George Clinton once sang (and epitomized the chorus): "We want the funk / Give up the funk / We need the funk / We gotta have that funk." Well, with Mauj's debut album, Now In Technicolor released late last month, we can happily say George that 'we got the funk'.
 Browsing through a pile of Pakistani artists' albums, most of them displaying somber scriptures, bland covers or simply the musicians standing side by side with brooding faces, one stood out from the rest. As if transported back in time where emphasis on funky album art with psychedelic colors and flower power were the norm, Now In Technicolor seemed to have brought it back with the 'desi pop art' on display here.
While the printing of the sleeve might have reduced the quality, a lack of information about the band or the songs is sorely missed as well. The cover which primarily focuses on design work might have been done justice if it were solely art work, like that of Reem Khurshid on Mole and Dalt Wisney's debut albums.
Despite that, Tapu Javeri, who is credited with the photography, cover art and CD inlay (where he gets some additional input from Anisa Sheikh) has brought a multicolored, luminous yet local feel to it. The band members are on the cover dressed up in various outfits depicting a Maula Jat-ish movie poster. With the mild-mannered Omran Shafique looking menacing with a Kulhari in his hand, the cover completely illustrates the funky tunes of Mauj and Omran Shafique's versatility.
In that essence the tunes on the album are a great mix of what Mauj is capable of delivering. When listening to the album in its entirety, the feel that is present is that of a fusion of bluesy, foot-tapping tunes coupled with modest lyrics that keeps the band from sounding pretentious.
The opening track, 'Khayal', takes listeners by surprise as it is a heavier sounding Mauj as compared to their funkier tunes in 'Paheliyan' or 'Khushfehmi', the two songs fans had been teased with for a while before the album hit the stores. 'Khayal', originally written by Faiz Ahmed Faiz, shows that despite the western influence in their sound they are in touch with local ideals and cultures. Doing justice to the poetry of Faiz, is a beautifully introduced instrumental that Omran breaks out into from the grungier riffs that embody the track.
The instrumental reminds us of the short but sweet interlude that Omran's guitar makes in 'Khushfehmi', their first single and video. Preceded by a clever chorus, the solo again shows his resourcefulness as he does well to blend blues and funk. Similarly 'Mona', their recently released video, channels a blues inspired riff sprinkled peeve. For a song that seems to be about addiction, the creative mix of music supports the lyrics well.
 However while Omran's work is well spread over the course of the album the one aspect that gets overlooked are the drums of Dennis Harvey. His ability to make the drum kit speak by thrashing his snares and brushing his cymbals is easily spotted in 'Hasratein'. The drums are also complemented by the supportive bass lines of Atif Mohsin.
Possibly one of the better tracks on the album, it embodies the various skills of Mauj as we go on a journey with wowing riffs, well-placed hooks and a chorus that will stick with you through the day.
While 'Hasratein' shows their impeccable understanding of how to please the listeners, they seem to lose out on it in the penultimate track of the album. Originally recorded and performed by Zohaib Hasan, 'Pyar Ka Jadoo' is perhaps the sole forgettable track on the entire album. It drains the excitement out of the album, which is built up brilliantly through the previous tracks, and bores you into submission.
Whether it was great management on the placement of the tracks or a simple coincidence, 'Paheliyan', the last track, brings back the enthralling brusqueness that the listener gets accustomed to through the album. Since the track also personifies the band's sound, it is a great way to conclude the album.
And while 'Paheliyan' may typify the band, it is not what the album is about. Instead it shows the various sounds that they are not afraid to engage in, from the mellow melodies to heavy harmonics, they play around with the tunes like guys who get together for a jam session. Their broad scope is displayed in the slightly more aural number 'Baat Barti Gayi' and 'Awaaz', the latter of which shows creative lyrical work by Zeeshan Sahil who also wrote 'Hasratein'. 'Kal Kya Pata', a well written softer song also shows penchant for more melodious tracks.
Sadly 'Aaye Na' is one track that they try and be creative with but it seems to lose its place amongst the rest of the tracks. Like a lost child in a crowd of more matured and fuller tracks. Perhaps on another day, on another album it would have fit in better, but it seemed a little out of place on this one.
Though a couple of the tracks may not contribute to a coherent flow within the album, Now In Technicolor can be dubbed a well rounded debut effort. The skills of the musicians are well handled by the composition of Omran and production of Taha Malik. With the final touches added by Shahi Hasan mastering the album at his studio, the crisp sounds emanating from car speakers or the living room sound system will be pleasurable to hear.
They do not try to run before they can walk, like many bands and artists do in Pakistan. Their lyrics remain down to earth and not overly ambitious. The music is melodic as it is meticulous. But, most important of all the vibe created by the album is not of one trying to elicit emotions from you but more so playing music for the love of it, a rarity in present times where the sole focus for many an artist is fame and profit. This probably what has gotten them up to third place on the local charts (though they deserve at least second) behind the much experienced Mekaal Hasan Band's Saptak and Kaavish's Gunkali.
Though a great compilation of various sounds their next album should be more focused on one sound. To the hopes of fans and critics that will be a groovier record with plenty of funk complemented by the dexterity exemplified by these band mates.
From the album art, to the music and right down to the production of the album, Now In Technicolor deserves a definite place in the CD rack or your iPod as a unique sound from Pakistan. Hopefully it will be a shorter wait for their next album, till then you can blast this in your car!
*****Get it NOW!
****Just get it
***Maybe maybe not
**Just download
the best song
*Forget that this was made |
