It is the greatest national disaster this nation has ever faced: floods have devastated lands, have laid waste villages and destroyed lives across the country. All four provinces have been affected and it is impossible for those who live away from the flood’s reach to ignore what is happening. All across Pakistan, musicians, entertainers and celebrities have quickly started to mobilise their efforts to try and help those in need.
“It’s more devastating than one can perceive,” says Ali Zafar, “It’s heart breaking to see so many suffer at the hand of one of the biggest natural calamities of our times.”
Ahmed Ali Butt says that there is actually something even more disturbing than the floods and the devastation left at its wake. “The problem is infrastructure. God forbid if we have a repeat of the floods next year, what precautions do we have in place now to prevent what has happened to happen yet again?” Ahmed points out that a lack of relief and rescue infrastructure and plan to deal with the floods is the problem.
Artists like Shallum Xavier echo Ahmed’s sentiments. “The government isn’t doing enough and that’s making the situation worse. It’s a terribly sad time.”
Noori has been actively seeking out opportunities to help the victims of the flood. The band had recently led the charge in Lahore through an event called Celebrity Camp where various musicians and bands such as Lal, Roxen, Noori, Falak, Ali Sher, Noman Javed and Umer Nabeel performed. It also featured a number of celebrities such as Shiraz Uppal, Shoaib Akhtar, Maria B, Muneeb Nawaz, Omair Rana and many more. Singer Ali Azmat and Fareeha Pervaiz were on hand talking about the devastation and were collecting money. The camp collected some Rs300,000.
But camps aside, the band has a much deeper focus for the flood relief efforts. Ali Noor further clarifies: “For us, the focus are the children. We’re planning on launching a venture that will focus on children who have been left devastated in wake of this national disaster. They will need rehabilitation and understanding as to exactly what has happened here.”
Ali Noor says that information about this new venture will be available soon on their website. Besides being part of events post-Eid, the band also hopes to travel and meet these children at camps and bring them new clothes, toys and books. “It’s all because these children are our future and we shouldn’t make them feel left out, especially at this time on Eid,” Ali Noor said.
Mekaal Hasan also spent time working on spreading the word for flood relief efforts. The musician appeared on BBC World’s The Hub programme and spoke in detail regarding the flood efforts and local agencies that are mobilised in the area. He was asked if the international Pakistani community was doing something for the relief fund. The musician/producer responded: “They are, there’s the Islamic Relief Fund in America, there are a lot of student bodies that are working together, there’s the Pakistan Peace Builders who have set up a relief fund; and there has been a concerted effort by civil society.”
Ali Zafar spoke regarding his contributions to relief work: “I am arranging a series of fundraisers with artistes to raise more money to help them. I also plan to work with the Pakistan Navy to actually go into the areas and try to be as much help as I can.”
He elaborated on his efforts by adding, “I plan to release an album and the earnings from it will go to flood relief ventures.” Ali’s efforts do not end there, “I am also trying to get in touch with international artistes and have them raise more awareness on the international platform and convince more and more people to help and donate.”
He has also set his sights on working with credible NGOs, such as the Red Cross to bring in more funds from international avenues.
Similarly, Ahmed Ali Butt from Entity Paradigm (eP) has also been hard at work at relief efforts. “I worked in conjunction with the students at the University of Lahore. We set about a collection drive and have collected more than Rs300,000,” Ahmed said.
“We also arranged for the University buses to take goods to the stricken areas,” he added.
The band hopes to participate in a series of concerts after Eid and will submit all of proceeds from its merchandising sales towards the flood relief efforts.
Meanwhile, Shallum Xavier is hoping to launch a series of events, in collaboration with bands from across the country with the help of an event management company. “At the moment these concerts will have Jal, Call, Mekaal Hasan, Strings, Fuzon, eP and Noori — all performing across Pakistan.”
The concerts, to be held sometime after Eid, will be staged in Karachi, Lahore and Islamabad and will feature local artistes from each city as well. According to Shallum, “The proceeds from the concert, tickets and merchandising, will go towards relief efforts.”
For musicians like Zeeshan Parwez, national tragedies have a personal meaning to them. It was on a journey back from Islamabad to Peshawar that the musician and a group of friends discovered just how much damage had been wrecked by the flood. “It was then that a group of friends and myself got together and decided that something must be done,” recalls Zeeshan.
Adapting an idea from a friend that worked in an NGO, Zeeshan and his friends quickly set about to develop and make food packets for families that were affected by the flood. These packets contain enough basic food to last five days.
After a careful reconnoiter, Zeeshan and his friends chose the area of Charsaddah where they distributed these food packs amongst 142 families.
This is not the first time Zeeshan has been a part of a disaster relief effort. In 2005, while he was part of an NGO, he mobilised young students as a part of Emergency Radio Stations across the affected areas.
Zeeshan admits that while he has been asked to organise an event for disaster awareness and relief funds, he says, “I’d rather be part of one as opposed to organising one. For the simple reason that I’d want to be absolutely sure that I’d do something that would benefit people on the scale as a whole.”
These are but a few of the many efforts that have been mobilised across the country in the hope to help those in need. They have proved that although there is international support there are those among us who are helping out those who need it most.
Originally published in Dawn Images on Sunday.
Showing posts with label images on sunday. Show all posts
Showing posts with label images on sunday. Show all posts
11.7.10
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.
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.
2.5.10
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.
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.
28.3.10
SYMT - Direction Defined
The event attended by the local glitterati started fashionably late. Though once it started, it seemed like there was no stopping it as the band performed its single, Zamana, and the video for the song was also showcased. More songs were introduced and the event ended with a night of house music courtesy a DJ and a dance floor.
But that’s not what Symt is about. The band aims to be the next progressive and modern Pakistani rock band, and its sound is interesting to say the least: its rock, its loud and most importantly it’s catchy. Haroon’s vocals and Hassan’s guitars aren’t the only thing that had the audience’s interest piqued. Produced by Overload’s Farhad Humayun, the band’s rock sound is formidable if not loud. It resonates the same way Noori broke onto the scene with their first couple of songs, especially that of Suno Ke Main Hoon Jawan.
Joining Farhad is Mahmood Rahman also from Overload, taking over duty on the bass. Together, there is a certain harmony in the band. It may seem that Mahmood and Farhad are merely for support, however it is their contribution that makes the sound of Symt complete.
The upcoming album of the band is mastered by Shahi (Shahzad Hasan) and if Zamana is any indication of what the sound of the album will be like then Symt’s album will be something different, unique and a must-have.
Haroon’s singing is quite unique in the sense that his voice, though not as unique as say Atif Aslam’s, has the grunge and yearn of another Ali Azmat in the making. Similarly Hassan’s rock guitars riffs complement the Urdu lyrics (a feat very bands have achieved).
The video is directed by recluse director Kamran Yar Kami. His previous venture, Hamesha, remains embedded in the minds of viewers across Pakistan. Kamran uses the same translation with Symt’s Zamana and transforms it into a bright and eccentric video. As mentioned, the band does emulate the feeling Noori brought in with it when it came round, but Symt takes it a bit further and somewhat darker. This definitely exudes itself in the video, especially if you compare with it Noori’s where you had people dancing around with the band. Symt’s is much darker in tone but quite similar.
The event showcased a band that is eager to prove itself with a strong Pakistani rock sound that has evolved from bands such as Noori, Call and eP. To coin an overused phrase, it’s a breath of fresh air amid an industry that seems to find itself troubled with the times and record label issues.
But that’s not what Symt is about. The band aims to be the next progressive and modern Pakistani rock band, and its sound is interesting to say the least: its rock, its loud and most importantly it’s catchy. Haroon’s vocals and Hassan’s guitars aren’t the only thing that had the audience’s interest piqued. Produced by Overload’s Farhad Humayun, the band’s rock sound is formidable if not loud. It resonates the same way Noori broke onto the scene with their first couple of songs, especially that of Suno Ke Main Hoon Jawan.
Joining Farhad is Mahmood Rahman also from Overload, taking over duty on the bass. Together, there is a certain harmony in the band. It may seem that Mahmood and Farhad are merely for support, however it is their contribution that makes the sound of Symt complete.
The upcoming album of the band is mastered by Shahi (Shahzad Hasan) and if Zamana is any indication of what the sound of the album will be like then Symt’s album will be something different, unique and a must-have.
Haroon’s singing is quite unique in the sense that his voice, though not as unique as say Atif Aslam’s, has the grunge and yearn of another Ali Azmat in the making. Similarly Hassan’s rock guitars riffs complement the Urdu lyrics (a feat very bands have achieved).
The video is directed by recluse director Kamran Yar Kami. His previous venture, Hamesha, remains embedded in the minds of viewers across Pakistan. Kamran uses the same translation with Symt’s Zamana and transforms it into a bright and eccentric video. As mentioned, the band does emulate the feeling Noori brought in with it when it came round, but Symt takes it a bit further and somewhat darker. This definitely exudes itself in the video, especially if you compare with it Noori’s where you had people dancing around with the band. Symt’s is much darker in tone but quite similar.
The event showcased a band that is eager to prove itself with a strong Pakistani rock sound that has evolved from bands such as Noori, Call and eP. To coin an overused phrase, it’s a breath of fresh air amid an industry that seems to find itself troubled with the times and record label issues.
28.2.10
JoSH, ADP & 90 Degrees... in Concert. In Karachi.
Concerts these days are often either hits or misses.
Given the nature of the current socio-political climate venues, musicians and organizers are wary of what to expect at a concert. Likewise, the people themselves also share a sense of cautiousness when going out and about. Thankfully, that wasn’t the mood when JoSH, Aunty Disco Project and 90 Degrees performed recently at a popular social club in DHA.
The concert kicked off with 90 Degrees. Though a relatively unknown band, the members of the group should be commended for performing whilst the organizers were still trying to work out the sound check. This didn’t bode well for 90 Degree’s performance as the sound was all over the place during their performance. However, the band deserved an A for Effort as not that many bands can pull off a decent cover of Sajjad Ali songs (including Sajjad Ali’s own cover of Didi by Khaled, Babiya). Also, it wasn’t just the sound check that wasn’t in favor of 90 Degrees, crowds gathered slowly at their own time at the same time being completely oblivious to the band’s performance. As for the performance itself, keeping the sound check snafu aside, 90 Degrees do show potential and promise. All they need is persistence and better opportunities to perform.
Aunty Disco Project were up next. To say that the band have had an eventful year is an understatement. After the departure of Imran Lodhi in 2008, the band parted ways with drummer Omar Khalid (amicably) recently, but at the same time, the band gained three new members and a drastic new approach to music. Rahayl Sidikey, Ali Alam and most recently their new drummer Giles Goveas are all part of the band and their contributions/sound does leave a distinct departure from the ADP people knew. The once hardcore underground band with its own unique purist sound was now easing up to sound of commercialism—albeit on their own terms.
ADP kicked off the show with their magnum opus, “Sultanat.” A song that has evolved as the band has, however it remains their signature tune and a distinct crowd favourite. “Likhta nahin mein” and “Raat Jaga” were next, both songs in a rather quick succession. The sound reflected a much hungrier ADP who were eager to have the crowd’s attention no matter what. Finally, just when the pace was set high, ADP pulled back a notch for the slow and melancholy song that is “Nazar.” Things picked up again with “Janay Waley” and “Hum Na Rahein” by now the crowd was really getting into the performance. A particular note to “Janay Waley”, a song from their upcoming album, showcases a much more up beat approach to music if compared to the likes of “Sultanat” and “Nazar” even though most of their songs were already quite upbeat from before. Coalescing around the stage, ADP certainly had their attention. The band closed their set with “Mujhay Sahara Do” another oldie that had been revamped. The ADP that performed that night was most certainly a brand new ADP and if this gig is an example, or taste if you will, of things to be expected from the new ADP album, then it is definitely an album to watch out for.
Finally, we come to the headliners, JoSH. Roop and Q have graced the shores of this coastal city quite often. They were part of the recent Coke Studio and have always had memorable gigs here. This show appeared no less, the moment JoSH took stage, there was a surge in the crowd. Everybody who hadn’t joined in whilst 90 Degrees or ADP performed, came rushing forward to greet the band onstage. It wasn’t just their musical performances that had the crowd going, their interaction with the crowd was on another level entirely. Roop and Q both took turns speaking/interacting with the crowd, so much so to have a playful competition between the two of them, just to see who would get the crowd worked up better. JoSH performed “Kabhi kabhi”, “Mausam”, “Sauda”, “Mahi Ve”, “Khaike Pan Banaras Wala” and a host of other songs. However, a particularly touching moment occurred in the concert when Q took a moment to reflect that he was in fact performing in a very special city; his birthplace. He also dedicated the concert to his mother, who was also present backstage.
Finally, the night was complete. The organizers of the show, Studio Maxx Presentations and a popular watch manufacturer, had managed the show reasonably. The security was excessive but not overbearing. The concert wasn’t on time, but it wasn’t drastically late either.
A pleasant gig with some great performances, a couple more of these and the Karachi concert scene will be right back on track.
Given the nature of the current socio-political climate venues, musicians and organizers are wary of what to expect at a concert. Likewise, the people themselves also share a sense of cautiousness when going out and about. Thankfully, that wasn’t the mood when JoSH, Aunty Disco Project and 90 Degrees performed recently at a popular social club in DHA.
The concert kicked off with 90 Degrees. Though a relatively unknown band, the members of the group should be commended for performing whilst the organizers were still trying to work out the sound check. This didn’t bode well for 90 Degree’s performance as the sound was all over the place during their performance. However, the band deserved an A for Effort as not that many bands can pull off a decent cover of Sajjad Ali songs (including Sajjad Ali’s own cover of Didi by Khaled, Babiya). Also, it wasn’t just the sound check that wasn’t in favor of 90 Degrees, crowds gathered slowly at their own time at the same time being completely oblivious to the band’s performance. As for the performance itself, keeping the sound check snafu aside, 90 Degrees do show potential and promise. All they need is persistence and better opportunities to perform.
Aunty Disco Project were up next. To say that the band have had an eventful year is an understatement. After the departure of Imran Lodhi in 2008, the band parted ways with drummer Omar Khalid (amicably) recently, but at the same time, the band gained three new members and a drastic new approach to music. Rahayl Sidikey, Ali Alam and most recently their new drummer Giles Goveas are all part of the band and their contributions/sound does leave a distinct departure from the ADP people knew. The once hardcore underground band with its own unique purist sound was now easing up to sound of commercialism—albeit on their own terms.
ADP kicked off the show with their magnum opus, “Sultanat.” A song that has evolved as the band has, however it remains their signature tune and a distinct crowd favourite. “Likhta nahin mein” and “Raat Jaga” were next, both songs in a rather quick succession. The sound reflected a much hungrier ADP who were eager to have the crowd’s attention no matter what. Finally, just when the pace was set high, ADP pulled back a notch for the slow and melancholy song that is “Nazar.” Things picked up again with “Janay Waley” and “Hum Na Rahein” by now the crowd was really getting into the performance. A particular note to “Janay Waley”, a song from their upcoming album, showcases a much more up beat approach to music if compared to the likes of “Sultanat” and “Nazar” even though most of their songs were already quite upbeat from before. Coalescing around the stage, ADP certainly had their attention. The band closed their set with “Mujhay Sahara Do” another oldie that had been revamped. The ADP that performed that night was most certainly a brand new ADP and if this gig is an example, or taste if you will, of things to be expected from the new ADP album, then it is definitely an album to watch out for.
Finally, we come to the headliners, JoSH. Roop and Q have graced the shores of this coastal city quite often. They were part of the recent Coke Studio and have always had memorable gigs here. This show appeared no less, the moment JoSH took stage, there was a surge in the crowd. Everybody who hadn’t joined in whilst 90 Degrees or ADP performed, came rushing forward to greet the band onstage. It wasn’t just their musical performances that had the crowd going, their interaction with the crowd was on another level entirely. Roop and Q both took turns speaking/interacting with the crowd, so much so to have a playful competition between the two of them, just to see who would get the crowd worked up better. JoSH performed “Kabhi kabhi”, “Mausam”, “Sauda”, “Mahi Ve”, “Khaike Pan Banaras Wala” and a host of other songs. However, a particularly touching moment occurred in the concert when Q took a moment to reflect that he was in fact performing in a very special city; his birthplace. He also dedicated the concert to his mother, who was also present backstage.
Finally, the night was complete. The organizers of the show, Studio Maxx Presentations and a popular watch manufacturer, had managed the show reasonably. The security was excessive but not overbearing. The concert wasn’t on time, but it wasn’t drastically late either.
A pleasant gig with some great performances, a couple more of these and the Karachi concert scene will be right back on track.
16.1.10
In the Drummer's Den
Drummer Louis John Pinto, aka Gumby, talks exclusively to Images on Sunday about the new studio he set up with Mauj-frontman Omran Shafique and ace-bassist Khalid Khan, record producers, and what's next in store for him.
A cool breeze rushes over the roof of this inconspicuous Zamzama apartment. The night sky is illuminated by the lights of the passing cars because there’s no power at the moment. But the inhabitants of this rooftop do not mind, they are used to it. I’m introduced the moment I arrive. “Have you met my friends?” asks Louis John Pinto, better known to the world as Gumby. Sitting on a water tank are three prominent musicians waiting for the power to return: Omran Shafique, Khalid Khan and John Saville. A few moments of pleasant talk later the power comes back – and for these musicians – so does their purpose. Several minutes later, Gumby enters his den and everybody starts to jam.
The musicians fall into a groove instantly. With Khalid and John, all it takes is a look and a glance, and the two match their notes and chords according to what Gumby has in mind. Just as Omran gets his guitar tuned, he too joins the group. As a live act, these people are truly a treat to experience but this practice jam is something else. It’s a kind of a behind-the-scenes look, a glance into something one hardly gets to see every day. Within the 20 minutes in which these four people play, hardly a word is spoken.
“I’m constantly thinking about what’s next, I don’t dwell in the past at all.” Anyone who knows Gumby knows that that’s very true. Far from someone to retreat and hibernate, Gumby has been a slow and steady part of most of the recent musical achievements by Pakistani musicians. After a tumultuous and a very public break up from Noori, Gumby’s catharsis has resulted in an explosion of work. Maryam Kizilbash, Kaavish, Ali Azmat, Kolachi Quartet, Raeth, Zeb and Haniya, and not to mention the Coke Studio (CS) projects, are just some of the albums or projects that he’s been a part of in recent times. He speaks of these experiences with a tone of respect and excitement; however it was his experience with CS that really outshines the rest of them. “I was blessed to have been a part of that. I mean there are other drummers that they could’ve taken, but they took me and I thought that it was an honor to be a part of such an expansive project and especially to work with Rohail.” Throughout our conversation, Rohail Hyatt’s name would be heard time and again, and each time it would only re-instate Gumby’s admiration and respect for the Vital Signs-member-turned-CS project leader.
“So basically, this was what was next for me: a place of my own,” Gumby said, sitting in a cozy sofa and table arrangement, a unique and quirky arrangement considering this is actually the studio itself. “This place actually belongs to one of our friends,” he said, adding that “he was about to sell it and not wanting to let go of this opportunity, and the place itself, I spoke to Momo (Omran Shafiqe) and Khalid. Together, we saved it for ourselves. We jam here, we play here, we record here – everything related to music.” He went on to say that even though it’s his studio, there will be an arsenal of musicians that will come here, just perhaps to jam even. Besides jamming and recording is his intention to become a producer for musicians? “Yes,” he responded, “that’s my direction.” He added that he wants to take on that role in a gradual process rather than relying on his equipment and gear. As for his own album he has started to work on it, but his vision is to “keep a simple and uncomplicated approach to music.” The only reason why it’s taking so much time is that for him (as a rhythm player) it takes a while to approach compositions.
I ask him about the dogged act of actually putting out an album via a record label. “That depends on what your point is, personally, I don’t give it much thought. All I want is to get my kind of music out there and if the record labels don’t think too much of it, I’ll just put it online.” His words echo the ordeal of bands like Mauj and Kaavish, who were stifled due to their albums being delayed for a long time.
Regarding his new studio, does that mean that now if a musician wants to record with Gumby they would have to come to his studio? “Yes, with the exception of CS, because it requires such a huge set up. I think for my sound, this place is one of the best in the country.” Hearing about CS, I ask him about what’s next in store for him and the project. “There is talk of it,” remaining tight-lipped on the details, “I’m pretty thankful about them having chosen me.” He also attributes his attendance to both CS and Rohail, whom he again showers with praise. Since Rohail is also a producer, albeit a former musician, does that mean Gumby is comfortable working with producers who are musicians? “Yes, that’s true. It’s more of a comfortable spot for me, since we both understand the dynamics. And partly this studio was also inspired by him and the way he works,” he adds that, “there are two kinds of producers; one tells you how your music should fit in with the song and the other tells you how great it sounds. If I’m coming up with all the parts by myself and they’re just saying, ‘yeah that sounds great’, that’s just technical basic stuff, even I can do that.”
“To be honest, I set up this place because I was sick of those producers who know nothing about music – who can’t even tell the difference between two chords – and end up being producers.” His statement clearly alludes to a rumoured scuffle between him and a certain producer. My next question to him was – to their credit – don’t these producers work with a lot of musicians who may/may not have a problem working with them? “Well, it’s all about how much of a victim you want to be,” Gumby said. “You’re either a victim of not being able to afford the best musicians and producers with the best knowledge or you’re a victim of not knowing what music is at all.” He further stated that if people can’t afford the best, they obviously go to people who aren’t professionals. “It’s sad that this country has only four producers and five drummers.” Clearly, Gumby is one of those rare individuals who isn’t afraid of speaking their mind. He is quick to add that “everybody has their own perception of their music and they’re pretty defensive about it.”
I can’t help but ask Gumby, given his nature and his past – somewhat rocky – experiences, won’t all of this (the studio) make him seem more arrogant in their eyes? Gumby’s reaction is nonchalant. “If arrogance means that I know what music is, how to make it, and that I have the best-equipped studio, then yes, I’m arrogant.” Clearly he is unmoved by any of the remarks made against him. Instead, he is diving in head first into his studio work.
Currently, he’s working on a project with a guitarist/musician by the name of Taimur. “He’s pretty awesome, Taimur is quite the guitarist and although he doesn’t play around and you may not have heard of him, he has his own songs, in English.” Gumby also said that Taimur’s songs were heavily influenced by 90s rock and Alice in Chains in particular. Apart from that he is also working on a song for another group, whose name he has not yet revealed. “I’m excited about that too, but I can’t tell you just yet.”
There are musicians like Gumby, never far from the heat of controversy, and yet always focused on the music at hand. For musicians like Gumby, music is a way of life as it has been for him since childhood. After all that has happened and has been said, it’s pretty loud and clear, like the sound of a drum: in the den of this drummer, the man who holds the drumsticks is king.
Profile shoot
Designer: Kash Hussain
Photography: FAYYAZ AHMED
Styling: Sajid
Model: Gumby, Khalid & Omran 'Momo' Shafique
Fashion Editor & co-ordination: Madeeha Syed
A cool breeze rushes over the roof of this inconspicuous Zamzama apartment. The night sky is illuminated by the lights of the passing cars because there’s no power at the moment. But the inhabitants of this rooftop do not mind, they are used to it. I’m introduced the moment I arrive. “Have you met my friends?” asks Louis John Pinto, better known to the world as Gumby. Sitting on a water tank are three prominent musicians waiting for the power to return: Omran Shafique, Khalid Khan and John Saville. A few moments of pleasant talk later the power comes back – and for these musicians – so does their purpose. Several minutes later, Gumby enters his den and everybody starts to jam.
The musicians fall into a groove instantly. With Khalid and John, all it takes is a look and a glance, and the two match their notes and chords according to what Gumby has in mind. Just as Omran gets his guitar tuned, he too joins the group. As a live act, these people are truly a treat to experience but this practice jam is something else. It’s a kind of a behind-the-scenes look, a glance into something one hardly gets to see every day. Within the 20 minutes in which these four people play, hardly a word is spoken.
“I’m constantly thinking about what’s next, I don’t dwell in the past at all.” Anyone who knows Gumby knows that that’s very true. Far from someone to retreat and hibernate, Gumby has been a slow and steady part of most of the recent musical achievements by Pakistani musicians. After a tumultuous and a very public break up from Noori, Gumby’s catharsis has resulted in an explosion of work. Maryam Kizilbash, Kaavish, Ali Azmat, Kolachi Quartet, Raeth, Zeb and Haniya, and not to mention the Coke Studio (CS) projects, are just some of the albums or projects that he’s been a part of in recent times. He speaks of these experiences with a tone of respect and excitement; however it was his experience with CS that really outshines the rest of them. “I was blessed to have been a part of that. I mean there are other drummers that they could’ve taken, but they took me and I thought that it was an honor to be a part of such an expansive project and especially to work with Rohail.” Throughout our conversation, Rohail Hyatt’s name would be heard time and again, and each time it would only re-instate Gumby’s admiration and respect for the Vital Signs-member-turned-CS project leader.
“So basically, this was what was next for me: a place of my own,” Gumby said, sitting in a cozy sofa and table arrangement, a unique and quirky arrangement considering this is actually the studio itself. “This place actually belongs to one of our friends,” he said, adding that “he was about to sell it and not wanting to let go of this opportunity, and the place itself, I spoke to Momo (Omran Shafiqe) and Khalid. Together, we saved it for ourselves. We jam here, we play here, we record here – everything related to music.” He went on to say that even though it’s his studio, there will be an arsenal of musicians that will come here, just perhaps to jam even. Besides jamming and recording is his intention to become a producer for musicians? “Yes,” he responded, “that’s my direction.” He added that he wants to take on that role in a gradual process rather than relying on his equipment and gear. As for his own album he has started to work on it, but his vision is to “keep a simple and uncomplicated approach to music.” The only reason why it’s taking so much time is that for him (as a rhythm player) it takes a while to approach compositions.
I ask him about the dogged act of actually putting out an album via a record label. “That depends on what your point is, personally, I don’t give it much thought. All I want is to get my kind of music out there and if the record labels don’t think too much of it, I’ll just put it online.” His words echo the ordeal of bands like Mauj and Kaavish, who were stifled due to their albums being delayed for a long time.
Regarding his new studio, does that mean that now if a musician wants to record with Gumby they would have to come to his studio? “Yes, with the exception of CS, because it requires such a huge set up. I think for my sound, this place is one of the best in the country.” Hearing about CS, I ask him about what’s next in store for him and the project. “There is talk of it,” remaining tight-lipped on the details, “I’m pretty thankful about them having chosen me.” He also attributes his attendance to both CS and Rohail, whom he again showers with praise. Since Rohail is also a producer, albeit a former musician, does that mean Gumby is comfortable working with producers who are musicians? “Yes, that’s true. It’s more of a comfortable spot for me, since we both understand the dynamics. And partly this studio was also inspired by him and the way he works,” he adds that, “there are two kinds of producers; one tells you how your music should fit in with the song and the other tells you how great it sounds. If I’m coming up with all the parts by myself and they’re just saying, ‘yeah that sounds great’, that’s just technical basic stuff, even I can do that.”
“To be honest, I set up this place because I was sick of those producers who know nothing about music – who can’t even tell the difference between two chords – and end up being producers.” His statement clearly alludes to a rumoured scuffle between him and a certain producer. My next question to him was – to their credit – don’t these producers work with a lot of musicians who may/may not have a problem working with them? “Well, it’s all about how much of a victim you want to be,” Gumby said. “You’re either a victim of not being able to afford the best musicians and producers with the best knowledge or you’re a victim of not knowing what music is at all.” He further stated that if people can’t afford the best, they obviously go to people who aren’t professionals. “It’s sad that this country has only four producers and five drummers.” Clearly, Gumby is one of those rare individuals who isn’t afraid of speaking their mind. He is quick to add that “everybody has their own perception of their music and they’re pretty defensive about it.”
I can’t help but ask Gumby, given his nature and his past – somewhat rocky – experiences, won’t all of this (the studio) make him seem more arrogant in their eyes? Gumby’s reaction is nonchalant. “If arrogance means that I know what music is, how to make it, and that I have the best-equipped studio, then yes, I’m arrogant.” Clearly he is unmoved by any of the remarks made against him. Instead, he is diving in head first into his studio work.
Currently, he’s working on a project with a guitarist/musician by the name of Taimur. “He’s pretty awesome, Taimur is quite the guitarist and although he doesn’t play around and you may not have heard of him, he has his own songs, in English.” Gumby also said that Taimur’s songs were heavily influenced by 90s rock and Alice in Chains in particular. Apart from that he is also working on a song for another group, whose name he has not yet revealed. “I’m excited about that too, but I can’t tell you just yet.”
There are musicians like Gumby, never far from the heat of controversy, and yet always focused on the music at hand. For musicians like Gumby, music is a way of life as it has been for him since childhood. After all that has happened and has been said, it’s pretty loud and clear, like the sound of a drum: in the den of this drummer, the man who holds the drumsticks is king.
Profile shoot
Designer: Kash Hussain
Photography: FAYYAZ AHMED
Styling: Sajid
Model: Gumby, Khalid & Omran 'Momo' Shafique
Fashion Editor & co-ordination: Madeeha Syed
27.11.09
The Golden Globe nominations are here
Every year Hollywood is abuzz with awards fever. The season culminates in the Academy Awards but ultimately begins with the Golden Globes held by the Hollywood Foreign Press Association. It honours the best of cinema and television from around the world.
The 67th Annual Golden Globes are slated to be held in January 2010, but the nominations that were recently announced have started to create buzz not only for the winners of the awards but also the eventual nominees for the Academy Awards. Take for instance the Best Picture (Drama) category. Though traditionally an honour bestowed upon heavy dramas, this year however there is a complete outsider in the group: James Cameron’s Avatar. A CGI heavy action adventure that tells the story of a clash between humanity and an alien race, Avatar seems completely out of place when you consider its competitors in this category; Inglorious Basterds, The Hurt Locker, Up in the Air, and Precious.
Whereas Avatar seems to be the complete outsider, it is Up in the Air and Precious that are clearly the favorites for the critics. Up in the Air stars George Clooney and Vera Farmiga, and is directed and co-written by Jason Reitman, son of director Ivan Reitman. Precious stars Gabourey Sidibe, Mariah Carey, Mo’Nique and Lenny Kravitz and tells the story of a young single mother whose life drastically changes with her second pregnancy. Both Precious and Up in the Air have characters that have their lives changed because of a single moment or decision. It’s that kind of conflict, both inner and outer that the Golden Globes, and even the Oscars, love to see.
Reitman, Cameron and Tarantino have also earned nods for Best Director, along with Eastwood for Invictus, and Kathrine Bigelow for The Hurt Locker. As always, the Best Screenplay category produces some of the finest collections of script writers, and this year it is no different. Another nod for Quentin Tarantino and Jason Reitman, who now have two nominations each, along with Neill Blomkamp and Terri Tatchell for District 9, another surprise that caught almost everyone off guard. Besides Reitman and Tarantino earning multiple nods, Sandra Bullock and Meryl Streep are heating things up in the Best Actress category. Both actresses have been nominated twice and if anything, it will be the most hyped about award of the night. Matt Damon also enjoys two nominations, one for Invictus, the story about how Rugby united South Africa and the other a comedy called The Informant!
The Best Animated Feature nominations include some of the highest grossing movies of the year. Both Up and Cloudy with a Chance of Meatballs have enjoyed tremendous box office success. More recent releases include Fantastic Mr Fox and The Princess and the Frog, which is the only traditionally 2D animated feature in the awards. Finally, there is Coraline, another surprise hit that may have not stirred much at the box office but definitely did well with DVD sales.
Over at television, things are as equally — if not more — exciting. Best Drama nominees include some of the year’s finest dramas, which include the highly popular Mad Men and Big Love. Also included here are two equally gory and fantastic dramas, Dexter and True Blood. Finally, what would drama be without House? The Hugh Laurie drama about a doctor inspired by Sherlock Holmes is also nominated.
Over in the Best Comedic TV show, awards include 30 Rock, Entourage, Glee, Modern Family and The Office. The favourite is 30 Rock, a TV show which has already been nominated 79 times and has won 29 awards out of which five have been Golden Globes. New shows Glee and Modern Family — while outsiders to the group of previous winners (30 Rock, Entourage and The Office) just might tip the balance in their own favour with their unique show formats.
Finally, after all the nominations, the Cecil B. DeMille Award; an award presented for lifetime achievement in motion pictures. This year this honour will be bestowed upon Martin Scorsese. After being avoided by the Academy Awards, Scorsese finally earns the highest honour from the Hollywood Foreign Press after an epic career in Hollywood. His critics have not accepted this quietly, stating that Scorsese had to sell out with films like The Departure and The Aviator; a considerable deviation from the man that showed us films like Raging Bull, Goodfellas and Casino. Nevertheless, his achievements cannot be ignored and hence him receiving the Cecil B. DeMille award this year. Robert DeNiro and Leonardo DiCaprio will be presenting the director with the award. Both DiCaprio and DeNiro have made landmark movies with Scorsese and it seems only fitting that they honour the man who gave them those opportunities.
All in all, this year at the Golden Globes will prove to be riveting, thanks in part to the inclusion of Avatar. Critics question the film, which has swept more than $73 million at its opening weekend, for its nomination. If such a film — which is clearly more hype that substance — can be allowed to get a nomination, then why not films like, for example, New Moon be nominated as well? The answer of course is not that simple, however it is the right of the Hollywood Foreign Press to nominate whom they choose to be the best of the year.
The Golden Globes will be held in January 2010 with comedian Ricky Gervais set to host the ceremony.
4.10.09
Shiraz Uppal presents Ankahi
To say that Shiraz Uppal is a musician of diverse talent would be an understatement — he’s composed, mixed, recorded and mastered his latest album, Ankahi, all by himself. He’s also had the privilege of working with A.R. Rehman, not once but twice.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
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