Ali Azmat: second time round
By Madeeha Syed
The first section of the album hits you with full force from the moment it begins. Ali has officially arrived and he has no qualms about letting anyone know. An eclectic mix of almost everything — think saxophone infused in the traditional rhythm and lead guitar playing and some very powerful drumming by Mr Pinto himself — the album swings off powerfully and has its own share of solos by the musicians who’ve performed in it.
You will either love the album or hate it. There are no grey areas where Ali’s upcoming album, Klashiinfolk is concerned. Although this scribe heard this album right before it was sent for the final mix and master at Digital Fidelity Studios in Lahore and one couldn’t help but think how perfectly nice the raw, live sound that came through during the preview, sounded and discovered that not only had the album been recorded as if it had been performed live, but also that even after the final mix and master, the ‘live’ sound would remain.
Where Social Circus was significant in establishing Ali’s individual sound and in breaking him away from the Junoon-inspired cliché that he was being associated with, Klashinfolk is a completely different ball game altogether. Social Circus was a self-dialogue that Ali had with himself and the music, although rich, embodied an emotional moodiness that reflected the turmoil that was no doubt predominant when writing the material for the album. Klashinfolk, although just as rich, is on a completely different polar end because in this album, we see the lighter side of Ali – the side that wants to celebrate just ‘being’.
The first section of the album hits you with full force from the moment it begins. Ali has officially arrived and he has no qualms about letting anyone know. An eclectic mix of almost everything — think saxophone infused in the traditional rhythm and lead guitar playing and some very powerful drumming by Mr Pinto himself — the album swings off powerfully and has its own share of solos by the musicians who’ve played in it. Where Gumby ends the song by drumming in his own signature style, the second single has a very dominant guitar solo in it.
Interestingly enough the third song carries forward the music started off by the first two singles and is actually a hamd. The only difference is that it doesn’t come across as overtly pious and neither does it comes across as terribly preachy. If there was a song to which one could dance in celebration of God, this would be it.
The fourth song becomes mellow but not just vocally, both musically as well. The only one so far which doesn’t make you dance — this song has a different mood altogether — whereas the previous songs sound completely different but this one has a slightly bluer (not to be confused with the music genre) feel to it. It reflects shades of black and blue as Ali takes you on yet another journey and is perhaps the only song that sounds remotely like local desi pop. The guitar, although also very dominant is used to provide or enhance the overall mood.
The album takes on a darker sound and the next song has a somewhat dramatic air to it. It finds Ali singing in a manner as if warning the listener of something to look out for, ahead and reminiscent of old, heavy rock songs. The sixth song is perhaps the only one that has managed to sound like a conventional rock song – a major step away from the overall sound – and stands out from the rest of the songs in the album. There are two moods very strongly predominant in the song. Oddly enough it is this duplicity in that which makes the song more intriguing. It is not enough that you listen to it once, there can be found something new in every listen, and listen to it again you want to, in order to find the multiple interpretations hidden in it.
Embodying lyrics that go on as ‘Ban Kay Dhuan Urta Raha… Teri Sansoon Mein Jo Aag Thi, Bujhti Rahi… Khud Say Bhi Mein Hairan Nahin, Rahein Yeh Dil Mera Veraan Nahin, Khud Say Bhi Mein Hairan Nahin’ and the chorus line as ‘Mein Jalta Raha, Tu Hasta Raha, Dil Nay Kaha Buhat Shukriya’ is a song titled Shukriya. Ali related that Zeeshan Parwez might direct the video for this song, and upon speaking to the director himself, Zeeshan said that “I’m looking forward to making a video but it is going to take a bit of time because the songs are designed in such a manner that it requires me to think more than I would in a normal manner” adding to it he said, “there are around two three songs from the album that I definitely want to make videos for but for now, I just want to concentrate on one.”
And yes, there is at least one English song in the Klashinfolk. Interestingly enough, a lyric from the album states that You are in me, growing like some disease – definitely romantic, but in a somewhat morbid kind of a way. Following this is a song which goes lyrically as Jeena hai kya marne hai kya, tujhay bhula nahin. There is no noise by excessive instruments being played in the song — the concentration is solely on Azmat’s voice — or on the instrument being played (the lead, the bass guitar and the way, even the soft drumming that builds the crescendo of the song later on) the song ends with Ali crooning to ‘Socho Kabhi’.
The album is an eclectic mixture of all kinds of music – this kind of experiment could either have ended with wonderful results or could have crashed down on experimenter’s face - but has the energy that is characteristic of Ali’s personality. Klashinfolk is intense, but happy and takes you on a wild journey involving the intricate moods of simply being in a state of celebration. Yes, admittedly so, the sound is nothing like what has been done before and is a clear reflection of how sound, and most importantly music can mature if allowed to be. And Ali’s music is definitely a seasoned product of what desi pop-rock would have been today had it been allowed to flourish and continue with consistency when it first tried forming its roots in the local industry. Klashinfolk truly is Ali-en.
link:
http://dawn.com/weekly/images/images10.htm
Music Album Preview: Ali Azmat - Klashinfolk
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