The second coming of Ali Azmat

After 2005's critically acclaimed Social Circus, Pakistan's original rock rebel is back. Klashinfolk proves Ali Azmat made just the right call by going solo from Junoon. He dons the role of singer, songwriter and producer and delivers on all three fronts.

By Maheen Sabeeh

Artist: Ali Azmat
Album: Klashinfolk****1/2
The icon returns

There's a song on Ali Azmat's new album, Klashinfolk, titled 'Sawal', a lyrical expression on the ongoing depression that has for some time been sweeping across the nation. 'Sawal' hints at our perpetually uncertain future and the affect this uncertainty on the lives of everyone.

"Manzar Sara Dekho/Bikhra Huwa/Lagta Hai Aisa Rahega…/Ankhein Wohi Dekhain/Pal Kay Safar Mein Musafir Ka Manzar Hai Kya/Kya Arooj Kya Zawal/Kya Khushi," Ali asserts with the conviction of a man whose been watching it all unravel for quite some time now.

(Behold the scattered view and it seems it will stay this way
Eyes will keep on watching
When the journey is a moment what is the view of a treveller
What will rise, what will fall, what is happiness)

Given that Ali Azmat's songs have always provided such a transparent commentary on various stages of his life, Klashinfolk, tell us best what Ali was feeling throughout 2007 when he was working on this album till this year when it was finally released.

Last year was perhaps the worst in the history of Pakistan and also the most dynamic in terms of the media revolution. No wonder Ali's album is a mixed bag. It is hopeful, it reflects a fighting spirit and at the same time, a Ali Azmat is very much a lone figure still figuring it out. In that it is similar to Social Circus. Ali's second album like his first reflects a state of mind and this then has become Ali's forte as a solo artist. Intrigue is the name of the game.

A million miles away from the once-formidable Junoon, Ali Azmat has found his groove, his own personal signature and if with Social Circus he learned how to walk on his own, with Klashinfolk, he is rolling with it.

Ali has never shied away from sharing his inner-most emotions and personal experiences, both in his music and his interviews and it is this effort of his to step outside the pedestal that has endeared him to fans. True to this image remains Klashinfolk, Ali Azmat's second solo offering after the massive solo record, the mighty album we know as Social Circus.

It comes at a strange time. A time when musicians are making some of their best music, and ironically, when the country itself is in a petrified and confused state.

But there are hints; often subtle enough to not even be detected unless you listen carefully that reflects the social dichotomy. But not to the level one may have expected it.

If Social Circus expressed the turmoil of Ali Azmat - hot on the heels of breaking away from the biggest and most iconic band in the history of Pakistani music, Junoon, and the staggering height of expectations, the thirst to prove himself as a man who can do it on his own and rise to the top - Klashinfolk does the same. The only difference is, this time, Ali Azmat is more content, more at ease and that reflects not just in the words but the musical direction this album has taken.

Push the tempo

A far cry from the melancholia of Social Circus, Klashinfolk is hopeful on most notes but there are also shades of grey and they make for an intriguing listen. A journey through the mind of Ali Azmat with the craftsmanship of Omran Shafique on guitars, John L Pinto aka Gumby on drums, Kamran Zafar aka Mannu on bass and Ali himself on acoustic guitars.

The emotions bare all, loneliness, hope, love, loss, frustration all tied together in a nifty package.

From the hopeful and introspective 'Tanha Hai Kyun' where Ali intelligently states the difference between living and existing and sings, "Jeena Hai Kya/Marna Hai Kya/Tujhe Bhulay Na Kabhi/Taray Ki Aankh/Sab Duur Ho/Aur Pehlay Roshni/Bhujnay Na Dey/" (What is life? What is death? I never forgot you... it all seems far to the eye of a star… and that first light will never let you fade) to the jazzy 'Mere Saathi' where he creates a magical world, a world where sadness is followed by happiness, where the sun will shine, eventually.

As a songwriter Ali asks the evergreen question but with a punch. One example is 'Tera Mera' where he says, "Tera Mera Milan Nahin Huwa Kya?/Tujhe Yaad Bhi Nahin/Ehsaas Bhi Nahin" and more daringly he says further, "Main Na Tujhe Kabhi Nahin Chua Kya?" (Did we never come together? You don't remember, you don't sense… did I never touch you?) It sounds simple enough but with its grating guitars, and loud, fast drums, it's an addictive rock tune, an edgy love song for contemporary relationships.

What's even more interesting is the way Ali sings each tune. It's simultaneously uplifting and yet not overpowering. And his tone shift appropriately to match each particular track. Most of the songs are highly textured and they defy convention and stand distinct from one another.

Take 'Mera Khuda' which is open to so many interpretations but I wouldn't stretch to the love theme.

"Tu Woh Azal Hai/Jo Muhabbat Hai/Yakeen Hai/To Bharosa Hai/Charcha Tera Hai/Jo Numaya Hai/Bayaan Hai/Dekho Tujhe/Har Aas Mein/Chaho Tujhe Har Sans Mein/Tu Ibtida Hai/Tu Inteha Hai/Mera Khuda Hai" (You are the beginning of love, of belief, of trust. You are the topic of conversation that is visible everywhere. I see you in every longing. I long for you with every breath. You are the beginning, you are the end, you are my God). Ali sings while Omran creates a gorgeous whirlwind of music with his power instrument - the guitar. It's the sing-along factor that makes it all the more appealing.

But love does find its way, dominantly on the flirtatious and tipsy 'Yeh Kya Huwa' as the lover asks, intoxicated with the beloved, to never leave. It's a powerful tune, with an air of celebration that just strikes one hard.

Speak of beefier tones and 'Gallan' - the video for which is running on airwaves and marks Ali's entry into the clay-motion video format and sees foil ants, great acting from Ali Azmat, a battle in the most adorable and hilarious manner conceivable - takes the cake. It is a crazy tune and mostly a monumental musical piece with throbbing bass, menacing drums and electrifying riffs.

Like 'Gallan' there is another Punjabi song, 'Ley Sambhal' on this album and this one is rather somber as far as the music goes.

"Tere Bina May Na Rava/Tera Zeher Ja Main Piya/Ja Mara/Ki Kara" - its actually one of the best tunes in Punjabi done as a rock song. And here it has to be said that the melody is what makes this tune such a wonder. It's wonderfully constructed and has a moodiness that is so characteristic to the musician that is Ali Azmat.

And then there are the ultimate tunes, 'Shukria', 'Sawal' and 'Naina' that take this album in a darker direction, and it is here that one finds shades of our surroundings rather magnificently.

Be it 'Sawal' on which the questions remains unanswered and despair finds its way in all honesty or 'Shukriya' that is drenched in morbidity of losing someone and tackles the emotions of loss.

Then there is 'Balaman' that is to Klashinfolk what 'Teri Parchaiyaan' was to Social Circus. A ballad with a punch, a musical character that is soft in approach with the music never overpowering its flavour. Ali sings with conviction that is reminiscent of him on earlier hits like 'Mungagan' and 'Teri Parchaiyaan'.
The only thorny tune is 'You Are'. While musically the bass shines here and the dark haunted undertones make it interesting, it loses points because the song is in English. Had it been in Urdu it would've been far more interesting.

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In the end…

On the whole, Klashinfolk is a step up from Social Circus. Forget the sonic effect of SC. Klashinfolk is about the creation of rock music, live, raw and fierce but at the same time, an album that isn't redundant or monotonous.

As an album, it has managed to prove something about Ali Azmat as a musician, a fact that Koi Aanay Wala Hai proved earlier for Strings. It is a sign, a testament to Ali's artistic growth and not just as a singer but as a producer, a lyricist and a songwriter.

As an aging rock star, that is no easy feat.

It shows that even as Ali is evolving as a musician, he has discovered his own signature, one that first came out blazing guns with Social Circus.

The only minus on this album is the way Ali sold it.

The album cover and artwork is one fact. Klashinkovs interspersed with guitars, Ali as Big Brother asking "You and what army?" The freemason logo with crescent moon and stars.

The statement he gave while the album was releasing such as this: "It's about everything… communism, capitalism, and consumerism. There are people, faceless people who control the world. They instill fear in us, make us run away from reality and escape into a world where we have to spend more and more for things we don't need. They employ herd mentality and indoctrinate humanity to a certain way of life and we follow them blindly."

These are not the most dominating themes on the album. These references that Ali has spoken about time and again remain vague barring maybe two, three tunes. It's like what happened with Coldplay earlier this year. Viva La Vida or Death and All His Friends, their latest album, according to the band, was taking a political punch but it doesn't really come across when you listen to the album. For songs to be effective politically, they have to be in your face.

Junoon was and perhaps always will remain the most politically charged musical act in Pakistan's history. And the way Ali Azmat had spoken about the themes of Klashinfolk, one couldn't help but think that it was this kind of a punch that was in the making. Maybe it is too much to expect Ali do the same thing. Junoon's music worked because they were against the establishment of the time and it was so passionate that it worked.

But Ali Azmat, like many of his peers, was and continues to be a supporter of former President Pervez Musharraf.

In fact, it is an artist like Shehzad Roy who has spoken out with his album, Qismat Aapney Haat Mein. Certainly not a bashing of any individual but it does make a point. Even more pertinent is a tune by upcoming act Laal, who've used Habib Jalib's words to a beautiful composition 'Main Na Ussay Yeh Kaha'.

This doesn't mean that one expects Ali Azmat to rehash Junoon. Au contraire, it is his stepping away from Junoon ideology that has made him work. But to make statements like "it's about the gun culture, chaos that surrounds us" is not entirely true when these themes (even if they exist) come out on two, three tunes at most.

That said, do all these statements make Klashinfolk any less of an achievement? Not at all.

It remains a brilliant album, one that will grow on you like Social Circus. And like Social Circus it will remain a timeless album, with long-lasting value.

In the end, for all his statements or themes or lack thereof, one will not take away from Klashinfolk for it sees the return of one of Pakistan's most talented, outspoken and rebellious musician. Rock star is an image that Ali Azmat lives to the hilt but when it comes to his music, he takes beyond the persona of an icon and to that of a man. It's fierce introspection and this is exactly what makes Klashinfolk one of the finest records in our rock history. It's just that simple.

Soft pop fans should stay far away from this one. Klashinfolk, like Ali Azmat, is for the hardcore only.

link: INSTEP Magzine

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Amazing Album. Ali Azmat Rocks

amazing
ali azmat all the way

cooooooolest album ever love each single track of it and ma most fav song is "tera mera" ali proved himself again. Although most people dont like his video for me it was the besttttttt and coolest animated video. Keep on rocking ali.....

SOUND CHECK: Loaded!

By Nadeem F. Paracha

Ali Azmat’s Klashinfolk reviewed

Junoon, after delivering its last great hurrah in the shape of the brilliant Parvaaz (1999), operated no more than a sad caricature of its past glories. However, this hasn’t stopped history from treating it as being perhaps Pakistan’s most vital rock band ever.

Interestingly, it was former Junoon vocalist Ali Azmat’s bitter departure from the band in 2005 that finally paved the way for him to realise the full potential of his obvious talents. In Junoon he was the immensely gifted vocalist while much of the songwriting was done by guitarist Salman Ahmed.

It was also Salman’s worldview that evolved Junoon’s social disposition; a journey which, between 1990 and 2005, saw the volatile band sprinting from being angry left-field marauders (Talaash [1993] and Inquilaab [1996]), to being lofty Sufi-Rock sages (Aazadi [1997]; Parvaaz [1999]), until 2001’s Ishq and 2004’s Deewar saw them ultimately losing steam and stumbling into becoming narcissistic (albeit unintentional) parodies of themselves.

Azmat stayed put as a mere vocalist, until finally discovering his penchant for snappy songwriting on Junoon’s last release, Deewar. The three songs that he constructed also turned out to be the only ones worth a listen on the otherwise dreadful album.

The explosive Garaj Baras, driven by Salman Ahmed’s archetypal balls-to-the-wall riffing, and the serene Tara Jala opened the floodgates for one to witness the more complex side of Azmat’s talent. Eventually this talent came tumbling out on his debut album, the eclectic, intricate but highly underrated Social Circus (2006).

The inherent melancholy and the compositional dynamism of the album intriguingly betrayed the vocalist’s otherwise extroverted disposition, and the album — though commercially underappreciated — did manage to bag a healthy cult following.

So in comes Klashinfolk, Azmat’s follow-up to Social Circus. It will at once bag the attention of the more aesthetically attuned purveyors of post-modern political wit when they see the cover of the CD. The cover is a glaring montage, constructed like a Warholian pop-art take on old Soviet propaganda posters. We see words typographically depicting the Russian written language and images of a dismantled guitar besides a disassembled AK-47. A chand and sitara is placed inside a blazing sun and held by the yellow compass that became the symbol of the former East Germanys ruling Communist Party during the Cold War.

Ali appears in black & white, posing like a political demigod. This is typical post-modern humour, purposefully vague because in no way does it really represent a protest against steely, Stalinist dictatorships. On the contrary, it most probably is an irreverent and tongue-in-cheek reflection of Ali’s self-confessed favorability for a strong, constructive and secular dictatorship.

The album kicks-off with Gallan. Sung in Punjabi, it spins in, exploding like a Rage Against The Machine rhythm section running over guitar squeals (ala Tom Morello), until it settles into a raving boys-having-a-blast mode.

Then arrives what is perhaps one of the album’s strongest offerings, Lay Sambhal. Returning to the many existentialist themes Azmat explored on Social Circus, the lyrical structure of the song is both innovative and intriguing. The overall composition discharges a deeply melodic dose of urban melancholy, reminding one the helplessness of the sinking human heart when it is stuck between daylight and the night in the twilight of the evening. This song is vintage post-Junoon Ali Azmat.

Just as I feel it is not really to a girlfriend Ali is bemoaning the fallibility of words on Gullan, on Mera Khuda too Ali is not quite extolling a woman. Parading over an albeit conventional folk-pop composition, the vocals on Mera Khuda are as if Azmat is trying to come to terms with a personal god. Ironically, the weak composition here helps make room for the strong lyrics to come upfront.

Next up is Tanha Hai Kyun, a song evoking a desert-and-cactus feel in which Ali’s lonesome protagonist roams looking for a way out. Not particularly a strong composition, it hangs there bagging for musical dynamism.

The missing dynamism, however, more than compensates the reggae-tinged Yeh Kya Hua, that is further fattened by an impressive guitar solo. A competent pop-rock ditty, but unfortunately not my cup of tea.

Following it is Nainan, the obligatory rock-meets-Eastern-classical offering. A compelling song, it draws the listener in with its dreamy but tense vibrations and longing vocals. Nainan gives way to the album’s first straight-up rocker, Tera Mera. As the music gallops ahead, Azmat makes sure the lyrics remain reflective and the vocals don’t hide any emotional vulnerabilities, pacing up well with the rapid compositional dynamics of the tune.

The existentialist tract is further explored with the equally powerful Shukria, on which the helplessness mutates into sardonic sulking. A foggy gloom haunts the song that is then taken to its enraged conclusion by a wonderfully seething guitar solo, invoking allusions to David Gilmour’s furious playing on Pink Floyd’s Pigs (Three of a Kind). Ali changes his style of vocals here, aptly shifting gears from the emotionally souring to the pessimistically glum.

The next song, Ay Mere Saathi, interestingly tries to do something with ’60s swing jazz, but goes nowhere really and falls flat almost from the word go. The English number, You are, is reminiscent of SAP-era Alice in Chains, but I so wish the vocals were in Urdu as English vocals have always been Azmat’s Achilles’ heel.

The album winds-up with the climatic Sawal, a warning enquiry into the downbeat signs of the time. This is a commanding song, powered by excellent vocals, probing lyrics, ominous bass runs and an apocalyptic guitar lead.

Just as Social Circus, Klashinfolk too is not going to sell busloads of copies. But it has yet again exhibited the lasting quality Azmat’s talents are made of, proving that the post-Junoon Ali Azmat is alive, kicking and still threatening to reveal the many more tales of musical intrigue, twists and turns he has up his sleeve.

Any self-respecting local rock fan should be dangling a copy of Klashinfolk. It may be loaded with a few empty cartridges, but most of it is armed with enough fire-power to keep you packed and headstrong exactly the way potent rock music should.

link: SOUND CHECK: Loaded! -DAWN Images; September 07, 2008

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it was short and to the point ..

oo yaar yaay album millay gee kahan saay? any site selling it yet?

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'Accept getting old or cease to exist' - My Wife | 'Who controls the past controls the future. Who controls the present controls the past.' - 1984 - George Orwell

asif bhai
ramzaan

Why don't you download it? That's what I did.

nfp , cafe black.

Good review, sometime he is complex for simple readers

The Emperor's New Clothes

By Khaver Siddiqi

The proverbial Kojak of Pakistani rock/pop is back…but the bang isn't quite there.

Ali Azmat gained fame for being the singer and frontman of the ‘Sufi’ rock band, ‘Junoon’. Spawned from a nightmare, guitarist Salman Ahmad once had, the band was formed by him when he kidnapped a white man (Brian O’ Connell) from the States and invited Ali to join in. Salman, Brian and Ali would go on to bounce the ball of Pakistani pop music which was previously (initially) rolled by ‘Vital Signs’.

With their long locks and a white man in tow, they stormed the charts again and again with each album. Their success and their musical capabilities went nuclear when they crossed the border, so far the only successful nuclear strike across the border. Come to think of it, it was the second, the first being the venerable Nusrat Fateh Ali Khan.

Back to ‘Junoon’: after releasing hit after hit, the band reached a crescendo with their last outing, ‘Parvaaz’. But times changed, Ali lost the long hair, Salman lost the interest and together they lost Brian: before anyone knew it, ‘Junoon’ was no more.

But then something interesting happened in 2005/6. Rumours began to surface that Ali Azmat was about to release a solo album. Then a name appeared, ‘Social Circus’. Already Ali had given a track to an Indian motion picture which was eccentric, different, off-beat and had the trademark Ali Azmat wail.

Speaking of the wail, let's talk about Ali's musical capabilities. His music is brooding, questioning and quite lonesome in nature; lyrically he might not be that strong though. Overall, Ali could be compared to Boy George, who like Ali, sings about not being understood. But in part he could be a bundle of Eddie Vedder and perhaps even Chris Cornell (interestingly, both Vedder and Cornell would enjoy solo careers from the bands that made them famous, much like Ali).

Now comes in the wail. Every singer has a trademark stop. Some say, "wo-moan!" some shout "awyyeah!", Ali has this trademark wail. It's not something funny, just thought something one should always look out for. If they made a drinking game about Ali and his wails, the Murree Brewery would start production on a 24-hour basis.

So Ali had a solo career, his album ‘Social Circus’ was probably the most interesting album of its time. Like I said, the keyword with Ali has always been off-beat; and SC was anything but the norm. Starting with a video that was inspired partly by the anime ‘Akira’ and partly by ‘Blade Runner’, Ali left the competition scratching their heads in amazement, whereas the general public scratched their heads wondering what this was about. Video after video, Ali set the standard of what music videos should be about, but musically, however, his tones were lost to the masses. But the critics loved him, especially Nadeem F. Piracha (NFP). NFP can be described as a "very-poor-living-in-the-third world-man's" Hunter S Thomson.

Now in 2008, after much hype and wait comes ‘Klashinfolk’. Already that title had me interested. The cover design was clever, but was too thought out and probably taken too seriously by the designer: the idea was very, very interesting but the execution was botched like the Hindenburg. I was expecting it to be different than the previous different (would that make it the same though?) album, alas I was only a tad bit disappointed.

‘Klashinfolk Intro’ sounds like an old folk song off of an old vinyl. The true album starts ‘Gallan’ obnoxious and loud, the guitars yowl in, the drums stutter at first but then come crashing down. Expect some pretty fancy bass playing here by Kamran Zafar.

‘Mera Khuda’ is something I didn't expect from Ali, especially after his last album. By contrast, in his last album, Ali was lost, especially in the emotional sense. And now he's here how he thinks he has found of all things, God? Interesting track nonetheless, it kind of grows on you.

‘Tanha Hai Kyon’ is a very, very, bad filler track. I can practically hear Gumby falling asleep on this one. Why have one of the best drummers in Pakistan drum for you for a repetitive drumming track? I'm sorry Ali, try again.

Omran channels some serious reggae in ‘Yeh Kya Hua’ and thanks to some easy singing by Ali, suave drums by Gumby; you'll find yourself tapping your foot to this one as it'll stick with you for some time.

‘Naina’ is a gem of a track. For once, Ali decides to sing differently and the trademark wail nowhere in earshot. His voice evokes a time from beyond; as the words speak have a morose tone about them. Foreboding and almost like that of a shaman, one wonders who or what he is conjuring here.

‘Tera Mera’ is probably a love song that doesn't want to be one. Ali sings around love but doesn't sing about it. Clearly this song talks about complicating matters instead of simplifying them, naming the things and situations that should or should not have names. Meanwhile, Omran and Kamran are playing away as if they're on some F1 circuit. Good track.
‘Ley Sumbhal’ again is just a simple filler track, probably not given enough attention.

‘Shukria’ starts off sounding like it should have been from the previous album. This song is probably the bridge that took Ali from Social Circus to Klashinfolk.
‘Ay Mere Saathi’ is one happy track. Almost samba-esque, dare I say it, one might be able to dance to this one.

‘You Are’ sticks out like a sore thumb. Not that Ali's a bad singer, but because this is a track sung in English and is so different from the rest of the album that it would be unfair to pit it against the rest of the tracks.

‘Sawal’ immediately stalks you, the guitars ride in like, the bass line set up the dark mood and the drums follow through. Overall, not the best way to end the album, but considering that this is probably the darkest of the tracks, it is understandable why Ali would finish with this.

Knowing that people like Gumby and Mekaal Hassan are on an album, you can rest assured it'll sound good. This time around, it's Omran Shafique that quite literally steals the show. His guitars are different, intriguing, beguiling, comforting and at times disturbing. Good guitarists do that to you, and Omran strums every string there is.

Overall, this album marks a departure for Ali from the standards and tones he set in ‘Social Circus’. In SC, Ali was on a journey of discovery by turning within himself; in ‘Klashinfolk’ that journey takes a dramatic turn and this time its outwards. If ‘Social Circus’ was introverted, this is extroverted. Musically, ‘Social Circus’ was more coherent, tracks seemed like they were each other's siblings. In ‘Klashinfolk’, they're all over the place. This shows that once Ali found himself, he's gladly showing himself off to the world, whether this supposed emperor of rock has new clothes or not.

The author writes for ‘Images’ (Dawn), ‘The Review’ and sci-tech magazines on numerous topics. He is also a freelance contributing writer for several tabletop role-playing games; most of which have been e-published online. Besides writing, Khaver is an avid collector of old, tattered, pulp science fiction novels and thinks that comics are a modern form of literature.

link: TGK :: ARTICLES

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Ley Sambhal & Tanha Hai Kyon sounded lyk fillers to this fellow???

thanks Ghoom

Good!