Friday, July 28, 2006

The upside of music

Making its way from a tiny makeshift home studio in Peshawar, King of Self took the music-listening population by storm and later, by surprise when it was revealed that the song was by local artistes who were from, of all the places, Peshawar.


But what really made Sajid and Zeeshan arrive as a duo to watch out for was their single Freestyle Dive. A song which according to Sajid Ghafoor is about “having something you want —because you enjoy it and its good for you— and sticking to it. But you also have to take a freestyle dive into it in order to it properly. On the other hand, the track also talks about changing the course you’re on and trying something new".

 It was a classic case of ‘shock and awe’ when the video of Freestyle Dive which was one of the first animated videos, hit the small screen in Pakistan. A little more then a year after they released their first single, Sajid and Zeeshan are releasing their much talked-about debut album. Their launch of their debut also marked a comeback for EMI, the record label they signed up with and which had last ceased to operate in Pakistan in August 1994.

Sajid and Zeeshan recently hosted a pre-launch gig and press conference which had its own share of surprises and surprise visitors, with Rohail Hyatt from The Vital Signs at launch being one and Alamgir, one of the pioneers in Pakistani pop music present at the press conference.

The pre-launch gig started roughly around an hour late and with everyone seated, they started off with Freestyle Dive, which found Sajid doing a little jig in the middle of the song. Some of the newer songs that they performed were Free and Underestimated, Glu and Change. A two person band with Sajid on the acoustic, electric and (surprise! surprise!) the harmonica and Zeeshan alternating between working on his laptop, keyboards and motion-sensitive turn tables, their music was a unique blend of acoustic/electric and house music with most of the songs more introspective in nature.

Sajid who wrote and composed all of the songs in the album, sang with emotion and seemed more at ease by the time Glue ended. Sajid explained the concept and the meaning behind every song they performed, before they’d perform it. The most unassuming deejay one has ever come across, Zeeshan provided the backing vocals for some of the tracks. They had the crowd nodding their heads to their songs by the third song. They broke off for a bit in the middle of My Happiness due to the little hiccups in using the laptop.

They had initially planned to finish the gig off with a jazzed up version of King of Self but those present demanded an encore performance of the same song. They ended up performing Freestyle Dive, the song they had initially started off with. Overall the songs were fresh and original.

Post-performance, most of those who attended termed Free and underestimated as their favourite. This was Zeeshan’s first performance on stage and Sajid’s first as a part of Sajid and Zeeshan. Previously, Sajid used to head an underground band in Peshawar by the name of Still. Together, they pulled off a pretty decent performance and put most new live-acts to shame.

Talking about what the album was about at the press conference a couple of days later, Sajid’s response was, “People, real issues, self development and questioning on the inside”. Since most of songs were written in the nineties, there were those who wondered whether they were outdated where relevance to the current era was concerned to which Sajid quite rightfully replied, “Human nature does not change”.

Omar Sheikh who was representing EMI, spoke about how, after the anti-piracy measures taken by the government last year, it was a good time not only for EMI to make a comeback, but also to launch an album. He further went on to describe the measures EMI was taking in order to ensure that piracy of their products does not take place. On his comments on the anti-piracy moves being made by EMI Zeeshan stated, “I’m going to miss downloading free music”.

The title of their album, ‘One light year at snail speed’ according to Sajid is about “having a destination and making the journey to it… it’s all about the journey itself that makes life worthwhile.” Releasing a complete English language album in Pakistan is a risk in itself; no one has attempted to do so before. According to Omar Sheikh, “there is an element of risk in any venture. Songs and albums from Spanish-speaking countries in English have helped a lot in opening peoples’ minds (in the international community). Previously, we would be confronted with the following statement: We don’t need you to teach us how to sing in English”.

Sajid and Zeeshan collectively named Alamgir as one of their idols, Zeeshan further went on to state that one of the reasons for his considering Alamgir was because he (Alamgir) was one of the first to use synthesisers. Alamgir, who had been present in the press conference, reciprocated and stated that he had been a pioneer in introducing pop music and having people accept it in Pakistan and now Sajid and Zeeshan would be pioneers like him with their music.







Photos:(top) Sajid during the pre-launch gig, (centre, right) Zeeshan-the unassuming deejay, (bottom) intermingled shadows of Sajid&Zeeshan during the pre-launch gig caught on the backdrop.

Photo Credits: Fayyaz Ahmed

Personal note: I included a tiny bit of writing that had been edited out of the edited piece that was published.

First Published:
Images
July 30th, 2006

Posted by vintage at 10:38 PM 2 *

Wednesday, July 19, 2006

NewsbytesFuzon’s lead guitarist Shallum and ex-Noori drummer Gumby will be performing in the World Music Festival in Oslo this August. Shallum has quite a load of work, considering that the launch of Fuzon’s second album Neend Na Aye Teray Bina, is expected to happen this summer. Regarding their performance in the Oslo World Music Festival, Shallum and Gumby will be collaborating with Fryd (pronounced: freed), a band of a Norwegian origin. Shallum first came in contact with Fryd at the launch ceremony of Telenor Pakistan where Fryd and Fuzon were asked to perform. Following that initial performance, Shallum, Gumby and Fryd have performed several gigs together, the most recent being during the winter season of 2005.

Shallum and Gumby will be leaving for Norway on August 14th, 2006. They have plans of staying back after the Oslo Wold Music Festival and collaborating with Fryd on an album, which will have an international release, targeting a more global audience.

Following Shallum and Gumby’s escapades to Norway is Overload. Yes, Overload is also scheduled to participate in the Oslo World Music Festival this August. Besides the Norweighn festival, Overload is expected to perform several gigs in Amritsar (India) and in New York (USA) in the near future.

Other than just doing shows around the world, Overload is also working on their next music video for the track “Storm” from their self-titled debut album. The video for Storm is completely animated and is directed by Shehryar Jabbar of Sherry’s Studios.

The success of Overload has encouraged Farhad Humayun (drummer and founding member of Overload) to work on Rumble Fish, a project he had previously shelved. Embodying a sound different from that of Overload’s but also a percussion band, Rumble Fish is a concept inspired by the Francis Ford Coppola film, Rumble Fish (1983). It will also see the band members of Rumble Fish try their hand at singing.

Currently working on a video for their yet-unreleased track, “Have to let go sometime” from their debut album “One Light Year at Snail Speed”, Sajid and Zeeshan expect to release the video on television following the launch of their album this summer.

Zeeshan Parwez from Sajid and Zeeshan on the other hand, has also been very busy working on the video for Ali Azmat’s song “Teri Parchaiyaan” from his album Social Circus. Following the animated video trend he sparked off, the video for Teri Parchaiyaan sees Zeeshan attempting to fuse traditional 2D and 3D animation into one project.

He is also currently working on two videos for the Mekaal Hasan Band. One of the videos, “Kirwani” is expected to follow the pattern of “Jhok Ranjhan”, as a performance-based video, yet exploring it with its own unique angle. Zeeshan’s second video for the Meekal Hasan Band will be for the track “Hunsdhun”. Conceptually based, the video will not feature any of the band-members and has been shot in the tribal areas. The Hunsdhun video is expected to be released on television by the end of August 2006.

Photographs: the one on top is one of Overload's performances, the one at the bottom is of Sajid and Zeeshan.


First Published:
World Music Magazine
July August 2006

Posted by vintage at 3:04 AM 0 *

Saturday, July 15, 2006

Soul Survivor
Jehanzeb has had one thing dominate his life throughout and it’s the only thing he’s known in its entirety —to sing. In an age when most children learn the subtleties involved in communicating with others, Jehanzeb hosted his own concert and pulled it off well.

Growing up in the presence of one of the best Ustaads the country has to offer and learning how to balance school work and a regular life on top of that, Jehanzeb has come a long way. His popularity tripled after the release of his song Ek baar kaho tum meri ho and the release of his album, Parastish received critical acclaim. Despite entering in to the pop-music industry, he stuck to the genre of music he was trained in —classical— sparking off a whole new trend of fusing classical with pop. He has been lauded for the composition of his songs and the depth in his voice, but criticized for the solemnity pertinent in all of them, appealing to a more mature audience.

Having been acquainted with Ahmed Jehanzeb since the early ‘90s — when he was considered to be the Wonder Boy, a title given to him by Khaleej Times when he was four years old — one had known him to be somewhat shy and reclusive than, comfortable around his keyboards and music. It has been over ten years since we last interacted and Ahmed hasn’t changed much: he is still shy, very reclusive and quieter than most people. This time, however, Jehanzeb has plans and opinions, and he wants people to know what they were.

 Having experienced the fickle nature of fame from a very young age, Jehanzeb confesses that “I’ve really cut my act down” when it comes to interviews, whether print or electronic. One wonders whether this has more to do with the negative press coverage he had been receiving lately rather than by personal choice. He talks about how he has retired from the limelight and then laments that media professionals here do not employ basic courtesies that are required when dealing with an artiste. Elaborating on work ethics, he opines, “During concerts, an artiste should just come, perform and leave. He should not linger on and he shouldn’t check girls out.”

On meeting Jehanzeb, one wonders what he has been up to these days. “This is something I’ve wanted to talk about,” he says, getting excited. “I’ve signed up with a company in India with the name of Tips.” His contract with Tips spans over five years and requires that he create and produce five albums for the company, one album a year. “I now have the opportunity to work with the individuals I’ve always looked up to,” he says. “If I want to work with A. R. Rahman, he would just be a phone call away.” Optimistic about the decision he's made, he goes on to state that the same company will be opening up in Paksitan as well. He also mentions that the rights of his upcoming album, My Pakistan, have been contracted locally.

Does this mean that Jehanzeb has now decided to join the breed of cross-over musicians like Adnan Sami Khan? “It is somewhat like that,” he says. “I’ll be spending a greater part of the month in India but I will come down to Pakistan now and then. India is like my office where I go to work.” He wants to clarify that he moved to India to work and not to spite Pakistan. He further supports his stand of moving to India by saying that “Even if I get a good place to work in Nigeria, I will move there because I need to work.”

Having said this, Jehanzeb suddenly sits up straighter, as if something just occurred to him, and leans forward, “I would like to state something very clearly,” he says very seriously. “I am not a part of any local television channel or company.” One wonders whether he is referring to the Indus Television Network that he joined in August 2001. He further elucidates that rumors regarding his legal commitment to a local company had been a major hindrance in the closing of his contract with Tips. He mentions receiving threats about banning him from TV during the time his negotiations with Tips were underway.

 For a while, he appears to be lost in thought, as if quietly agitated. Then he starts talking about art and culture in Bombay and laments that in Pakistan, we haven’t realized what culture is all about and have dragged unrelated extremist religious elements into it. “Keep your religion to yourself,” he states. He lauds the present government’s enthusiasm in developing the media industry.

Going on about Bombay and the Indian entertainment industry, he considers working in Bollywood as a step ahead in furthering his career as an artiste. “Bollywood provides you the platform from where you can get to places in Hollywood. It’s really easy to grab, if you have the potential.” He opines that the other reason why India is so culturally strong is because music and art are treated as a part of the school curricula; if a person wants to pursue education in the fields of music, he/she would be guided properly via schools and vocational institutes.

He emphasizes the need for Pakistani people to give local artistes the respect they deserve. Otherwise, the most prolific musicians would continue to leave the country. Ahmed gives the examples of Aamir Zaki among these and declares that we are losing Asad Ahmed from Karavan as well. Oddly enough, this particular point of view echoes with those of certain other musicians as well, leading one to wonder whether most working artistes feel underappreciated the way Jehanzeb does.

One sincerely hopes that Jehanzeb manages to realize his full potential as a musician by working in India. But whether working in Hollywood is the concluding peak in a musician's career— and more so, is Bollywood the gateway to success— remains debateable.However, he does strike the bull's eye when he says ours is a budding industry, and because it is still in its infancy, it will take time for people to develop proprieties when dealing with musicians and artistes.


credits: photograph taken by Rizwan-ul-Haq.

personal note: one of my least favorite. super edited pieces.

First Published:
Images
July 16th, 2006

Posted by vintage at 4:23 AM 2 *

Sunday, July 09, 2006

Celebrating music in Norway

Music in Norway is more than just a part of culture; it is a part of who the Norwegians are. The country plays host to over 200 music festivals a year, with each festival belonging to a specific genre of music, embraced by people of all ages and backgrounds. So how did two bands from Pakistan end up getting invited to a music festival being held in Oslo, Norway, this August?

For Shallum Xavier, the lead guitarist for Fuzon, the story began when the band was invited to perform alongside a Norwegian band Fryd (pronounced ‘freed’) at the launch ceremony of a Norwegian cellphone company in Pakistan. Following that, Fuzon was invited to perform at the anniversary of the same company in Norway where they ended up performing a couple of extra gigs. The money from those additional gigs was donated to the Red Cross Society.

Fryd visited Pakistan again last year in hopes of collaborating with Fuzon, but by then, Fuzon was deep into recording their upcoming album and found it difficult to accommodate what Fryd had in mind. Not wanting their trip to go to waste, Shallum introduced ex-Noori drummer Gumby to Fryd and together they performed at several venues in Karachi, including a recorded live performance for a television channel. Shallum and Gumby are now due to leave in mid-August for Norway where they have plans of staying back and possibly working with Fryd on producing an album, having an international release and targeting a more global audience.

Excited at the prospect of the Norwegian trip and potential that it holds, Shallum says, “It is a positive step towards our goal and what we want to achieve as musicicans. It’s great for the Pakistani music industry because this doesn’t happen all the time. These musicians happen to be one of the best in Europe and will help people around the world understand what actually happens in Pakistan. People here will also realise that there are places in the world that appreciate good quality music.”

Speaking of festivals, Farhad Humayun of the band Overload comments: “Festivals are the best mode of promoting cultures because there is a huge variety of musicians from different countries. It’s also a difficult platform because each artiste is being judged instantaneously and the audience decides right there and then whom they like. It’s easy to get booed off stage if they don’t like you. Usually when bands from Pakistan go abroad, they play to desi communities; they have very limited space for growth in terms of popularity. Festivals are made for bands like us.” Overload is also going to perform in the music festival in Oslo this August.

Following Overload’s trip to Japan, Faizan Peerzada of the Rafi Peer Theatre Workshop received a phone call from a group called Horizons, asking him to arrange for the band to perform in Norway. What resulted from the conversations and ensuing meetings was that Overload would not only be performing at the Norwegian festival but would also do gigs at local venues that would not be festival-related. And like Shallum and Gumby, they will also be collaborating with musicians there. Jan Gaberek (pronounced Yan Gaba-rek), a well-known Norwegian saxophone player, is also playing the potential candidate, although nothing has been confirmed regarding his participation yet.

Farhad talks about the upcoming event: “It’s great to play overseas because the true success of an artiste is when he breaks the language, cultural, social and economic barriers and spreads his art all over the world. Plus, Norway is crazy about music and we’re hoping for a great audience which really inspires us on stage. The expected attendance per day is 44,000 people.”

He elaborates upon Overload’s collaboration with international artistes, “Overload is all about a hybrid culture; we aim to work with all kinds of players. Right now we’re touring and playing with Pappu Saen and Joora Saen from the local scene, but we’re constantly on the lookout for new interesting sounding instruments, singers and players.”

Where one wishes them well on their trip to Norway, it would be interesting to see the result of these individual collaborations by our local artistes with the Norwegians. Who knows, they might even create a whole new genre of music. The future is full of possibilities and if local musicians keep on getting invited to perform in festivals abroad, a music festival in Pakistan may happen sooner than expected.



Photos:
—1st photograph: Shallum Xaveir doing his thing.
—2nd photograph: Puppo Sain and Farhad Humayun from Overload in Japan.
—3rd photograph: Overload bandmembers in Mexican hats during their Japan tour.
—4th, 5th and 6th photograph: Fryd bandmembers – Hildegunn Oiseth (brunette in red), Mocci Ryen (blonde with pink pillow) and Ingrid Kindem (brunette in blue).

First Published:
Images
July 9th, 2006

Posted by vintage at 3:40 AM 6 *

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