Recently, Nasa launched a telescope in space called WISE. The new Wide-field Infrared Survey Explorer (WISE) space telescope carries with it a 40-centimetre (16 in) diameter infrared-sensitive telescope, which looks at the entire sky in the 3 to 25 ¼velength range. This range of sight cannot be seen by the human eye and is over a thousand times more sensitive than the previous infrared-sensitive telescopes sent into orbit. And now scientists have been receiving breathtaking images from the telescope, notably the comet Sliding Spring with a tail that stretches for 10 million miles; long enough to wrap itself around the Sun 23 times! The image library developed will have new images and data on our local Solar System, the Milky Way Galaxy, and the more distant universe. WISE will also study are asteroids, cool, dim stars such as brown dwarfs, and the most luminous infrared galaxies.
He has been part of cricket for nearly 20 years; the little master Sachin Tendulkar stapled his status as a legend of cricket by scoring 200 runs in an One-Day International against South Africa recently. The 36-year-old hit 25 fours and three sixes in an unbeaten 200 off 147 balls, and led India to victory over South Africa by 153 runs. The previous record holders included, Zimbabwean Charles Coventry who scored 194 (not out) against Bangladesh in 2009, Saeed Anwar 194 against India in 1997, Viv Richards who scored 189 against England and Sanath Jayasuriya with 194 against India in 2000. Not only did Tendulkar raise the level of the game of cricket, it also sheds a more competitive light on the traditional ODI format which is quickly losing ground to the ever popular 20/20 format.
iTunes, the popular online store for purchasing music for Apple software users, has recently sold its one billionth track online. The Black Eyed Peas’ I Gotta Feeling is officially the site’s most downloaded track. In recent years, thanks to the rise of hardware such as personal MP3 players, especially the iPod, music purchase online has been on the rise. Apple’s iTunes is but one of the many ways a user can download music onto their music players and enjoy the latest tunes. Lady Gaga comes in a close second with her hit Poker Face. She also has Just Dance and Bad Romance featured in the top 25 most downloaded songs, according to Billboard. The person who bought the 10 billionth track won a $10,000 iTunes gift card.
Nintendo once ruled the handheld portable gaming market with its GameBoy gaming system for many years. The GameBoy lasted through many generations of gaming systems and also became the most sold system of all time. Now, Nintendo’s next generation handheld system the Nintendo DS gets an upgrade in the form of Nintendo DSi XL. The newer system gets a size upgrade and a bigger gameplay screen whilst maintaining a much lighter weight. At the same time, the system is backward compatible with all DS games. The new DS system appears to have come as an attempt to counter the latest PlayStation Portable system from Sony, the PSP GO.
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
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