Thursday, August 12, 2010

A 10-Minute Session With Bilal Khan

 Published on Koolmuzone, 3rd August 2010






My Complexes: Illiterate in musical notations
What turns me on: First sight of the finish line
What turns me off: Dogmatic behavior
My philosophy of life: Be desire less
My Secret Ambitions: To keep it a secret
Favorite Cologne: Issey Miyake
My music genre: Blues and Jazz
My favorite musicians: The modest ones
I would love to perform with: U2
I would love to see my country: Excel
Favorite Car: A tie between Ferrari Enzo and Suzuki FX
Favorite Dress: Shalwar Kameez
Favorite place to hang out: Rendezvous
Favorite Movie: Meet Joe Black
Favorite Actors: Johnny Depp and Akshay Kumar
Characteristics that attract me as person: Acceptance
As a kid I was: A quiet dreamer
What I always put off until tomorrow: Homework
My craziest fan: Abdul Hameed the driver
Success to me is: Possible
Question I hate: Do you have a girlfriend?
Question I love: Do you have girlfriend(s)?
Food that makes me crazy: Matar Paneer and Kofta
My biggest Asset: If you talk about fixed assets then…..
Music for me is like: Freedom
When no one is looking, I like to: Check my zipper
A moment in my life that was truly romantic: What?
My most prized possession: Anna Martin
The real me like: Doofis
My idea of perfect happiness: A game of cards with family when the light goes out
Three things that I like about myself: Name, fame and game
Three things that I dislike about myself: Nothing
My Biggest Regret: None
My Motivation: To achieve small little achievable goals
My Band: Bilal Khan
My Company: Bilal Khan Pvt. Ltd
First instrument I learnt playing: Guitar
My favorite Hero: Arnold Schwarzenegger
My Favorite Quote: “Stop doing stuff all the time and watch what happens” – Lao Tzu
My Biggest Passion: Art
My Biggest Desire: To be desire less
My Fitness Secret: To regularly avoid gym
My Biggest Expectation: To understand what is
My Favorite Pastime: To listen
My Favorite Song: Bad question
My most memorable moment: O-levels result day
My source of learning: Internet
My source of inspiration: YouTube
My Message: You just wasted a lot of time.

Interview With Vegar Nesset (Following Bob)

 Published in Unrated Magazine, Under features

Vegar is a member and acoustic guitarist at Following Bob. The band also has some other musicians, for certain occasions like Jan E. Holberg as bassist, Leif-Magnus Lilleaas and Anders Sinnes on guitars, Simon Poole as programmer/producer, and programming/producing, Ingvild Hasund on backing vocals. The band derives their influences from A-ha, Savoy, Magne f, Ryan Adams, Joan Armatrading, Tori Amos, Ane Brun, Jeff Buckley, The Byrds, Barclay James Harvest, Solomon Burke, Blue Oyster Cult, Big country and some others too.
I got a chance to talk with Vegar. He shared a lot on his music. He is also the founder of the band and a singer-songwriter too. He has taken part in a number of musical projects including; The musical "Tonight" performed at London's West End, Touring in Scotland, Germany and Norway with bands like Shadows and Lights, B.F.B etc, The stage version of the musical "The War of The Worlds" in Liverpool, Performance on German television with B.F.B, Live radio performances on Norwegian Broadcasting (NRK) with original songs. He has also written songs for other Norwegian and international artists. And also contributed to the compilation ACOUSTIKA (vol. 9) with the song "Nothing seems right" which was released in the USA on the 26th of February-08.Following Bob have taken part in the compilation-cd Norwegian Wood Music for China (vol. 2) with the song "(It's not) me nor you" released in China in December-07.


One can find their music at: http://www.myspace.com/followingbob.

Tell something about your education, music training
Vegar: I've got a Bachelor of Art from The Liverpool Institute for Performing Arts ( Liverpool, UK), where I studied music and voice. Apart from that I've played guitar and written songs since the age of 10.
Tell about your inspiration.
Vegar: Most of my inspiration comes from watching people in their everyday life. Trying to put myself in their place and understand how they think. But also, it comes through listening to the work of other artists.
Vegar NessetGive a brief intro of the band members.
Vegar: My band Following Bob consists of mainly me. On recordings and at big concerts, I hire musicians to get a bigger sound.
How and when did you get interested in music?
Vegar: To be honest I guess it started when my big brother brought home the album "Giv 'em enough rope" by The Clash. Lying on the floor in front of his record player listening to these amazing English lads, I decided, that's what I want to do with my life. Although my music can't be described as Punk music, they've been of great importance to me throughout my musical career.
What was the first instrument you learnt playing and at what age?
Vegar: My first instrument was the acoustic guitar, which I started playing at the age of 10. I learned my first chords from my aunt, who was the only one in the family who owned a guitar and knew how to play it.
Your favorite bands and musicians:
Vegar: Since I'm from Norway, I've always been following the career of A-ha. But I've also learned a lot about songwriting listening to artists such as Tom Waits, Joni Mitchell, Nik Kershaw, Xtc and of course, The Beatles.
Share a few lines on your album. What are your expectations from fans?
Vegar: On my last EP I focused on making a big production sound. But my new album will consist of songs with a pure acoustic sound. And I guess that the listeners who follow me will be pleased to hear that I'm still focusing on good melodies and meaningful lyrics.
What is your music genre?
Vegar: I tend to write whatever comes into my mind, so I'm not stuck in any particular style of music. Although most of my songs might be put into the big genre well of pop and acoustic.
Vegar NessetHave you ever played cover songs?
Vegar: When I started at the age of 10, I used to listen to other artists and cover their songs just to learn how to play the guitar. In the early days that was my only source of inspiration. But I've also toured with different bands playing cover songs. Now a day I'm kind of concentrating on my own music.
Is there any message to your fans?
Thank you for having faith in me, and for letting my music into your lives. To each and every one of you who's a part of my musical universe; YOU bring me inspiration.
What is your source of learning?
Vegar: At the time, my sources of learning are listening to other artists, but also some voice lessons with a teacher.
How do you define music?
Vegar: Music is the mirror of the soul.
Image Courtesy: A. Nervik

Sunday, August 1, 2010

Ron Ziai: A Man with Cavernous Creativity

Published in Unrated Magazine




Ron Ziai was born in Englewood, NJ on January 29, 1974 and was given the name 'Reza Ziai' having an artistic nature since childhood; he picked up guitar at a very young age and started practicing too. He played some cover in his schooldays as well. During his graduation studies course at Pittsburgh, During his high school days he played djembe and lead guitar in a blues band called "Blue Gill Bob and the Horsebreakers" mostly for fun. Ron also started an atmospheric band that was later called 'Cloudmachine' with his friends. They played several shows in Pittsburgh, but soon disbanded. Ron then formed and fronted a group called 'Diving for Orchids' where he sang lead and played guitar for the first time, but this disbanded too. He decided to go solo and create his own music after these experiences. Ron discovered the wonderful world of Digital Audio Workstations and started recording extremely rough demos. He released his CD which had all the tracks written and recorded by him that truly marked his creativity.

"His latest music rocks pretty hard. Totally surprised and pleased with his progress."
Joe St. Esprit (lead vocalist for The Doors Experience)

Ziai has finely crafted each song with an emotional weight that will appeal to all walks of the progressive world. Overall, it is the perfect balance of art - virtuosic and glorious instrumentation tinged with a touch of genius. Doesn't get much better than this."
Alex Jasperse, The Muse's Muse

Last month, I caught a performance by a guitarist who really caught my attention: Reza "Ron" Ziai, who plays a variety of instruments and gets some interesting sounds out of them."
"Observer-Reporter" journalist, Harry Funk, from Sound & Vision

You can find his music at: MySpace and CDBaby.com

Sadaf: Tell something about your education and music training.

Ron: I actually have no formal training in music aside from about a year of guitar lessons in high school and a couple college level theory courses. Both helped immensely, but I feel I learned the most from playing with friends and listening to a wide range of music. I can read tab and play by ear, but my site reading is, admittedly, quite poor. I can't underscore enough how important it is for up and coming musicians to play with people.

Sadaf: Tell about your inspiration.

Ron: The inspiration comes from three main sources: 1) Classical music, 2) 80's and 90's hard rock/metal music and 3) Traditional Persian music. Aside from those things, I get inspired to play when I dwell on the pain in life -specifically my life. The one album I've done was a compilation of many years of intense darkness and depression. I am moving away from that, but some things remain close to the bone.

Another thing that inspires me is poetry and the writings of ancient mystics. I've always been fascinated by visions, voices, and things from the Other Shore.

Sadaf: Give a brief intro of the band members.

Ron: HAHAHA!! Are you kidding me?! I don't have a band. The disc that I did last year (Ron Ziai - available at CDBaby.com) was entirely my own creation. Several friends played some back up roles (back up vocals, rhythm guitar, keyboards). But I composed, produced, played, and engineered almost everything myself. I've always found that working with people to create something specific that I've had in mind has been almost a total waste of time. Groups have always been about "the least common denominator" to me. You get a sort of 'herd mentality' in groups. When I try to run things myself, I get too caught up in so many things, that I end up enjoying music better if I just engineered and produced everything myself.

Currently, however, after getting an endorsement with XOX Audio Tools, I am looking for band mates to work on new material to present in a trio format to help spread the word of the vibe I'm trying to put out there.

Sadaf: How and when did you get interested in music?

Ron: I remember exactly. It was when my brother was in dental school. He came home one weekend with a dog and a guitar out of nowhere. My parents were in total disbelief. It was funny. I just ended up playing the thing more than he did probably because he was studying all the time and I was just in junior high or something.

But before that, I was always listening to what my brother listened to. And when he wasn't listening to some 80's hair metal stuff, I was hearing what my dad was playing on the stereo - mostly classical and Persian music.

Sadaf: What was the first instrument you learnt playing and at what age?

Ron: It was the recorder. I was about 6 years old and I was terrible at it.

Sadaf: Who are your favorite bands and musicians?

Ron: This is always complicated to answer because it seems to change a lot. But the mains ones that seem to always stay are. Led Zeppelin, Pink Floyd, The Tea Party (Jeff Martin), Radiohead, Vivaldi, Yngwie Malmsteen, Pagannini, Mozart, Beethoven, Metallica, The Doors, System of a Down, Alice in Chains, Rage Against the Machine, Sigur Ros, Nick Drake, Neil Young...I could go on and on. Lately, I've been listening to a ton of Katatonia. I'm really moved by those guys. Lately, I've been trying to get into jazz music again - but I'm struggling with that.

Ron ZiaiSadaf: Share a few lines on your album. What are your expectations from fans?

Ron: 'Pieces of glass from that car crash are stuck inside your face. Let me reach in and pull them out...one...by...one.
"A Sip of Wine"
I was going through a lot of pain at the time (emotional pain) and I was yearning for sympathy from friends and family and strangers even. This song was sort of a cry of help at the time. I hope it inspires others to not sit still when they struggle and do whatever it takes to get help and ultimately, offer help after you are well as a form of karmic debt.


'Will you drown with me. We don't need air to breath.
So tie these to your feet as I give you one last push. You'll reach out for my hands as you drown in the deep blue sea.'
"Drowning (the stone)"


This is a song about tricking a demon that you don't need air to breath and if the demon simply tied some rocks to its feet and jumped in the water with you, you'll be okay together forever. He agrees to tie the rocks to his feet and just as you are about to both plunge into the water together, you trick him and push him in instead thereby killing the demon. Many people seem to think my songs are all gloom and doom, but they really need to see what's going on. You can only use what you have...if you have pain and darkness, and then you use those things, but do something good with them.

Sadaf: What is your music genre?

Ron: I hate genre names. I guess I like the phrase Ambient Metal. Most people say I'm progressive, some say goth, some say indie. Who knows?

Sadaf: Have you ever played cover songs?

Ron: Sure. In high school and college I exclusively played covers. I got tired of that pretty quick.

Sadaf: What is your source of learning?

Ron: Existential literature, the classical radio station, other musicians. I particularly like to read magazines that are geared towards audio production and engineering. Sometimes I try to learn from other people, but I usually don't end up getting anything useful from most people. I rely on my own experience mostly.

Sadaf: How do you define music?

Ron: Music in general. Well, it is an expression of soul. It could be from a person, an animal, or an event, or almost anything else. It's just vibrations that come right from the center. Most popular music today is terrible because it is an expression of a world whose soul has lost its way. The manifestation is a commercialized form of mind numbing garbage. I wish people could be a bit more truthful and write music about other things that perhaps do not pertain to the entertainment industry. You can have music at a wedding, funeral, or on the frontlines of war. With so much going on today, you'd think there would be more diversity in popular music. Sadly, you need to go searching for anything decent.

My music is dark, but it is not negative. It was about a dark period in my life. Many people who have been hurt often end up hurting others or themselves. This album is in retaliation to that mentality. The music is about using what you have. I used the darkness to attempt to break through into a clearer, more open realm. I'm starting to get there.

Sadaf: Any message to your fans?

Ron: Be honest about who you are. Don't pull any punches with people. If someone doesn't like what you say when you're being truthful, screw them. The ones who do like what you're saying are the ones who matter.

Diminutive ‘Au Fait’ and Meek Exquisiteness with Coke Studio Episode 2

Published on www.koolmuzone.com, on 21st June 2010
By
Sadaf Fayyaz


The second episode of Coke Studio 3 aired on June 20th. The episode featured five tracks out of which only two proved to be extremely hilarious. Coke Studio is famous for maintiang its style of fusion and diversity in music, this time flavored a bit experimental and mind-numbing. It was nice to see EP performing together but they could not maintain the real essence of the beautiful song “Bolo Bolo” by Sajjad Ali.  A very famous song from hit album “Babia” of Sajjad Ali, which was released in early 90’s, had “Bolo Bolo” as the second most favorite song, after “Babia”. The vocalist Fawad did little justice with this legendary and gorgeous song of Sajjad Ali. The bona fide quintessence of the song wasn’t felt at all. Upon asking Ahmed Ali Butt about the Coke Studio sessions, he shared,
It was a wonderful experience, the whole team and crew of CS3 was fantastic. It was great to work with similar minded people who know how to deliver perfection. We felt great. The whole studio feel was very challenging and fresh. EP has always been known for its live performances and energy but this time around we wanted to show a more mature side of the band. CS3 gave us the opportunity.”
Upon asking him further about what they were expecting from their fans, Ahmed Ali Butt said,
Well, we don’t have any idea about that, we did coke studio not with that intention. EP has a cult following and fans might object to the fact that EP went soft or tried something bluesy on the other hand they might love the fact also, so it’s only fair that EP did this for EP. It’s something new and fresh and EP took it us as a challenge to do something totally radical. We had fun and hope people will have it too.
Also EP fans may feel amazed since the video of their song “Chor Macha” is coming out soon. Stay tuned to that.
The drum maestro Gumby has always been amazing and energetic, in a way he was in the previous episodes too. The beautiful beat of his drum has not match. He shared, 
The project by far has grown in terms of video and audio production. Everyone, from Zeeshan and Adnan on the visual front to Rohail, the technical staff and the musicians, has set the standards in their own right. It's lovely working with a team like that over the past 3 years. The vision of the lineup and especially Coke Studio just seems to be getting clearer and brighter when it comes to the arts. It was high time that Pakistan experienced something this genuine and of quality where one can safely say that "we are here to give the audience a show that they will remember for a long time!"
Amanat Ali has been an amazing singer. Last year his album got a very good response in the yearly album charts. But this time, the authentic splendor of song “Aicha” by Khaled, could not be retained by Amanat. However, Zeb and Haniya managed to maintain the beauty of folk Dari song “Bibi Sanam” (First episode of Coke Studio 3). When it comes from Persian to Urdu, the essence of translation isn’t that hard. But from French to Urdu, needs a deeper analysis, richness of the language and understanding its diction too. Amanat has super vocals, but the lyrics of the song don’t sound that strong as the ones of original “Aicha”. Though, the melody and music is really beautiful and catchy. This beautiful song has been sung in many versions and languages. The French version was performed by Khaled and Faudel, a Malay version with tinges of Arabic in it was by Yasin, titled as “Aishah”. It had two cappella versions: one by Penn Masala and the second by Aquabella. The French/Arabic version was performed by Lobo Ismail. The Hebrew version of this legendary song was written by Ehud Manor and performed by Haim Moche. An English version of the song was performed by Aqmal and Sufyan. The Salsa version was done by Africando where the Zouk version was performed by Kassav. The Serbian version was made by Dragana Mirkovic and was titled “Pogledaj Me”. The Danish hip hop band, Outlandish, recorded and released an English version of the song "Aicha" which was included in their album Bread & Barrels of Water and was produced & and musically performed by Mintman aka Carsten Mortensen. It could be said that such a rich song, that had multiple versions, shouldn’t have been experimented this time in Urdu.
Coming to Zeb and Haniya, along with Noori, we can see Haniya singing too. She is always seen on guitars. It was refreshing to see her on vocals too. Over all, it was an above average song. Zeb and Haniya stole the show with their “Paimoona” and “Bibi Sanam”, in the past. But this time this marks as only a good song, not a show-stealing one.  Same goes to Noori too. The song “Aik Alif”, with Saeen Zahoor, in last season was highly ranked. “Tann” is an ordinary song.
The most beautiful and melodious song of the entire episode was “Moomal Rano” by Fakir Juman Shah. The beauty and richness of Sufi Kalam by Shah Abdul Latif Bhitai could be felt deeply in from of soul touching and awe-inspiring music. The fusion marks great. The song starts with a traditional folk touch and transforms into something highly mystical in the end.  Moomal Rano basically is a history of folk stories that took place on the soil of Pakistan. The three famous tragic stories of the literature are Sassi Pannu, Heer Ranjha and Sohni Mahiwal. The story of Momal Rano is a beautiful and historical tale of winning love. The seven queens and heroines of Sindhi folk lore have been given a status of royalty in “Shah Jo Rasalo”, (the name for compiled verses of Shah Abdul Latif Bhitai). Moomal is one of those seven queens.  Fakir Juman beautifully maintained the essence of this tale with his soulful voice.
The second beautiful song was “Naina de Akhay” by duo Rizwan & Muazzam. Still it cannot be compared with the legendary Ustad Nusrat Fateh Ali Khan. The talent runs in the blood. They maintained the essence of the show by their super Qawali style and measured momentum. This time, CS fans are a bit disappointed. But let us wait for the next episode on 4th July. Stay tuned to some amazing performances by Abida Perveen, Meesha Shafi, Aunty Disco Project, Sanam Marvi, and Tina Sani & Arieb Azhar.

A More Dimensional Intimacy with "Bibi Sanam Janem"

 Published on www.koolmuzone.com, on 12th June, Under Reviews
 by

Sadaf Fayyaz
 
 

After “Paimona”, Zeb & Haniya steal the show with their highly applaudable “Bibi Sanam”, with Dari derivation and saccharine Dari accent. The Coke Studio sessions are really worth appraising and hold a touch of classy knack to them. The original song, sung by Wahid Qasemi (Vaheed Kaacemy; Persian) sounds with a different set of tune and harmony. The magnificent folk song from Afghanistan is sung in a very Dari style by Wahid. Vocals of both the artists are incomparable, since both have a style of their own. The Zeb & Haniya version starts with a beautiful Rubab played by Sadiq Sameer, whereas the original one starts with a different mode. After Rubab, we hear some dramatic guitar too, followed by some eccentric drum strikes by Pinto. Zoe, Sanam and Saba can be seen as the backing vocalists in the song. The Zeb & Haniya duo has really made it a soulful and poignant melody after giving it a totally innovative and novel touch. The level of romanticism associated with the beautiful Dari poetry can be felt profoundly. Since the legendary music cannot be re-created or re-composed the way it was done originally, but the endowed duo has added some more glamour and melody to the original sonata. With tinges of Afghan and Persian music, Zeb & Haniya steal the show with potent music and a luminous Rubab playing in the beginning by Sadiq Sameer. They beautifully maintain the essence and glitziness of the Dari language with a stellar performance and thrilling tune. As compared with the original version, the one with coke studio is more touching, thus remarkably capturing the right intimacy of music. The song “Bibi Sanam Janem” truly marks a modern-day rhythm that embarks its cultural history, linguistics and subtlety, while adding more instrumentation and dimension to it. Keep it up Coke Studio!

Radiance All Over With Coke Studio 3

Published on www.koolmuzone.com, on 11th June, 2010, under Features Category

The coke studio season 3 is all in the air and a hot topic these days. The exciting season marks with Noori, Meesha Shafi, Karavan, Arif Lohar, Arieb Azhar, Abida Parveen, Zeb & Haniya, Saba Shabbir, Zoe Viccaji, and Sanam Saeed. Sanam and Zoe could be seen as the backing vocalists this time. Abida Parveen outshines the show with her mystical and deeply enriched style in “Ramooz-e-Ishq”. One cannot comment or critique on her performance and chic. She sounds miraculous every time. Simply don’t have words for it.  Zeb & Haniya steal the show with their highly applaudable “Bibi Sanam”, with Dari origin and saccharine Dari accent. After Pichal Pairee, one comes to realize this time the dominant vocals of Meesha in “Alif Allah”. Arieb Azhar has been able to envoke the original style with and sounds a bit extra this time with his cavernous, touching and poignant style. The magic of Abida Parveen and richness of Zeb & Haniya truly make the show magnificent. Karavan makes the show radiant with beautiful songs from their rocking album “Saara Jahan”. Asad Ahmed, whose marvelous music surpassed the act outstandingly, shared very blissfully,
Asad Ahmed“The coke studio sessions presented us with an opportunity to do some songs from the new album in an acoustic setting as opposed to the regular ROCK shows that we are famous for.In essence it made us rely on our songs rather than the sheer pandemonium that is a Karavan concert. Plus I think it’s kind of cool to appeal to a larger audience with songs like “Yaadein’ and “Kaisay Mumkin Hai”. I also must give props to the members of the house band as well as the girls on backing vocals they were all stellar. All in all is a great experience.”
Arieb Azhar who appeared in the first episode of Season 3 shared his views,
Coke Studio – Season 3 has outdone itself. Even in the previous CS projects the level of professionalism was unparalleled in Pakistan, but this time, I feel, the content also is stronger and more rooted than before. This time it was an honor for me to perform alongside musicians, many of whom have been inspirations for me in my personal musical journey.”
It’s just a start of an expedition. There is still more to come. The episode 2 would air on 20thf June with EP, Zeb & Haniya, Noori, Amanat Ali, Fakir Juman Shah and Rizwan Muazzam. Stay tuned to it everyone, especially CS fans.

A Small Session With Arunaa

Arunaa: A Small Session with Arunaa
Interview Conducted on April 17th, 2010, Toronto, ON, Canada
By Sadaf Fayyaz

Arunaa: A Small Session with Arunaa


Arunaa was born in Chennai, India. She was brought up at Toronto, Canada where she is currently living too. She is a singer, song-writer, model and actress too. She puts deep creativity into everything that she does. Her music is influenced by western and eastern genres. Being a fusion of both the streams, Arunaa puts a rich blending and flavor to her music stream. Her experiences add depth, her zest for life adds frivolity and her talent for words makes her music memorable. She has her unique sense of creativity and art. Having a rich and colorful artistic mode, she puts a lot of bliss to everything she does. The ecstasy ranges from almost every form of art. Her melodies are quite harmonious and glitzy. Her music attracts a wide range of people and fans.
Arunaa doesn't believe in a conventional and traditional kind of approach. She highly believes in novelty and innovation and every time bringing out something new and novel to her fans. She is unique, different and awesome. She always dares to be different and that's why she stands out among others. She feels most alive when conquering her fears and is always looking for the next challenge. She is challenge facer and a strong believer in herself. She is ambitious and passionate and puts a lot of effort in everything that she does.
"You sound like Amy Wine house except happier!"
Bohemian, INDIA

Sadaf: Tell something about your education, music training
Arunaa: I've been writing songs since I was a little girl. I remember writing them since I was 7 or 8 but my first recorded song was when I was 12. The song was about our world and the planets in space, I still remember all the words!
Sadaf: Tell about your inspiration.
Arunaa: My inspiration comes from my own experiences or from stories I hear about other people or friends. A lot of my songs are about relationships but really songs that people can easily relate to. When I create a song, sometimes I'll hear a melody in my head and then the words come or sometimes I have a thought or idea and it just comes out of my mouth with a melody...it's a very interesting process...because each song comes to me a little differently.
Sadaf: Give a brief intro of the band members.
Arunaa: I am a solo artist and I usually work with a producer whose name is Ari Gajraj. I also collaborate with a lot with other artists.
Sadaf: How and when did you got interested in music?
Arunaa: I got interested in music at a very young age. My father is a singer and actor so I think I get my talent genetically!
Sadaf: What was the first instrument you learnt playing and at what age?
Arunaa: My main instrument is my voice but I do also play the flute. I played it through high school but I don't play it very often these days.
Sadaf: Who are your favorite bands and musicians?
Arunaa: I have so many favorite bands and musicians...my taste in music is very diverse. I love some rap artists and I also enjoy opera, jazz and classical.
Sadaf: Share a few lines on your album. What are your expectations from fans?
Arunaa: Miss Lonely is a song from my album. Some lyrics from the title song as follows: "I shine brightly like a diamond ring. I own the patent on this love machine. I can do just about anything but why I can't I make you love me". It's a song about unrequited love and I think most people can relate to that at some point in their lives. In this song, she is frustrated that she has so much to offer him but he is not interested but she is determined to win him over.
I have no expectations from my fans. I just hope they enjoy my music. It's a cool feeling when you create something that others can enjoy.
Sadaf: What is your music genre?
Arunaa: I would call my music genre retro-soul-pop because my music and voice has a retro feel to it. It is pop music but the vocals are soulful.
Sadaf: Have you ever played cover songs?
Arunaa: I am working on a side project which is more jazz related and yes I'm working on some cover songs for that.
Sadaf: What is your source of learning?
Arunaa: Life: Every day is a source of learning wouldn't you agree?
Sadaf: How do you define music?
Arunaa: Music is a gift to humanity that evokes in all of us so many different emotions that is unparallel by anything else. Without music, life would be unlivable.
Sadaf: Any message to your fans?
Arunaa: Thank you so much for your interest in my music. I am so flattered and touched by those who relate to my music...thank you!

A Dialogue With Curtis Reed

Downcast: A Dialogue with Curtis Reed
Interview Conducted on April 11, 2010, St. Louis, MO, USA
By Sadaf Fayyaz



The interview is of a very talented and competent guy, Curtis Reed, from the St. Louis based band named Downcast. Downcast consists of five members, Brett Barry, Ty Jones, Brad Goldman, Drew Anderson, and Curtis Reed. Unrated Magazine had an opportunity to speak with guitarist Curtis Reed. Downcast has attracted so many fans on Facebook and have already reached 1000 MySpace plays within the second week of posting two songs on MySpace in a very short span of time. Brett Barry is the lead vocalist, a senior in high school and is a very outgoing, unique individual. Original rhythm guitarist, kicked out, brought back as singer a year later.
Tyler Jones is the lead guitarist, sophomore in high school, brought in to replace Brett on guitar, when Brett was kicked out. Brad Goldman is the bassist, sophomore in high school and an original member of the band since the band started playing together in the seventh grade. He never had any previous education in music. Drew Anderson is on drums, sophomore in high school, original member, and used to play guitar. He was switched to drums, initially started as a guitarist. Curtis Reed is on rhythm guitar, a sophomore in high school, original member and has been playing guitar for about six years now. He took lessons for the first two years, but quit and taught himself. It was quite an interesting session with the avid player. "Beaten Down" and "In Control" are two beautiful tracks by the band.

Sadaf: Tell something about your education, music training.
Curtis Reed: Well, we've all been playing our own respective instruments for a few years now. At one point in time, we were all enrolled in music lessons for at least a year or so, except for the bassist Brad. Brad never took lessons, we just kind of taught him how to play, and he just went on from there.
Sadaf: Tell about your inspiration.
Curtis: Well, we're pretty much inspired by anything and everything around us. We're constantly listening to music or going to concerts. We go to local shows, big concerts, anything. And from every show, we see and hear something new, and think to ourselves something along the lines of "I like that, and I want to put something like that into our music." So we just get inspiration from other bands all the time. But we also try to add our own things to our music, so it doesn't end up just sounding like another band.
Sadaf: How and when did you guys get interested in music?
Curtis : I personally started listening to music around second grade. Two of my first CDs that I owned were " Ocean Avenue" by Yellowcard and "The Young and The Hopeless" by Good Charlotte. Both of which I still own and listen to sometimes. Even though, we don't sound like either of those bands, they were they kind of inspired me to start creating my own music.
Sadaf: What was the first instrument you learned to play and at what age?
Curtis: Around the age of 10, I received a guitar for my birthday. It took a while for me to get into it, but I've been constantly playing since. As for the other members, they all started playing their instruments at around the same time, maybe a few years later.
Sadaf: Who are your favorite bands and musicians?
Curtis: I can't really answer this for the other band members, but my top five all time favorites are:
  1. 1. Yellowcard
  2. 2. Copperview (A local Saint Louis band)
  3. 3. Breaking Benjamin
  4. 4. Story of the Year
  5. 5. Anberlin
Sadaf: What are some of the expectations from your fans?
Curtis: Before making these songs, we didn't really have a fan base. So since we released some of the songs, we've been mostly about gaining and keeping a secure fan base. But so far, all of the responses from fans have been very positive and people are genuinely impressed by the music we make. I guess for future expectations from fans, they will probably want to hear more music and for us to keep the music style that we're going for.
Sadaf: What basically is your music genre?
Curtis: I think of our music being a type of "Hard rock" or "Alternative" style of music. But we try to vary the style of music a little bit. In some songs, we're going for the more "In your face" type of song, but in others, we're headed for more of a mainstream/radio song.
Sadaf: Have you ever played cover songs?
Curtis: Typically, we don't play cover songs. We don't really have a reason not to play cover songs; we just usually can't all decide on one song that we want to cover. So we might cover songs in the future, but as of right now, we do not.
Sadaf: Any message to your fans?
Curtis: Fans are the greatest thing about being a musician. Just having people that will sing along while you are playing and cheer for you when you are done, there is no doubt about it, fans are the absolute best. Without fans, we wouldn't be where we are today and we would never get anywhere. I love all the fans to death, and I just can't thank them enough.
Sadaf: What is your source of learning?
Curtis: Everyone in the band, except for the bassist, was enrolled in private music lessons at one point in time. Drew and I, however, taught Brad how to play the bass.
Sadaf: How do you define music?
Curtis: Music is a very difficult thing to describe. I think of it as a way for people to let out all of their creativity into something that everyone can enjoy. No matter where you are from, what language you speak, everyone can appreciate music. It is the ultimate way of getting through to people. No matter what mood you are in, there is always a type of music for that mood. It is a truly amazing thing.
Written on 9th Nov, 2010, Iqbal Day Special
by
Sadaf Fayyaz

Yesterday was Iqbal day and it was official holiday too. I logged in to some social networking networks like face book and twitter. I saw great tributes and salutation lines and status of Iqbal’s poems. That was something great and I posted a video of “Zamane ke Andaz” by Junoon on face book. I thought of doing some research on gathering data on Iqbal. Though I have read his poems many times, but this time it comprised a different kind of data collection. 

I desired to know how many singers and musicians have used poems of Iqbal, and I was surprised to see that the list of Pakistani singers and musicians exceeds fifty. This amplified my interest, as I have seen musicians singing Hassan Akbar Kamal, Sabir Zafar, Parvin Shakir and Faiz poems. I initially had a plan to write a review on Hadiqa Kiyani’s “Aasman”, but dropped the idea. It was fascinating to see that almost in every era; musicians have been singing Iqbal’s Kilam in a new and diverse way, with novel instrumentation and exotic compositions. 

From Indian movie “Daastan” (1972), I saw celebrated Dilip Kumar performance and legendary Muhammad Rafi singing “Na tu Zameen ke Liye” very luminously. The only first part is taken from Iqbal’s poem. (Misra-e-Tarha) The golden song made me cry from its exceptionally touching vocals by Rafi and enchanting music by Laxmikant Pyarelal. “Kabhi Ae Haqiqat-e-Muntazar” was sung by Lata Mangeshkar in Film “Dulhan Ek Raat Ki”, with music by great Madan Mohan. It was one of the most recited works by Iqbal. Even Iqbal recited this poem the most, as told by his servant Ali Bakhsh. From “Baang-e-Dara”, the same poem is sung by Sheelo and Masood Khan in an unusual style, giving it a minor romantic touch with a soft harmonium in the background. It is sung sensitively, but completely changes the mood and diction of the poem. With romantic lights and candles in the background, the composition sounds more romantic and less prayer kind. The Nazm was written in a different context, Iqbal wrote this poem, which is in fact a prayer. It is referring to his dream of an ideal state, a government where wealth, food, and natural resources are distributed equally amongst all citizens, based on laws of Islam. This would bring peace to its citizens and then to the world. Pakistan was the “Haqeeqat e Muntazir” (awaited reality) whose existence he dreamt but which became a reality, only a decade after his demise. The ideal state, Islam, which practices equality and justice, is yet to be realized because Pakistan got abstracted into Wahabiism, a faction of rites and prayers, instead of establishing a government based on the laws of the Allah. The poem deeply reflects these emotions. So the one sung by Masood Khan and Sheelo do meager justice with the poem. Abrar ul Haq’s vocals on the same poem give it a prayer kind look, superbly composed. The starting of the composition is very malleable with a sudden transition to swift music make it mesmerizing. Though, I found slight touch of Habib Wali in his singing of the poem. Ghulam Ali even sang it with a different style, composition and vocals, but a more ghazal like singing style is associated with his way. 

Noor Jehan sang “Millat ke Jawanon” and “Har lehza hey Momin”. She had her own chic of singing and did justice to the Iqbal’s poem very truly with her splendid vocals and was able to sustain the original temper of the poem. Junaid Jamshed’s vocals from his new Nasheed album Badi uz Zaman is even astonishing. The exquisiteness comes with almost negligible music in the background.
A Nayyar has provided vocals on “Tulo-e- Islam”, one of the last poems in “Baang-e-Dara”, where Iqbal expresses aggravation over the contemporary state of Muslims. It was difficult to sing the poem and preserve its disposition, but A Nayyar did it adequately. Iqbal wrote it after World War 1 relating with repercussion of the war regarding Muslims. 

Notorious Malika Pukhraj sang “Tere ishq ki Inteha” from Iqbal’s ghazals in “Baang-e-Dara”. The same was sung by daughter Tahira Syed in 1980’s. There is a great difference e in vocals as well in music. The one by Tahira Syed has spongier vocals and harmonious tune. Though, even superbly sung by Tahira Syed, the one by Malika Pukhraj retains the original despondency of the ghazal and does more justice to it. “Silsila –e- Roaz -o-Shab” is also sung gloriously by Malika Pukhraj. The one by Tina Sani is even good, but cannot be called magnificent. Junaid Jamshed provided vocals but unfortunately, like his other magnificent Nasheed, this one wasn’t much impressive. Though, his other cappella “Jalwa -e- Jana” is exotic.
Masjid Qartaba, an old PTV recording is worth downloading. The super vocals by Ghulam Ali and pliable music in the background make it fascinating. Ghulam Abbas sings “Tu Aye Aseer Makan” in a very traditional and non-novel style, and doesn’t protract the original mood of Iqbal’s poetry. The same I found with “Haqeeqat mein Rooh-e-Abad”, performed by him. Though, his “Aye Pak Watan” is outstandingly sung. The poem“Tu Aye Aseer Makan” is even performed by Tarannum Naz very conventionally. After listening to “Nigah-e-Faqr” by Shaukat Ali, I felt mesmerized. “Ya Rab Dil” is even brilliantly sung and composed, with a soft chorus in the background. I think it’s very difficult to sing Iqbal, as I have listened to musicians singing poetical works of Faiz, Ghalib and Faraz. I remember Nighat Akbar gave admirable vocals on “Barson Ke Baad Dekha” by Ahmed Faraz, and Nayyara Noor sings Faiz magnificently. But when it comes to Iqbal, something unusual is sensed. Very few singers and musicians have done justice to his poetry, though each of them is inimitable in his/her own fashion. 

The two ghazal legends, Farida Khanum and Mehdi Hassan have provided vocals on “Yeh gumbad-e-Meenai”. No one can compare both, but Mehdi Hasan has given excellent vocals and Taal to it and revitalizes the mood of the poem. I found quite a lot of depth in his rendition. With an exotic harmonium in the background, and a short chorus, he has done great justice to it. Another one skillfully performed by him is “Parishaan ho ke meri”. 

Suraya Khanum’s vocals on “Khird ke Paas” are a bit rigorous, but composition is unique. Mumtaz Begum vocals are a bit heavy and off- the-way, and don’t restore the original mood of the poem. The same happens with “Tujhe Yaad Kiya Nahi” from “Baal-e-Jibreel”, instead of singing it in a soft and melancholic way; the style creates an atmosphere of eulogia, with extremely dawdling and monotone vocals. Though, Gul Bahar Bano has performed it with bit vociferous vocals, by retaining the archetypal temper of the poem.
Ya Rab” has also been performed by Shehzad Roy. The later version has bass and some rock kind style associated with it. It’s a prayer by the great philosopher and thinker. Though, Shehzad has his own style of singing and a comparison can’t be done. A versatile Naheed Akhtar sings “Naghma-e-Sarban” along with Ghulam abbas, from “Payam-e-Mashriq” very eloquently.
In 80’s Mahjabeen Qizilbash and Mohammad Ali Shehki sang together “Nawa-e-Waqt” from “Payam-e-Mashriq”. I have no knowledge of Persian, but can feel the squashy and rhythmic vocals of both the singers. Later naheed Akhtar performed the translated version in Urdu. I found both justly inspirational and harmonious. Asif Javed delivered vocals on “Akal Go Aastan se” from “Baal-e-Jibreel”, with a Mehdi Hassan’s singing style. I felt trace of it in this composition.
I grew up while reciting Iqbal’s Bache ki dua (Lab Pe Aaati he) during my school days. It is in fact a beautiful prayer by a child in which he prays to Allah of blessing him with an enlightened life, prosperous country, high knowledge, love and compassion for poor and needy. Nayyara Noor provides excellent vocals to it and sustains the mood. It’s one of the first poems in “Baang-e-Dara”. The same has been composed by Geo Creative, with Humera’s vocals with a chorus of school kids. The later version has rock touch to it. Nayyara has also sung a small ghazal “Phir baad-e-Bahar”, which addresses primarily Muslim youth and “Maan Ka Khwab” from “Baang-e-Dara”. Her pliable vocals and harmonious music create a sensation as if a dream is really being narrated. This one is my favorite one too.
A part of “Masjid-e-Qartaba” has been performed mutually by late Akhlaq Ahmed, Ghulam Ali, Mehnaz, Naeem Tahir and Iqbal Bano. After listening to Jawad Ahmed performance “Tu Abhi Rehguzar” from “Baal-e-Jibreel”, it didn’t sound a very lasting impression on mind, even with soft music and heavy vocals. It’s included in an album “Apna Maqam Paida Kar”, in which various artistes like Abrar, Humera, Ali Raza, Fariha Pervez, Masooma Anwar, Shabnam Majeed and Rahat Fateh Ali Khan have sung different poems of Iqbal. “Le Phir Ek Baar Wohi” is beautifully performed by Shabnam; I have always loved her soft and canary voice. Rahat Fateh sang “Apna Muqam” very genially; I have also listened to “Shikwa” by Nusrat Fateh Ali Khan. Rahat sings it with his marvelous Qawali style and restores the imaginative projection of the poem. No doubt Rahat has managed well to strike the enthusiasm and jolty equilibrium needed for a typical Qawali. Revisiting “Tujhe Yaad Kiya Nahi”, by Masooma Anwar, I think she is the one who has managed to do justice with it. Initially performed by Mumtaz Begum and Gulbahar Bano, Masooma presents it with a more captivating and husky voice and enthralls her audience. I found her voice very natural, besides being a bit heavy.
Late Asad Amanat Ali has provided marvelous and glitzy vocals to “Hai Soaz”, with highly glorious vocals, very soft and melodious music. I have listened to it more than ten times and beautiful soft flute in the middle of the poem makes it ravishing. Pervez Mehdi sang “Sitaron Se Aage” from “Baal-e-Jibreel”, one sees a different style with harmonium, the same performed by Sajjad Ali has pop tinge to it. Both are exotically composed. Late Akhlaq Ahmed performed “Wohi Meri kamnaseebi” very beautifully, with very supple and measured vocals, and a harmonious music. Late Shahida Parveen brilliantly sang Kilam-e-Iqbal on PTV.
When it comes to musical bands, Junoon composed “Zamane ke Andaaz” from “Saqi Nama” in their rock style. Ali Azmat‘s ritzy vocals and vigorous bass riffs make it more even stunning. The album “Andaz” ranked no. 5 on Asian charts, very admirably captures Sufi and psychedelic rock way.
Recently released album “Aasman” of Hadiqa Kiyani comprises a beautiful Persian Poem “Aye Chashm-e-Saqi” is beautifully composed, with exceptional music and shrill vocals. Hadiqa is a multilingual singer who has sung in many languages, has this time experimented with her vocals in Persian too. The album also contains a Pashtu song as well. The haunting vocals along with English translation make it more striking and hazy.
I have been researching for one week and tried to find all singers and musicians of Pakistan who have performed Iqbal’s Kilam. I got more than sixty links and more than thirty singers using Iqbal’s poetical works. The list varies from classical singers like Malika Pukhraj, Farida Khanum, Mehdi Hassan to a band like Junoon and a pop star like Hadiqa Kiyani. Hadiqa herself speaks that she and her sister grew up with this “Aye Chashm-e-Saqi” poem. It’s her teacher’s composition to which she has added more melody and glamour. She explains that she picks up accents very quickly and is working on a Baluchi song too. This number becomes her childhood nostalgia too, which she has revitalized very glossily.
After seeing so many musicians with Iqbal’s poetry, it’s not difficult to know why they have used his poetical works. I found after listening to each and every song, though I might have missed out the ones by some musicians, that it’s not very easy to sing Iqbal. Even some of his Nazms and Ghazals have been re-composed by different singers. I found it extremely hard to make a comparative analysis, since every singer had his/her own way of singing and added very unique touch to his poetry. “Sitaron Se Aage” by Parvez Mehdi has a pro-classical touch to it whereas the one by Sajjad Ali has pop style. Junaid Jamshed gives a Nasheed look to Iqbal’s works with cappella.
Almost in every musical era, many singers and musicians have used his Sufi and legendary Kilam. His poetical works not only depict deep philosophy, but prayers and deep sorrow over condition of Muslims. His poetry deeply reflects his core vision to create an ideological revolution in the Muslim intelligentsia, and reflect more of revolution. Instead of defining a revolution in the context and genre of political and transitory economic issues, he emphasizes more on philosophical and intellectual sphere. His prolific poetical works aim towards freedom of humanity and Muslims from slavery. Here is a translation of his poem “Bache ki Dua” and some excerpts from it,
“My longing comes to my lips as supplication of mine
O God! May like the candle be the life of mine!
May the world's darkness disappear through the life of mine!
May every place light up with the sparkling light of mine...?”