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album profile
The second coming of Jal
Jal are back with Boondh, a solid and mature follow-up to
their debut Aadat. Instep takes a close look…
By Maheen Sabeeh
Artist: Jal
Album: Boondh – a drop of Jal***
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The
mature melancholic notes return.
Jal's debut Aadat was a huge hit. Jal, in particular, the major songwriter
of the band, Goher Mumtaz, can create really melodic and melancholic
pop tunes.
But unlike Aadat, where Jal struggled when creating rock numbers such
as 'Rangon Mein' and re-singing Atif on 'Aadat', here, there is no
such awkwardness.
Their comeback single, 'Sajni' directed by the young and exciting
director, Bilal Lashari, is visually beautiful, conceptually works
with the tune, and remains the band's finest visual effort.
'Sajni' as a song is extremely catchy. On first listen, it's one of
those songs that you just want to nod along to and it is characteristic
Jal. Soft, romantic and tinged with desperation for a beloved.
And thankfully Farhan Butt doesn't struggle at all as a vocalist as
he croons, "Sajni pass bulao na ke dil aaj tootha hai/Sajni maan
jao na ke woe aaj rootha hai".
And if you like this 'Sajni', there is a slower version that comes
at the very end of the album, that is also rather nice. |
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Ali Mustafa does a wonderful job on keyboards and Farhan and gang
completely change the pace, making it a lot more heartbreaking.
The Jal guys have grown up and they are back with a sharp and solid
follow-up.
Goher Mumtaz writes and composes most of the love ditties here and
it is safe to say that he is a talented musician. He is a lyricist,
songwriter and a vocalist to boot. And he delivers on all three fronts
with ease, although it was probably not easy, with such high expectations.
The mood of this album is morbid love, the age-old universal emotion
of heartbreak and that remains a significant factor throughout most
songs.
From the slow, slightly rockish and haunting ballad, 'Payal' where
Farhan shows off some varying vocal gymnastics as he croons, "Payal
ka shor macha ke/Nindiya se tun jaga ke/Tu kaheen jaaye na' to the
gloomy 'Moray Piya' with its dismissive and fatigued soul where Farhan
surprises with his voice and chants, "Morey morey piya/Kaisey
kaisa jeeya/Rishtey sabhi ban jaate hain/Totnay key liye ek lamha"
- the love mood plays a significant factor.
It continues with the perfectly blended pop-rock tune, 'Kia Se Kia'.
The only number written and composed by singer Farhan, it's got a
very anguished and aggressive musical character with strong, recurring
riffs, and fabulous drumming from none other than Gumby himself!
After the success of 'Woh Lamhey' and 'Dil Harey', Goher Mumtaz returns
to the vocal forefront with 'Mahia', 'Chup Chup' and 'Hamein Itna
Pyar' and his vocals, which are a lot thinner than Farhan, provide
a nice change.
On the introspective and vaguely joyful 'Mahia' as Goher sings out
"Jaana ahi ek din iss dunya se/Jee lein pal do pal hum yeh zindagee",
it is a tune that brings some hope and subtle optimism.
And this feeling of optimism is present on the mid tempo 'Chup Chup'
with its "Raasta Kathan/Manzil nahie/Phir bhi main kyun rukta
nahie".
And finally there is 'Humain Itna Pyar' which Goher sings but it is
the most average number on the album. Plagued with lyrical clichés
such as "Dekha har mausam teri ankhon mein/Yeh teri sansen too
teri tau amanat hai" - it just isn't enough catchy enough to
stick for too long. Oddly enough, the slower version of this track,
that starts off with a lone, moody piano and one-off riff completely
works, clichés notwithstanding.
True rock elements come with 'Raatein', 'Main Mast Hoon' and 'Yeh
Mera Pakistan'
'Raatein' that initially reminds one of Roxen's rocking 'Sapnay',
is a solid rock track. As Farhan sings in many constantly changing
undertones, "Yaad hai woh sari baatein/Raaton mein din thay/Din
thee raatein/Toe kya/Yeh Jeevan aisa na tha/Jaisa hum nain socha"
- it remains a decent, bustling tune.
In the same element, one finds 'Main Mast Hoon' that is the only Punjabi
track on the record. But it is not mysterious Punjabi that is synonymous
with Abrar but rather simple as the wordplay goes, "Teray naal
hee jeena/Teray naal he marna/Main mustt.. Main mast hoon". And
musically, it has a percussion heavy sound, which is a welcome. Another
good number that should do well at live shows.
While the former tunes are very good, the latter, 'Yeh Mera Pakistan'
is a strange addition to the album. In these strange times, one really
doesn't fall for a number that goes, "Yuhein hastey gaatey rahain/yuhein
geet sunatey raahein/bazi har ik le jetay rahain/khushiyan hum nibhatey
rahein… Yeh tera Pakistan/Yeh mera Pakistan" - 'Yeh Mera
Pakistan' is unwarranted and a tad boring.
Rewind a little…
Jal's album couldn't have come at a better time. Boondh - a drop of
Jal has come out as emergency was lifted in Pakistan. Every major
album by the big guns as well as budding young comers has been shifted
to 2008. Even as Rahat Fateh Ali Khan's Charkha has released in India,
there is still no word on when that album will officially hit markets
in Pakistan.
Music channels are looking to run big videos - not necessarily shot
on big budgets or conceptually grand - by major artists. Barring runaway
hits like OST of Khuda Kay Liye, even albums from well known veterans
like Ali Haider (Jaanay Do), Abrar ul Haq (Naraa Sada Ishq Aaye) and
Hadiqa Kiyani and Aamir Zaki together (Rough Cut) have all failed
to create massive stir amongst fans, concertgoers and perhaps even
the industry itself.
Add all this to the fact that Jal's Boondh was not even expected to
come out this year by most.
Goher Mumtaz, Farhan Butt and Shazi had been AWOL from the live circuit,
too much media presence, television interviews and appearances for
the past year now.
Hence, this release has come unexpectedly as a nice surprise.
2007 was a dull dud and with Pakistan going through a tremulous phase
that still continues to haunt us, this album is happy news for the
entertainment industry as well as fans at large. Alas! Something to
rejoice about…
2004 was the birth of two separate names of music. Back then, we never
knew this but slowly it became clear as Atif Aslam and Goher Mumtaz
separated from each other. Atif showed more promise because he was
the vocalist that shone out. And as far as compositions grew, one
still doesn't know who they came from.
Atif came out last year with Doorie and wooed the crowds all over
again, perhaps even attracted newer fans while critics remained stunned
by Doorie's lack of character and filmi-ness.
Hence, there is no comparison between Jal's Boondh and Atif's Doorie.
Because and as strange as it may sound, Atif is coming out with another
album, possibly next year, that he claims is the actual sequel to
Aadat, titled Meri Kahani. When that record hits stores, only then
one can make the inevitable comparisons between Atif and Jal.
The verdict
But for now, Jal are here with an album that is signature melancholic
pop that is the niche of Jal. It is sharper and far more melodic in
sound than Aadat and as a sequel, it is impressive. It also dabbles
in rock without being clumsy in sound.
Goher has repeatedly said that this album is testament to the growth
and maturity of Jal as musicians even as it stays true to their sound
and he is right.
Have we heard it the words before? In some way or the other, yes.
Love is a common, perhaps the most common emotion running through
music, especially in Pakistan. Paradoxically enough, it is the album's
weakest as well as strongest trait.
Weakest because it is predictable and strongest because Jal can create
music that matches the heartbreak feel superbly and rather intelligently.
And this time around, there is no discomfort when the rock element
slyly comes in and mixes with quite a few melodies.
Is Boondh groundbreaking? No, but groundbreaking comes every once
in a while.
Strings' Duur (2000), Fuzon's Saagar (2002), EP's Irtiqa (2003), Mekaal
Hasan Band's Sampooran (2004), Ali Azmat's Social Circus (2005), Rushk's
Sawal (2006), Hadiqa Kiyani and Aamir Zaki's Rough Cut (2007) - these
are records that are musically astounding and have broken new ground
as far as character and the invention of a brand new sound is concerned.
There is maybe one album every year that manages to do so. Jal may
not be breaking too many experimental boundaries with Boondh but they
do manage to live up to all the hype and expectations.
Sequels really are a tricky business, in Pakistan, just like anywhere
else in the world. Fortunately, most elements work on this record.
Farhan Butt finally arrives as a vocalist. He has improved phenomenally
as a singer. Mekaal Hasan's acumen as a producer shines throughout,
Gumby and Salman Albert do a fabulous job with drums and Shazi manages
to string bass lines with ease. And the band leader Goher Mumtaz has
proven that he is a definite asset to the music industry.
Jal are a talented unit. But they have to be more careful of lyrics.
Simplicity is a welcome, clichés aren't. And that is what will
define them in the coming years. For now, grab a copy of Boondh!
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME
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How did you find
the Afghan kids who play the lead roles?
Forster: The casting director I did Finding Neverland with basically
looked all over the world where Afghan refugees had settled-Holland,
Germany, Virginia, England. We couldn't find anybody that really represented
them, especially since Hassan is Hazara [the Hazara are Shia Muslims,
an ethnic minority who are often discriminated against in Afghanistan]
and they didn't have the means to leave the country. At the time,
Kabul seemed safe and I thought we needed to go there to understand
the culture better, so we went, saw thousands of kids, then focused
on two schools. Out of those kids we found Amir, Hassan and Sohrab.
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Most people we met were familiar with the book. It's been published
in Farsi. Khaled, is that official?
Hosseini: No, pure piracy. My overseas agent calls just to say, "Your
book's doing amazingly well in Iran. It's in it's fifth printing.
I'll send you a copy." And it's all bootleg. I was in Kabul;
The Kite Runner in Farsi is a best seller.
Was it frustrating, dealing with nonactors?
Abdalla: To me, they have Afghanistan in their bones. To find kids
somewhere else and have them do those things would be an impossibility-the
way Hassan squats to sit, the way they eat a pomegranate-there's stuff
like that you could not find anywhere else.
The film's debut had to be postponed because you wanted to move the
children out of Afghanistan due to concerns over the rape scene and
the way Afghan audiences might react to it. Were there actual threats?
Forster: There were no threats, but if there were any repercussions
in Afghanistan, we wanted them out of the country. Their safety was
our main concern. Their school year ended in September; that's why
we pushed the release of the film, so they could finish school before
the film came out. You see, there are no movie theaters left in Afghanistan.
The Taliban destroyed them all, so it's all DVD piracy copies.
Khaled, what were your concerns in having the book adapted to the
screen?
Hosseini: Ian McEwan had a great quote about that. He said, "A
screen adaptation of a novel is like a controlled act of vandalism."
But I loved film from a very early age; as you can see from the Steve
McQueen references in Kite Runner, I didn't have any misguided romantic
notions that my novel had to be translated exactly on screen.
Kite flying is a national pastime in Afghanistan and Pakistan. Were
you ever worried about getting it wrong?
Forster: We actually hired kite experts who taught the kids to fly
kites in Kabul and China. We choreographed all the kite fights with
a kite master-he showed us which moves are the best, the best attacks
and retreats.
Were there other cultural advisers?
Abdalla: Yes, too many, and they all started fighting with each other.
Forster: We'd be setting up the really emotional funeral scene, and
one would say, yes, there should be flowers on the grave when a Muslim
dies. Another said absolutely not, there are no flowers. Most of the
time they were helpful, but sometimes, not so much.
Hosseini: To be fair, it would happen with any culture. Ask an American
family what you serve for Thanksgiving, and you'll hear 15 different
ways of doing it.
The film also gives you a sense of how much Kabul intersected with
Western culture, pre-Soviets. I think there is a sense here that Afghans
were living in the Stone Age.
Hosseini: People tell me quite bluntly, "I had no idea there
were trees in Afghanistan. I thought it was all desert, like the Sahara."
But it is lush, green valleys, rivers, flowers-it's a stunningly gorgeous
country. The word "Afghanistan" summons such negative images-bin
Laden, terrorists. But there's such a romantic, enchanted quality
to those early scenes in the film-the first hour. A beautiful childhood,
this peaceful country. For a lot of my readers, it's a shock that
such an era ever existed in Afghanistan, but the fact is Afghanistan
didn't come into being with the Soviet war. There was a long history
of tradition and culture.
Amir is the only lead
Muslim character I've seen in a Hollywood film who's not hatching
a terror plot.
Hosseini: There's a billion Muslims in the world; that means 5 billion
prayers a day. Out of that, how many times do they follow the prayer
by blowing up a building? Yet, if you just knew Islam through film,
seemingly quite a lot of the time prayers are followed by something
exploding. In this film, Islam is simply the rhythm of life.
One thing I did not expect going into this film were all the parallels
between Kabul then and Baghdad now: war, an occupying force, displacement.
It was really striking.
Abdalla: Yes-civil war, refugees. Part of me imagines a book like
The Kite Runner in 15 years coming from a displaced Iraqi. I definitely
see parallels.
Forster: In general, wars led by superpowers-Russia in Afghanistan,
America in Iraq-there's a similar structure to it. How a superpower
invades and what happens after that-there's a lot of parallels,
even if you go back to the Roman times. I'm always surprised humanity
doesn't seem to learn.
-Courtesy: Newsweek
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