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The impeccable return of Strings
It is a milestone. It is experimental.
It is reinvention.
It is the comeback of the two most talented men Pakistan has ever
produced. Koi Aanay Wala Hai is a masterpiece, one that reintroduces
us to Strings in a new avatar.
By Maheen Sabeeh
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Artist:
Strings
Album: Koi Aanay Wala Hai*****
The fifth element
Koi Aanay Wala Hai is the most impeccable album in markets right
now, the only one that is as brilliant in its sound, concept and
creation as Rahat Fateh Ali Khan's Charkha.
A turn of the decade is what Koi Aanay Wala Hai is for Strings,
the most consistent musical act of Faisal Kapadia and Bilal Maqsood,
who have never failed to surprise us.
Their latest, the gorgeous and thoroughly conceived video of their
comeback single, 'Koi Aanay Wala Hai' that features John Abraham,
looking his best as an angel, was a sign of things to come.
Startling effects, cloudy skies, an innocent love and Strings looking
suave, stylish and perfectly coordinated in black suits, singing
and playing guitar in their element, and that too in the skyscraping
surroundings of Kuala Lumpur, it was the perfect pitch to tell their
fans that they were back, indeed.
The now-monster hit has Faisal trooping along with natural ease
to Anwar Maqsood's words, "Dhadkan Keh Rahi Ha/Yaha Koi Aanay
Wala Hai/Sawan Keh Raha Hai/Badal Koi Chaanay Wala Hai" while
the song is one that grows on you, slowly and steadily.
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sing-along factor persists throughout, a riff-rock treatment, and
the biggest asset of the band, Faisal's voice, that never lets you
down with Bilal sings softly 'Koi Aanay Wala Hai' as chorus hits,
its an impressive beginning.
Now together for 18 years, this is a band that has miraculously avoided
repetition on their records. It is as if Strings pick up an idea and
50 seconds later steamroll it on their way to a new concept and that
is what they have done with Koi Aanay Wala Hai.
The wall of sound
If one were to define this album in one word, it would be 'masterpiece'.
And that is because this is an album where 12 songs are woven together
so artfully that one can't help but just marvel at the Strings.
And here is why Koi Aanay Wala Hai is a milestone for Bilal Maqsood
and Faisal Kapadia. The band has retained their signature but for
the most part, the album is an out and out experiment, which is not
easy. Because by the fifth album, listeners tend to expect a certain
sound. To take a 360-degree turn at this stage of their careers, it
shows courage. It is the kind of step that has reaffirmed faith in
the band once again.
Koi Aanay Wala Hai can be divided into two parts.
One, edgy, abrasive over-the-top rock songs that can play lesson to
other aspiring rock acts (and current existing ones) and two, beautiful,
soulful poppy tunes that remains the forte of Strings.
From the infectious 'Koi Aanay Wala' to the celebratory air of 'Aik
Do Teen', the soft gloom of 'Titliyan', the introspective 'Sonay Do'
and the excellent wake-up call of 'Jago' there is not a single flaw
on this album.
Anwar Maqsood deserves equal applause for improving to such a level
from last time that he just stuns you. And yes, there are still phrases
like 'Badal, Ghata' and some of the other usual suspects but they
blend so well with Faisal's inimitable vocals that one can't complain.
For the most part, the album remains positive and that is delightful.
Rock music tends to get morbid, which eventually makes it tedious
and sometimes forgettable.
And yes, it is also a rock album, in most places. And not the kind
of monotonous album that has a mind-numbing number of riffs placed
at equal distance. But mature rock that will remain embedded in memories
as a classic. |
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It
is present on the bouncy 'Aik Do Teen' with its jubilance that hits
you in the soul while the words tell you a magical story about a fairy
with a wand. If granted a wish, what would it be? It starts off from
materialism and eventually ends at a better world as the wordplay
goes, "Aik Do Teen/Kaisa Badla Scene/Dunya Thee Haseen/Jo Maanga
Sab Tha/Har Basti Mein Ujala Tha/Haaton Mein Niwala Tha".
Faisal sings with such enjoyment and precision that he takes you inside
the world of this story because it is written with such depth that
imagination can almost paint a picture inside your head.
Move on to 'Jago' and one finds scorching guitars, a glimpse of hope
and Bilal's energetic call to wake-up and see the world. |
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'Jab Logon Mein Tera Dil Ghabraye/To Tum Khud He Se Poocho/Kyun
Tarey Raistey Hain Uljhay/Tum Un Par Daikho Chal Kai/Jag Utho Dekho"
– what a pleasant concoction of rock and pop seamlessly woven
together.
The blistering rock continues with the re-worked versions of 'Jab
Bhi Mein (Strings 2) and 'Jab Say Tumko' (Strings). And this is
exactly how songs should be re-worked.
Both tunes get massive makeovers even as the melody remains the
some. And usually that can kill the song. 'Qaraar' re-done on Ali
Haider's last album Jaanay Do and 'Khwab' re-done by Salman Ahmed
on Deewar are two prime examples about how re-worked versions can
go wrong.
Thankfully no such problem comes here.
Jagged guitars, stimulating keyboards, and a lot more energy than
the first time, 'Jab Bhi Mein' is in one word, rocking.
'Jab Say Tumko' is even funkier - the most out there, meatiest number
Strings have done, ever. Assaulting riffs, Faisal Kapadia's vocals
passionate and very different on most parts – slightly hypnotic
and twisted around admirably – and drums sequenced to a perfect
sound to match the loud guitars – what a reinvention it really
is.
Now it can be understood where Strings have been for five years.
They were creating rock magic and making sure at the same time that
old pop fans don't get disappointed.
Hence we find numbers like 'Sonay Do', Titliyan', 'Hum Safar' and
'Keh Dia' and they tell us why Strings are the kings of pop.
The magic of Bilal's light vocals on 'Sonay Do', the level of optimism
is not lost. And it has to be said that 'Sonay Do' is to Koi Aanay
Wala Hai what 'Khirki' was to Duur. The main difference remains
the musical treatment and the tone, which remains positive. The
subtle instrumentation that creates a mood of tranquility and simplicity
is top-notch.
And the feeling of is surrealism comes with Bilal calmly singing,
"Neeli dhoop ki kirnay/Haathon mein rakhta hoon/mujhay urtay
hee janay hai/Yeh manzar kya suhana hai/Aankh lagi to dunya badli
ho/Sonay Do".
'Sonay Do' is a song is one that almost anyone can relate to. The
catchphrase, "Aankh lagi to dunya badli ho/Sonay Do" is
so true to these rapidly changing times.
'Hum Safar' which is next in line for a video, at the able hands
of Jami (shot in Moscow) is the gentle ballad of this ambitious
record with a wailing guitar, engaging ambience, and fierce emotions
with an emotive Faisal Kapadia singing as stunning studio wizardry
makes its mark. It's a beautiful tune. And equally beautiful is
'Keh Dia' that celebrates falling in love, joyful moments that come
through from "Haee Ya", a subtle guitar playing in the
background, while 'Titliyan' with its sonorous flute, bluesy tortuous
guitar and lush instrumentation and two voices that compliment each
other flawlessly is incredible.
'Hum Hee Hum' is not as excellent as the rest of the 11 tracks.
It is, however, a cut above average. Confident, self-assuring tune
that falls in the traditional category of straight-up pop rock.
A video is already out vis-a-via Mobilink tie-up. And while it is
a corporate video, it does match to the mood of the song, which
is reflective of hopeful, happy youngsters.
The last two songs on the album, 'Zinda' – that was created
for Sanjay Dutt-John Abraham starrer Zinda - and 'Aakhri Alvida'
– that was made for Sanjay Dutt-produced Shootout at Lokhandwala
featuring the mighty Dutt himself alongside Vivek Oberoi –
bring the album to a fitting end.
It was a smart call to put these two tunes on this album because
they gel well with the rest of the songs like two pieces that complete
a puzzle.
Whether it is 'Aakhri Alvida' with its haunting undertones, mournful
guitars weaving a gloomy world of uncertainty and goodbye or the
lingering effect of 'Zinda', both songs belong to the album.
Stacked odds
Koi Aanay Wala Hai has been around the world. From Karachi to India
and New York, it has been to a variety of studios with a number
of people take charge of engineering, mixing and mastering under
the vigilant eyes of Bilal and Faisal.
Strings don't shy away from bringing in experts because the idea
is not to take credits on the whole album but to build an album
that will justify a five-year hiatus as far as full-fledged studio
work goes. The idea is to reinvent and they have managed to do so
with elegance.
And remember the expectations were as high as it can be. Duur attained
universal critical and commercial acclaim. Dhaani consolidated Strings
power in India and Pakistan for good.
But where Duur and Dhaani happened within the span of three years,
Koi Aanay Wala Hai has taken a long time of five years.
Between this time, other acts like Ali Zafar and Atif Aslam have
come and conquered our imagination. There are other equally talented
acts around such as Overload, Jal, Roxen, Mekaal Hasan Band that
have carved solid following for themselves.
Most of the older acts (baring Ali Azmat) have either become victims
of stale and slightly repetitive music such as Salman Ahmed, Faakhir
and Haroon or have failed to recapture their fans despite brilliance
on their last records such as Abrar ul Haq and Ali Haider.
Some have disappeared from the limelight such as Aaroh, Noori and
Hadiqa Kiyani.
Add all this to the fact that Dhaani was a tough act to follow.
While patchy in some places, overall the album made its mark with
anyone and everyone. Who can forget the heartbreak of 'Kahani Mohabbat
Ki' or the playfulness of 'Sohniye'? And the eight videos that come
in tow with the album, making most of the album stuck to our heads
for a long time.
But Koi Aanay Wala Hai not only matches Dhaani, it actually surpasses
it with grace. It proves something that is rare these days and that
is artistic growth.
Before and between
the creation
Koi Aanay Wala Hai may mark the comeback of Strings but were they
truly away, the same way that Ali Azmat has been for the past 6-8
months barring concert appearances?
No. Dhaani came in 2003. And since then Strings have been ably releasing
singles.
'Jeet Lo Dil' with Euphoria came in 2004; 'Zinda' featuring John
Abraham and Sanjay Dutt happened in 2005; anti-war anthem 'Beirut'
came in 2006 and 'Aakhri Alvida' shot on the sets of Shootout at
Lokhandwala came in 2007.
Even though 'Zinda' and 'Aakhri Alvida' were for Indian films, Strings
never gave up creative control and that is a significant factor
in why unlike many of their contemporaries, they have not received
flak for selling themselves short in India.
In fact, they have gone one step forward. They hit it off with John
Abraham so well that not only did he star in their video for 'Koi
Aanay Wala Hai' but is also involved with the marketing and distribution
of the album in India along with Sony BMG through his company.
The other vehicle
The endorsements Bilal and Faisal chose were always ones that fit
the 'Strings' image.
Tissot, Mobilink and Motorola and through each of them Strings made
their appearances consistent, whether through print ads or television
commercials.
Their tie-up with Mobilink remains unique because like Western artists
Strings have struck a unique deal. Their songs can be seen on Mobilink
tv as well as heard as ringtones, an idea that Madonna used when
she released her latest album, Hard Candy.
They play the game the way it should be. They are huge icons in
India but have never bended the rules to fit into the Bollywood
mould.
Can Strings do no wrong? No, not likely, not after the magic that
Koi Aanay Wala Hai has created. Tasteful and truly inspired, it
just doesn't get better than this.
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME |
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