• Sunday, December 8, 2019

Coke Studio 12

Discussion in 'General Photos & Multimedia' started by ghazi52, Jan 25, 2019.

  1. ghazi52

    ghazi52 ELITE MEMBER

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  2. ghazi52

    ghazi52 ELITE MEMBER

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    Ali Sethi takes the stage on Coke Studio 12 in Gulon Main Rang, a ghazal by Faiz Ahmed Faiz that weaves multiple layers of meanings within images of blossoming springtime and romantic yearning..


     
  3. ghazi52

    ghazi52 ELITE MEMBER

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  4. atya

    atya SENIOR MEMBER

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    This is next level. Was waiting for her entry
     
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  5. ghazi52

    ghazi52 ELITE MEMBER

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    Last edited: Nov 23, 2019
  6. ghazi52

    ghazi52 ELITE MEMBER

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    Code_Geass FULL MEMBER

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    It felt like abida parveen
     
  8. ghazi52

    ghazi52 ELITE MEMBER

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    ghazi52 ELITE MEMBER

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  11. ghazi52

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  12. ghazi52

    ghazi52 ELITE MEMBER

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    Why Coke Studio still matters

    PEERZADA SALMAN



    Even the criticism of the Studio’s current season shows that expectations continue to be sky high.

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    It is hard to define Pakistani culture. The moment you start developing arguments to describe linguistic, sartorial, artistic and culinary dissimilarities between Bangladesh, India and Pakistan, you will invariably stumble upon elements that connect the three in more ways than one.

    Aren’t Barray Ghulam Ali Khan and Roshan Ara Begum a shared musical heritage of the subcontinent? And it’s a good thing. So there has been a lingering question of identity, which has nothing to do with identity politics, which has never found a credible answer in the post-independence cultural environment of Pakistan.

    In 2008, Coke Studio surprised everyone, pleasantly one might add, with its ingenuity and its uninhibited approach to conjuring up a creative atmosphere that allowed musicians to further explore what was already theirs. In doing so, it went on to define Pakistani music as essentially unique and unencumbered by the happy burden of tradition. This was an organic phenomenon.

    To begin with, the induction of Rohail Hyatt was an intelligent move made by those who came up with the idea for the Studio (it could be Rohail himself, one doesn’t know).

    Many believe he had a major part to play in pop band Vital Signs’ phenomenal success primarily because of his excellent composition skills and the ability to create melodies that had Western instrumental influences but eastern or, let’s say, the subcontinent’s melody structures. This meant the best of both worlds: contemporary pop tunes rooted in Pakistan’s land.

    Even the criticism of the Studio’s current season shows that expectations continue to be sky high with the show that has all but defined new Pakistani music

    Many of Vital Signs’ songs, such as Saanwli Saloni, are a testimony to this observation, where lyrics and vocals smacked of eastern sensibilities but with chord progressions, riffs and percussions that had a 20th century European flavour.

    Rohail had grabbed the opportunity with both hands because he knew he was the one who could make Coke Studio a modern-day wonder without losing sight of conventional Pakistani music. However, in the initial couple of editions, the emphasis was more on showcasing pop bands to get the ‘live’ music feel in order for the younger audience to get hooked.

    But what kind of pop bands? Strings and Atif Aslam.

    This was an important juncture. Strings were a group that used synthesisers and a light, pop-ish mood with lyrics that were innately ‘literary’ in their phraseology. For example, ‘Sar kiye yeh pahaarr, daryaon ki gehraiyon mein tujhe dhoonda hai.’

    Similarly, when Atif first sang for the Studio he meshed the groovy track Jalpari with a delectable Nusrat Fateh Ali Khan number Tu mera dil. This was an experiment that Rohail seemed to enjoy and excel in. A star, known as Coke Studio, was born.

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    Rachel Viccaji and Shuja Haider - Photos: Kohi Marri


    It didn’t take much for the show to get attention and traction across the border in India and in those parts of the world where expatriate Pakistanis and Indians lived in huge numbers. India had been making great film music for decades. Pakistan, film-wise, was equally good up until the late 1970s when Ziaul Haq’s vision was imposed on the country and the film industry was reduced to a factory of shabbily-made movies, mostly in Punjabi.

    Now, a couple of decades later, Pakistan was making music which was being noticed not just because it was top-notch but also because it was distinctly unique in its form and presentation.

    It didn’t take much for the show to get attention and traction across the border in India and in those parts of the world where expatriate Pakistanis and Indians lived in huge numbers.

    Coke Studio influenced shows in India participated in by the country’s top most musicians and composers. But none could enjoy the magic of their Pakistani progenitor.

    Here’s a tiny evidence of the Pakistani show’s popularity. In 2016, in one of the sessions at the Karachi Literature Festival (KLF), Indian comedian Sanjay Rajoura, when pushed to respond to a question about Kashmir, said: “Kashmir le lo, Coke Studio de do [Take Kashmir, give us Coke Studio].”

    After six or seven years of its inception, as always happens with any product, the standard of the programme began to drop a bit. Rohail left the show and the reins of the show were given to Bilal Maqsood and Faisal Kapadia (of Strings). They did a fine job, but they were not the initiators of the idea and Rohail’s was a hard act to follow.

    Voices of concern were raised that the quality of the songs being produced was no more worth writing home about. Strings did a few seasons and left, followed by Ali Hamza and Zohaib Kazi taking over for a year.

    And now Rohail is back in the saddle.

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    Abrarul Haq - Photos: Kohi Marri


    The show is again in the spotlight. The moment Atif Aslam’s version of a hamd — originally presented by Nusrat Fateh Ali Khan — went on air, people began to talk about it. Many loved it. Some didn’t. But check out how many views it has had so far on YouTube, and you’ll know ‘what just happened’. In terms of a purely musical yardstick, it is easily Atif Aslam’s best live performance.

    The first episode of Season 12 was appreciated. And the second had Abrarul Haq sing his famous Billo with the kind of the ‘feeling’ that’s the hallmark of Coke Studio. Then came the groovy Saiyaan by Shuja Haider and Rachel Viccaji.

    There have been duds as well. But if there’s criticism, you know it’s because the expectations continue to be sky high from Coke Studio and from Rohail. There’s few things on Pakistan’s cultural scene that still matter like that to people.
     
  13. ghazi52

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  14. ghazi52

    ghazi52 ELITE MEMBER

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    Coke Studio 12 comes to an end

    By Maheen Sabeeh

    Instep reviews episode five, which comes off as a mixed bag, audio-visual wise.


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    Coke Studio 12, the behemoth that is more than a TV show, is still judged by the whole country or at least those who still watch it, as well as the music industry at large.

    It is like a cricket match, which when it works is cause for celebration – albeit mostly on social media – and if it fails, triple the amount of hate takes over that same digital space. We already showcase strange love for cricket and while Coke Studio has never led to the same magnitude of national response, it has now created a kind of toxicity where a bad Momina Mustehsan song (‘Ko Ko Korina’) will lead people to make death threats on social media and the return of Rohail Hyatt will become something to be worshipped. In short, it elicits extreme reactions or complete ignorance.

    That’s never a good thing. But that’s exactly what’s going to happen when words like ‘Sound of the Nation’ and ‘Cultural Cohesion’ are thrown at you with a TV show that started out as a space where people could showcase their original new music and not just get lost in the realm of ‘Sufi’ or worse, pander to the public. We’ll get to the larger verdict eventually but let’s look at the second last episode of Coke Studio 12 first.

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    Episode 5 – The return of icons and commercialism

    In episode 5, not only did icons like Hadiqa Kiyani and Fariha Parvez – both of whom do not get enough credit in our industry – return to the series, but so did Rahat Fateh Ali Khan, who appeared for a second time (as did Aima Baig). Shamali Afghan was the only new voice in the episode.

    Hadiqa Kiyani opted for folk (which after Wajd is not hard to predict) with poetry by Bulleh Shah, Waris Shah, and Mian Mohammad Baksh. During the BTS, she explained the larger meaning behind the song and noted that you have to look beyond the superficial to feel the depth. She spoke of Ishq, be it for the Divine or worldly, and how ‘love’ is unconditional.

    The song, titled ‘Daachi Waaliya’ finds Hadiqa Kiyani at her best on Coke Studio as a performer in all her years because her own understanding of Sufism and folk has deepened with time, which is why Wajd (Volume 1) sounded so genuine. Thematically, ‘Daachi Waaliya’ is more Hadiqa than Coke Studio but sonically it is Coke Studio and it sounds a little like Coke Studio of the earlier Rohail Hyatt years. It’s got groove and little percussive sounds as well like the past, with the addition of Uncle Tanveer Tafu, who is playing an unnecessary mandolin in this song. There is such a thing as too much and repeating past successes is also boring. But Hadiqa is the reason you don’t shut off the song. The set has changed and so have the players and, though shot well with darkened hues, it looks a little like the old Coke Studio whereas by now it needed to evolve drastically – even if it meant being shot on the street or in a basement with natural light coming via windows. We saw a drastic change last year and decided to write it off even though it was a complete visual and audio change.

    Anyway, moving on to Fariha Parvez, she sings ‘Balma’ which is in the language Braj and though is a Thumri, a semi-classical form of singing, this song according to Fariha Parvez is the pop version of it, which is an interesting way of describing this lasting love song and once again, you wonder why the likes of Fariha Parvez and Hadiqa Kiyani are not given more songs in films, in music shows because, if anything, their skill level keeps going up, never dwindling, something that is apparent in ‘Balma’. It is also a bit of hodge-podge to put Hadiqa and Fariha in the same episode.

    With Rahat Fateh Ali Khan collaborating with Aima Baig – both in their second appearance on the season – Uncle Tanveer Tafu returns and opens the episode with his now-irritating banjo for some reason. RFAK doesn’t sound half-bad with ‘Heeray’ but that banjo continues to kill the percussive instruments and when Aima Baig enters, all hope dies because it is Jhankar Beats Volume Coke Studio and we are again harkening back to the old days of Coke Studio where this very sound had the country hooked.

    The saving grace comes in the form of Shamali Afghan, who sings in ‘Pashto’ and makes his debut with a song called ‘Mram Mram’ (‘I Am Dying’) with lyrics by Khatir Afridi and Rahim Ghamzada.

    All you have to do is give him a chance and he will work his magic; the beat is so different that it works and the Jhankar Beats is not used here. Add to it Kami Paul’s playing of the drums like a dream and you have a near perfect song.

    – Watch out for the review of the finale episode and our Coke Studio verdict.

    – Photography by Kohi Marri