Music Review Coke Studio S10 Episode 4: Where strings weave magic, literally!

This season is full of compositions that takes time to sink in! There are atleast 3-4 songs where I changed my opinion from disappointment to immense liking in the matter of a few days. Going by that trend, episode 4 was a surprise as I liked most of the songs in the first instant! String instruments dominate this episode with brilliant performances by the guitarist duo of Imran Akhoond and Omran Shafique. Composers have also used traditional instruments like banjo and mandolin intelligently. Occasionally the electric guitar too has appeared, but largely the episode was an acoustic delight!

Naina Moray

Composed by Jaffer Zaidi, Sung by Javed Bashir & Akbar Ali

This rendition has pretty much everything a fusion lover looks forward to! It was a fusion at multiple levels - a fusion of raags, compositions, genres, singing styles and not to mention instruments! And despite the multitude of dimensions to explore in a single composition, it flows into each other beautifully, non-abruptly keeping the listener engrossed. This is the second composition this season after Allahu Akbar which features a couple of classical virtuosos teaming up to deliver a piece of magnificence. And in both cases, a Jehnazeb and an Akbari Ali who are slightly lesser known than a Shafqat or a Javed Bashir, have gone on to equal if not outshine their more popular partners.

Like in Allahu Akbar, vocalists dominate the rendition for most times. Both the compositions are quite well known and rendered previously by the likes of Nusrat sahib and others. While Naina Moray is a thurmi in raag Bhairavi (and co-incidentally this sibling-duo from Naalan Gharana have sung it earlier as well. Checkout a YouTube video from 2011), Man atkeya is a kalam of Shah Hussain (if you recall man atkeya has the same lyrics as Neun La Leya from season 8! Just that it's rendered in a different raag - desh!). There are so many wow moments all throughout the composition that it's difficult to list them! While mastering a rendition is nothing new for Javed on this platform, Akbar was a total revelation for me with his flawless, crisp rendition. Perhaps he could visualize each note subtly, smile at them and improvise further realtime! :) . Do check out: 02:20, and the way he says balam pardes at 03:08, it's nothing short of aural treat! And you could also see trademark Javed Bashir at places for instance at 01:26 when he says mujhse mila de.

Arrangement is what binds this all together! And while this raag is quite complex with all its subtle nuances in rendition, it's just a 3-chord riff that plays all throughout and forms the structure of the arrangement along with accompanying bass-line and drums. Acoustic guitars are beautifully used throughout. Like at 03:30 the brief lead piece with keys leads to the Sarangi interlude that further leads to Javed's rendition of Man Atkeya. Tabla comes in as well to bring in the qawwali flavour. The second interlude brings in the electric guitar lead by Aamir Zaki which takes over from the Sarangi and gives a modern touch to the composition.

Overall a perfect package that you would hope doesn't end so quickly. Definitely deserves multiple rounds of listening and I am sure you'll discover new layers and dimensions each time! :)

Dekh Tera Kya/Latthay Di Chaadar

Composed by Shani Arshad, Sung by Quratulain Balouch & Farhan Saeed

Dekh tera kya has romance written all over it as it teleports you to a world full of flowers, sunshine and happiness in the month of colourful spring! Shani Arshad gives us a wonderful arrangement with apt choice of instruments to create this fusion of this pop+folk number. Dekh Tera Kya as sung by yesteryear popstar - Alamgir is a typical pop song, while Lathay Di Chaadar is your traditional punjabi wedding folk song (also heard in a few movie songs as well!) and the music binds these two so very well!

Both the compositions are on the major scale and hence helped the seamless fusion of the melodies. There is occasional use of 'komal ni' in Dekh Tera Kya which adds colour to this already colourful composition! :) The structure of the song is on a pronounced bass-line, classical electric keys and a simple 2-note riff on the electric guitar. A combination of drums and dholak gives the fusion feel very well. Also, they are used very subtly overall to keep the composition light and happy for the listener. While the soul of the composition lies in the flute melody which appears all throughout and gives you that feel-good all throughout. Banjo too is very beautifully used as the composition transitions from pop to the folk number with QB aptly taking up the folk portion with her strong, stable voice.

The vocalists are perfect not just with their vocals but also the subtle chemistry. They look animated at times and are also seen shaking a leg which adds to the overall feel to the listener. Vocals wise Farhan and QB complement each other so very well. Farhan keeps it subtle and soft and some of his variations sound so perfect (like the one at 01:32)! QB on the other hand is quite conspicuous owing to her distinct voice. At times, she sounds lazy as she stretches the Latthay Di portion almost teasing the listener who is yearning for more! Towards the end the two portions fuse as the flute melody gives it a rightful happy ending!

Overall a subtle, beautiful fusion and a great dose to cheer you up on any day.

Jindjaani

Composed by Ali Hamza, Sung by Ali Hamza & Nirmal Roy

Jindjaani in one phrase is an acoustic bliss! String instruments create a pleasing aura all throughout the composition that would make you like it the moment it starts! Despite all the experimentations using contemporary instruments, the composition still carries a strong sense of 'mitti-di-khushboo' thus retaining its rustic, folk character.  The song is an original by Ali Hamza describing heartbreak and then later ventures to a classical folk song - Jhanjar Phabdina sung by Tahira Syed.

Arrangement wise the composition is completely unplugged and based on the acoustic guitars and percussions - a combination of drums and dholak. Mandolin and flute add to the rustic feel. Raag wise, my guess is that the composition is anchored on Khamaaj as I see the liberal use of 'komal ni' in the composition (Any thoughts?). The composition starts with a beautiful intro by the mandolin accompanied by the guitarist duo who complement each other so well! Aahad Nayani as usual is excellent behind the drums and makes his presence felt. Flute accompanies Nirmal and adds to the sweetness of her vocals as the tempo picks up with dholak kicking-in full swing at 01:24. Mandolin interludes beautifully at places and binds the song. The taal changes at 02:05 in the first antara. Some kind of strings-brass hybrid patch comes in during the antara (at 02:15) playing a parallel melody adding a subtle dimension. Also watch out for the amazing flute interlude at 02:56 which heralds the start of the folk song by Nirmal from where Ali Hamza leaves the earlier song. The beat pattern (taal) keeps changing during this part keeping the listener engaged and building up the song for a beautiful climax where both Ali Hamza and Nirmal engage in a sort of jugal bandi before the song ends.

Coming to vocals, let me put it this way - Ali Hamza brings in the elements of 'mitti', while Nirmal adds the 'khushboo' thus giving it that 'mitti-di-khushboo' character :)

Ali Hamza with his strong lower notes anchors the composition well leaving room for Nirmal to improvise and excel! Nirmal's talent shouldn't be a surprise to those who have heard her in the last season, however this was a different genre and she's come out with a magnificent performance! She's soft and subtle in the initial part and then opens up her vocals in the folk part. One can't help but sense a great resemblance of her voice texture to melody queen Shreya's! Perhaps Nirmal's texture is slightly shriller and crisper because of her young age (random observation: just observe Ali Hamza appreciating Nirmal's vocals at 0:58). Overall a great enjoyable song with everyone participating in the fun and enjoyment during the jam. I definitely hope to see more of Nirmal in days and years to come :)

Julie

Composed by Ali Zafar, Music Directed by Shani Arshad & Sung by Ali Zafar & Danyal Zafar

One can be rest of assured of unlimited craziness when Ali Zafar's on stage and this was no different! It's difficult to categorise Julie into one genre! Rather it's a pot-pourrie of genres with essence of various genres in the musical arrangement. Be it reggae style rhythm, rock style lead guitar or use of jazz/blues style brass sections. And I better not get started on singing styles! :) Written and composed by Ali Zafar himself, be ready for craziness unlimited as you indulge into this.

Arrangement wise this is perhaps the grandest one of this episode. The composition is structured on reggae style guitar strumming that is accompanied by percussions. Brass sections build up the melody quite well. Danyal with his lead guitar is too good. Ali again makes sure exhibits all his vocal skills testing his range and falsettos.

Overall a very different style performance! This one's not for everyone. Perhaps if you liked rockstar from his previous seasons then you might love this one! I still suggest you to give it a couple of listens and perhaps you'll start gradually liking the madness! :) 

To sum up, I would say that this perhaps complements the episode with its crazy element. An episode which otherwise was full of soul, happiness and goose-bump-inducing classical pieces. Let me know what you thought about the songs. Do share and comment! :)

Prabhu

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