still laughed.

The show started off with the skit called The World’s Worst. Audience members suggested certain things to be enacted as the world’s worst, such as dogs, break up, etc. It was then the crowd knew they were in for a treat.

It was in the second-half that the show lost its momentum. It was clear that some troupe members were better prepared than others. But it was Saad’s energies that were a constant throughout. A particularly funny skit, Roadtrip to Faisalabad, was enacted three times in three different styles. Star Trek, a Punjabi movie and a kung-fu movie were amongst the audience suggestions and the troupe pulled off all three — with the kung fu one clearly tickling the audience more than the others.

Finally after the show was over, Saad talked about taking the show across the nation. “We want to do shows in other cities, and we have things planned out in December. We’re doing shows in Karachi, Islamabad and Lahore.”

KOI… SUE HOGAYA

Rakesh Roshan is being sued by workers for nonpayment of wages. The case was filed before the California Central District Court on October 7, on behalf of members formally employed by Filmcraft Productions and its two other US associates — Nevada-based Happy Hours Productions and Bollywood Hollywood Production, based in Florida. The lawsuit states: “The 13 members of Local 399’s bargaining unit working on the production of Kites have not received wages for their work on the film during the week ending September 13, 2008.”

The lawsuit further charges Rakesh Roshan and other defendants of violating California Labour Code and not providing a complete itemised pay slip according to the US laws.

The Anurag Basu-directed feature Kites is expected to be yet another location movie, following the trend of many Bollywood features to be shot exclusively around the world. Whilst shooting has wrapped up in Los Angeles, Las Vegas and New Mexico, principal photography is still being shot in India with an expected 2009 release.

In it Hrithik plays a street smart scam artiste whereas Latin actress Barbara Mori plays the mistress and Kangana Ranaut his wife. Rumour has it that he got into a bit of trouble during filming and wife Suzanne arrived on set to keep an eye on him. This is the second time this has happened, the first being in 2006 with Ashwariya Rai on Dhoom 2. So whether it’s father or son, trouble doesn’t seem to be far when it comes to the Roshans.

In his Element... Abbas Premjee

"My first lesson in classical guitar was quite an interesting one," muses Abbas Premjee. "My teacher had given me this assignment, and when I performed it the following week, he said, 'okay, now let's make some music out of that' – for me that was a shock, I thought I was playing music!"

We're sitting at the home of classical guitarist Abbas Premjee in the suburbs of Karachi. Abbas is perhaps one of the lesser known of members of the Kolachi Quartet, the improv fusion jazz group. While the rest are associated with big bands and record labels, Premjee is not that well established with audiences. In the coming weeks, his debut album and video and set to be released. The musician discussed the album, the video and all things classical and jazz.

"I picked up the guitar when I was about ten years old," recollects Abbas, "and I taught myself how to play it. I've been involved in music ever since." A humble hobby soon became a lifelong ideal, as through the years Abbas continued to learn and play the instrument. His early influences were broad, "In those days you would get influenced by whatever was there to listen to, you didn't have a choice actually." But Abbas was not alone in his hobby. "Amir Zaki used to live near my house, we were friends, and I learned a lot from him, and he may have learned some stuff from me." It was during these stern times of the country, the two guitarists would share their arts and guitar techniques; everything from cords, solos and leads.

In the early eighties, the country's music scene was in its conception stage, scattered musicians searched for an output of their fledgling art amid the concrete ruling of martial law. Some would eventually find that release, whereas others would have to wait longer.

Abbas Premjee on the other hand was not going to be part of history, for the moment, "In 1985, I finished my secondary education and left for the United States for higher education in engineering." Though his heart was set to the tuned to the strings of the guitar, his responsibilities to his family had to come first.

At that point in time, many of the country's musicians were poised to take a bold leap into stardom, though ventured into obscuredom. But those that did survive became Pakistan's pillars of pop and rock. Family responsibility however steered Abbas away from music and into the world of engineering. "But I was still playing the guitar though, even when I went to the States, I was a part of a band there. And being part of that band, especially the fact that it was jazz, literally opens your vocabulary in chords and melodies. I didn't however consider getting an education in music there, at that point in time."

But in his senior year, he opted for a class in classical guitar; it would mark a turning point in his musical ambitions. With a classical rock influence and a part in a jazz band in the States, Abbas dove head in to the world of classical guitar, "I had no idea what it was, because it's a pretty isolated little field. It has its own ideology and discipline, and I wasn't exposed to any of that."

Following his first lesson, he was intrigued. What became a single class became another degree in music. And then another. A series of scholarships later, Abbas felt the tug to return to his home. Finally, after nearly 10 years abroad, he did so.

"It was actually a culture shock for me," he recollects, "I was in a specific environment, totally immersed in the guitar and I had come back changed to a changed environment."

First things first, once again Abbas' call to music would be cut short. Family business obligations had to be dealt with first. His family's business was suffering a lot of setbacks and ultimately his father passed away.

In 2004 Abbas Premjee pushed all of his setbacks aside and began to record music. These recordings, or sketches as Abbas calls them, would eventually become the base of Elements, his upcoming debut album. Around this time, he also started to delve deep into eastern classical music. "I thought if I could get into eastern music, I'd get into something that's appreciated in this region." But it things weren't easy for him as he soon found himself in a world of gharanas and being from a house with no music history, learning eastern music would prove to be a difficult task. "Unfortunately, there's a reluctance to impart knowledge out here," he speaks about his ordeal. "I then got a hold of books, the right kind of books that helped me eventually learn."

But Abbas was not deterred and continued to learn music and make compositions. So much so that he procured a mohan veena, a classical hybrid instrument that has deep roots in the eastern music field.

Ultimately, his growing musical knowledge and prowess would prove to be the strength of Elements. But would that strength be enough to attract an audience? "It wasn't easy," Abbas speaks about getting a music deal, "but there are some people who want to encourage new kind of music and they made this possible." At the same time, he acknowledges that he is a very un-commercial artist in a commercial driven market. "I don't fit the profile of a commercial artist, and in that sense this could be a bit of a gamble."

In the coming weeks, his album will be released and only then will Abbas find out if that gamble has paid off. Abbas was kind enough to offer a preview of the upcoming album. Abbas has had good help from the likes of Gumby, who helped out on drums and Khalid Khan who filled in bass duties.

The intro track coaxes you straight in. Like a warm greeting, we're being told to relax, sit back and to relish the journey in store for us. Titled contemplation, the track defines a meeting between the east and the west.

Immediately following is Jhoom Dewanay, the track for which the video has been made. With vocals by Mansoor (a singer Abbas discovered himself), the track is literally a composition of a story. The motifs of the album, a note here and there, are scattered throughout the track, being the smaller part of a bigger picture. The video co-directed by Abbas and Sharik Chapra, composed entirely of photographs and digital paintings. In it we delve deep into the world of mystical Arabia, where the story of the song unfolds. Not only is the video eye-catching, it is entertaining and most of all quite different than the dancing videos out there.

The next track is quite upbeat—the first one of the album—and features Irfan on vocals. Abbas is keen to work with unknown vocals because according to him he can "polish the vocals" according to his own advantage. Singing in his native multan tongue, Irfan's vocals not only stand out but blend in gracefully with Abbas' composition.

Entrainment is a brooding number that follows. The vocals here are strong and lead one deep into the song, tugging at emotions. Seek Peace is an award winning track that was featured in the United Nations World Music competition. Although it didn't win first prize it came second and after listening to it one can imagine why out of 15,000 entries, this track was one of the few that stood out. Featuring a quote by Hazrat Ali, the track is light, thought-provoking and seemingly fits into the mood of the album.

Although he talked openly and extensively about the album and his music throughout, it is ultimately his music that will speak for him and perhaps even speak to audiences.

(Photography by Asma Inayat -- asma.inayat@gmail.com)