Sibti & Spoonful
When the forces of the north wind rose high across the peaks, the lone traveler Sibti, found respite and long term refuge in the grasslands of the Spoons.. It was a kind of magical beginnings and that resulted in their first earth shaking endeavour they ever endeavoured. It was then that they knew that they had created a creation of gargantuan proportions. What resulted was, later for the ages, known to be the greatest musical alliance to have ever been aligned together forevermore.
Written and Composed by
M. Fazli (Sibti)
Recorded, Mixed and Mastered by
Jasir Abro and Hamad Khan
Director of Photography:
Jimmy Khan & The Big Ears is an acoustic pop band from Lahore, Pakistan. The band released their first album, in 2014. The album entails 6 songs, both original and covers, with Nadiya as the first single.
Here’s to the new band, the new sound, new beginnings and a fantastic NEW YEAR!
Naseer & Shahab releases prologue video for the upcoming single called, Born a Dead Man.
“When things don’t turn out the way we imagine them to be, Born a Dead Man is where it all ends.”
‘Born A Dead Man’ interactive music video coming soon for Mac and PC. It shows Islamabad in 2025, but not how we imagine it to be.
ICU – 5 Chuhay [ Download Audio ]
ICU is a punk rock band from Karachi. With a unique music style, energetic guitar work and unorthodox lyrics ICU strives to explore the crazy side of music. ICU’s band members include Adil on Vocals and Guitars, Umer on Vocals, Sarim on Guitars, Owais on Bass and Sheroz on Drums.
‘Jaagay’ is Zohaib Kazi’s new year’s resolution in shape of a song. “Happy New Year in advance everyone. I hope it brings love and peace all around the world.”
Opening up a trove of Sufi Folk is Asad Abbas’ ‘Mahi Gal’. Based on the raag Miyan Ki Malhar, the song is an old folk melody that Asad grew up hearing in his home given that Eastern Classical music was something he had inherited in his lineage. He feels that while the melody has always been striking, it’s within the lyrics that the song finds its mettle. The song’s dreamscape composition finds a tale at play in what could be reminiscent of folklore storytelling. The song begins with an old, raw feel of a yearning to connect with the object of one’s Love. In this dream like state, the song trails into a change of tone and witnesses glimpses of the other side, as if Light at the end of the tunnel, culminating into a transition of raag by Fariha Pervez into a Tarana. And with this newfound reassurance, the song’s tone is returned to the original raag but uplifted, musically tipping into an upbeat bluesy feel with instrumental elements such as the Oud – demonstrating the passage of time over such an experience. A song with a theatrical trace, ‘Mahi Gal’ is one of intuition, reaching out to connect with the reality of a lucid dream and waking up to a new state of Truth.
In connecting musical roots, Zoe Viccaji brings her version of a melody that has traveled across the globe in many forms to now be presented as ‘Ishq Kinara’. She had heard the song in its Turkish equivalent – ‘Üsküdar’a Gider İken’ – and upon delving into the origin of the song, was inspired by not only the melody but the universality of its tune in the way that it has been reinvented in many different cultures across the globe. Given the driving inspiration behind Zoe’s connection with the melody was in her Turkish experience of the song, the composition was bridged with the vocals of Sumru Ağıryürüyen bringing the traditional Turkish song to the fold lending a link to its root. Sumru states that while ‘Üsküdar’a Gider İken’ stems from the old, Anatolian neighborhood of Üsküdar in Istanbul, the Turkish version’s roots connect even further to several other countries – Bosnia, Scotland and beyond. This fact was further confirmed by members of L’Orchestra di Piazza Vittorio in Rome, Italy, who had heard versions of the same melody. The Turkish version of the song primarily dealt with the theme of the despair caused by Loss in the name of Love, however Zoe, in connecting with the song personally, lyrically made her version about the idea of independence and self-realization in the name of Loss. ‘Ishq Kinara’ talks of the last moment of vulnerability as a relationship is severed, and looks on to being complete within one’s Self after the Loss. With an upbeat mixed canvas of instrumentation from Italy, Turkey, Morocco and Pakistan, the song becomes Pakistan’s version of the mysterious melody.
Alamgir and Fariha Pervez
Turning over the pages of a story that has come to pass in our history is Alamgir’s contribution to this season of Coke Studio with the soulful Bengali folk composition ‘Aamay Bhashaili Rey’. The roots of the song are old, and has always been a source of inspiration for Alamgir reminding him of his youthful beginnings as a 14 year old boy who had come to Karachi on his own to find his passion and what would become his new home. The song was also featured in Alamgir’s second album and he feels that the song’s enchanting quality has always connected with people irrespective of whether the language was understood. Thematically, the song is one of Struggle. It asks for the devotion and spirit to endure the toil and risks that eventually reaches the finish line of Success – something that resonated with Alamgir’s struggle to keep going in the early stages of his career. In the subtle melancholy of what is almost a lament; the song is met by Fariha Pervez’s rendition of ‘Saiyyan Bina Ghar Suna’, which speaks out on the other end on the need for companionship and the yearning for Completeness. The instrumentation of the song is used to complement and mirror the flow of emotions that transition between the vocals and carry the theme into its resolution. The overall piece is a glimpse of a bridge to the past, asking what it truly means to belong in the face of displacement and how our choices make a difference in the world today.