There is a lot you can say about Pakistan's music. It is eccentric, to the point where the boundaries between fact and fiction begin to melt. It is reckless, often shouting from rooftops what cannot be admitted in secret. It is horrifying, giving shape to the most confused notions of a tortured mind. And it is beautiful, where it polishes your heart and holds it up to the world. But it is never boring. Never letting a cookie-cutter achieved the same highs as a renegade.
It exposes a strange dichotomy where Pakistanis adhere to the restrictive standards of their soap-operas (the fair-skinned, the light-eyed, the conservative and the likeable) and challenge the same notions through their musical tastes. Where an Atif Aslam couldn't look as good as an Ali Zafar, but could outshine him as a performer. Perhaps the reason for this is that music is where the heart of a vibrant nation beats with a pure ferocity. We are after all a group of crazy dissenters who come together and make magic happen; that is just how we do.
And in the spirit of that, let's celebrate some masterpieces that deserve a little more limelight than their luck, or lack thereof could afford. This list, which is in no particular order, reflects a combination of our tastes. Music after all is an opinion, and we are open to yours. So please let us know in the comments who you think should have made the list.
1, Woh Hata Rahay Hain Parda – By Ustad Nusrat Fateh Ali Khan
It is impossible for Pakistani music enthusiasts to not be familiar, at least vaguely, with Ustad Nusrat Fateh Ali Khan's music. The Great Qawwal, renowned for his contributions to World Music and the idol of Jeff Buckley. Perhaps, he represents Pakistani music best? Well that’s debatable. What is a fact however is that his gazal ‘Woh Hata Rahay Hain’ is absolutely underrated and deserves more credit. This beautiful song about exchanging flirtatious looks ‘chupke chupke’ (‘in secret’) and love at first sight kicks off with an instantly pleasing guitar riff followed by his signature repetitive claps, creating a joyous and somewhat nostalgic mood. It’s brilliant how the reference to ‘hichkiaan’ (hiccups) and ‘Aalam’ (atmosphere) reflect the culture and the beliefs of not only the subjects in this song, but also of the time in general. After listening to it you will agree that this gem of a composition has been buried and somewhat overshadowed by Ustad Nusrat’s vast range of other masterpieces.
2, Mahiya Ve Mahiya - By Najam Sheraz
In an interview Khalid Bajwa (founder of Patari) called Najam Sheraz Pakistan’s most underrated musical talent. When you listen to this song and watch the video, you realize why. ‘Mahiya ve Mahiya’ which takes its name from a call to a lover, is an incredibly dark, melancholic track. So dark apparently that it was banned from national television. Sadly, because Sheraz’s high-pitched almost feminine vocals contrast with and bring out the subject matter in a unique marriage, the likes of which have never again been attempted. The song follows the themes of unrequited love, lust, betrayal, and the subtlest and most powerful, rape & revenge. Told from a female perspective the narrative shifts from past to present, following the journey of a wronged woman looking for the man who wronged her. Iraj Manzoor, whom photographer par excellence Tapu Jveri called the ultimate model, fits into the video beautifully. She draws out the fiery elements like a moth to a flame. At a time when many continue to regard feminism with a mixture of annoyance and suspicion, it is refreshing to find an oldie where a young man and aspiring artist encapsulated feminist revenge so perfectly.
3, Walls They Collapse – By Takatak
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If you are into Heavy Metal music then Takatak is the band you should look out for. Based in Lahore, they were previously called Brain Masala, before settling on the brutal, apt and unique name (a general criteria for Metal bands) Takatak, parallel to their metal sub-genre. Named after a traditional Lahori recipe comprising of fried sheep or goat kidneys and balls (yes that’s right) they categorize their musical style as Progressive ‘Jolly-Desi’ Death Metal. You don’t have to be a Metalhead to appreciate the advanced skills and technicality of all the band members. Though their undeniable talent has allowed them some international experience (in Norway and India), it is challenging to be active with this genre in a country where Metal music is not popular. However, they are known in the underground music scene in Lahore and Islamabad. They are responsible for all the day after’s sore necks of their head banging audience. ‘Walls they collapse’ is one of their relatively unknown songs. Throughout the song they use their unmatched band chemistry and profane lyrics to express anger and rebellion towards the socio-political order. The aggression, fast tempo and technicality of the composition are apparent from the beginning. The growls are often standardized as noise, which is why most people do not care to discover metal music. However, it must be pointed out that growling is a very powerful mode of expression. Despite all the challenges, it is a brave decision to pursue music as an art – a form truer and more honest – rather than adapting to popular music. And because of their commitment to their passion, the song deserves a listen.
4, Kaun Sunay Ga – By Ali Sheikh
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If anyone suffered from the Atif-mania of the early 2000s it was Ali Sheikh. A talented and sensitive artist possibly remembered exclusively for his caricaturist Punjabi numbers. But he was a very intuitive singer; his ‘Kaun Sunay Ga’ is proof. A poetic piece that is light on the ears and haunts the conscience, the song was ahead of its time in many ways and can be defined by its opening stanza, “kaun sungea meri rooh ki awaz/kaun sunega jo mai keh na saga/main who toh nahi jo bana diya gaya hoon…” (who will listen to the words of my soul?/ who will listen to what I could not say?/ I am not what I have been turned into.) The song deals with identity, prevalent in many songs of the time including the larger-than-life ‘Aadat.’ But unlike individualistic and often microcosmic attempts by others, Ali’s finger was firmly pressed onto the pulse of a collective generation. The video is haunting, the poetry potent and the affect of both together unforgettable.
5, When We’re Older – By Red Blood Cat
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This is a brilliant song by the Indie-Rock band based in Islamabad. The English vocals resemble that of Chris Martin of Coldplay, while the freewheel, jazzy music improvisation creates a bright and atmospheric feel. If you like Indie-Rock we promise you won’t be disappointed. This bunch of talented musicians are waiting to be heard. Maybe the fact that they are less heard makes them more special. Meow meow meow.
6, Ehtesaab – By Junoon
This is not Junoon’s best song. Reason being that the benchmark in question is one of the biggest acts to come out of the region. But this song is special because of its place in the nation’s history. Released after Junoon’s initial success with ‘Jazbaa-e-Junoon’, the song is a very pointed critique of Pakistan’s political scene particularly former Prime Minister Benazir Bhutto. It was cemented as a force when BBC used it for their documentary on Bhutto’s government titled ‘The Princess and the Playboy’; it was also subsequently barred from national stations. This was before the advent of Internet and social media, so if you were banned from radio and television, chances were that you’d never reach an audience. Perhaps the song was also eclipsed by other 90s political satires including Awaz’s witty ode to the infamous Mr. Ten Percent, titled ‘Mr. Fraudiye’ and Sajad Ali’s breakthrough success with ‘Chief sahib’, and the happier patriotic ballads of Shoaib Mansoor.
But the song is decades ahead of its time in bluntness, and worthy of appreciation hence. There is nothing subtle about it. The words leave little room for interpretation and the video leaves even less for imagination. Our favourite part features a grinning, moustached man (who bears a slight resemblance to an ex-president and ex-prime minister’s husband) as he fills a gold lota with money. A lota is used to wash ones posterior after using the toilet; can you see why we like this song?
The title literally translates to ‘accountability’ and with a nod to everything from poverty to the infamous ‘polo ponies’ scandal, it declared that power especially democratic is not a right; it is a privilege. While demanding accountability of their leaders is a people’s birthright. Junoon at their revolutionary finest.
7, Zardarazir – By Poor Rich Boy
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Poor Rich Boy is an Indie-Folk and Art Rock band from Lahore who deserve respect for their originality. Most will agree that their music is hard to understand. Perhaps that’s the beauty of it, because music can work better than words as it doesn’t need to be understood to be effective. So it is easy to appreciate the simple brilliance of their experimental and ambient sound. The video of ‘Zardarazir’ serves as a political allegory of popular opinions revolving around the death of Pakistan’s Prime Minister Benazir Bhutto and the ascension of her husband Asif Ali Zardari as President, but it doesn't point any fingers. Enigma and ambiguity are sustained in their storytelling style in the song and video.
8, Yar ko Humnay Ja ba Ja Dekha – By Abida Parveen
There is just no one like Abida Parveen; the undisputed queen of Sufi music and an unapologetic challenger of stereotypes. And we’re going to channel her boldness and claim that nothing represents her talent better than this song. Loosely translated to ‘I saw the beloved in all that I saw’ the song pairs deep Sufi poetry with a dark and somber composition, playing up Parveen’s earthy tonal quality to perfection. The Alaap will send shivers down your spine. It was composed by the legendary Muzzaffar Ali and stands out amongst her more lively, conversational tracks.This song is not a conversation; it is a declaration. A declaration of Parveen’s unwavering faith that exists on a metaphysical realm, you just need to look to see it.
While there was a surge in its popularity when it was adopted as the official sound track for the popular television series, ‘Sher E Zaat’ it is so unique, the poetry so poignant and the message so simple that it deserves to stand out in its own right.
9, Sailing Fast – By Co-Ven
Co-ven is amongst the earliest rock bands in Pakistan, and holds an excellent reputation in a rather narrow audience. When you listen to a range of their songs, whether the ones in English or Urdu, you will agree that they have a unique guitar tone and style, a mixture of 90’s Rock and Eastern sensibilities that really defines much of their unique sound. ‘Sailing Fast’ released in 2007, is a passionate and nostalgic song. One of the aspects that make the video so interesting is the ambiguity: rural labourers in Pakistan singing in English, and saving up money to send a package to a lady in Tokyo, and that too via national post. This song clearly is an underrated masterpiece.
10, Gharoli – By Mooroo
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Covers can be painful, particularly when the original is a cult classic. And anyone who tries to cover an Abida Parveen Sufi number needs to either be really confident or incredibly cocky. But what Mooroo has accomplished here is a worthy tribute. At no point does he try to compete with the original, instead he uses his own gifts to produce something worth remembering. Merging acapella, folk and RnB influences, it is bold, brash and not everyone’s cup of tea (to put it mildly). But bravery is worth admiring in itself, and when that bravery produces something creative, it deserves a listen.
11, Baadshah – By Sikandar ka Mandar
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Strange band, strange name, strange song. It’s good to be different in music and positioned with a distinctive sound and reputation and compositional skills, Sikandar ka Mandar is a promising band from Karachi. The melancholic, fascinating and peculiar mood sustained in ‘Badshah’, along with the experimental and somewhat psychedelic lyrics, is superbly-executed, highlighting the sophisticated talent level of this band.
12, Asan Sutal Haasun Nindh Nashay Vich – By The Sketches
The Sketches shot to fame with their take on ‘Maujood’ and held our gaze with ‘Main Sufi hoon’ and while it is great to see ethnic music coming back to life, you’re really missing the band’s true potential if you haven’t heard ‘Asan Sutal Haasun Nindh Nashay Vich’ (‘we were sleeping an intoxicated sleep’). The song is a showcase of everything that makes this band a force; Saif Samejo’s vocals which chameleon into a new character with each song, Naeem Hassan Shah’s effortless chord progression, their unapologetic preference for folk, and the patriotic flare they light in each tune. What surely added to the song was Ahsen Bari (on bass and guitar) who is one of the most electrifying and underrated talents, period.
13, Distant Past – By Hounds of Tindalos
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The band name and the song title draw inspiration from Frank Belknap Long’s fictional creatures. This progressive rock instrumental is a must listen. It has been self-described as “transcending into the 4th dimension where time doesn’t exist”. The composition is psychedelic and sophisticated in its construction. It is eerie yet atmospheric, with ominous vibes. ‘Distant Past’ really is a musical treasure. On a side note, the band members Sheraz Ahmed and Umair Ahmed are young talented geniuses who have experience in other projects like Dionysus and Irritum as well, which you must check out if you are open to Metal and experimental music.
14, Nair Bait – By Akhtar Channal Zahri
We’ll always have love for Coke Studio because of talent that they introduced us to. Akhtar Channal Zahri is definitely one rare gem that they unearthed. While his ‘Dannah Pa Dannah’ duet with Komal Rizvi gained a lot of popularity, it is ‘Nair Bait’ that deserves more applaud for its originality. An energetic track that literally narrates a warrior’s story in one breath, the song is not for the faint hearted. But if one has to embed the arid beauty of Baluchistan into song, the result was never going to be soft. The composition never misses a beat, special kudos to the drummers and Tabla players who dared to keep up with the singer’s pace. And the hero here is rightfully Akhtar Channal Zahri’s unadulterated ethnic talent.
15, Aey na Balam – By Arooj Aftab
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Co-written with Bhrigu Sahni 'Aey na Balam’ is a remarkable tribute to Ghulam Ali Khan. Arooj Aftab categorizes her genre as ambient neo-Sufi fusion, owing to the non-traditional approach to Sufi music with the openness to jazzy progressions, as is evident in this song. Despite her recent fame as a brilliant Pakistani musician, this extraordinary song is less known. Listen to it yourself and you’ll see why it is special.
16, Tiri Pawanda – By Alan Fakir
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The dilemma of indigenous artists in Pakistan is that they are often cast as self-parodies. It is a sad reality that there exists a generation of Pakistanis completely oblivious to the electrifying genius of Alan Fakir. ‘Tiri Pawanda’ is a beautiful rendition of Sheikh Ayaz’s nostalgic poem and an exhibition of how versatile Fakir could be. The words were written by a poet in exile, and brought to life by an artist in isolation. A lot of time had passed since Fakir’s head-wraps and grinning beard were used as a mascot for folk music alongside a gyrating Muhammad Ali Sheikhi. Alone in his house with a two-stringed dumboora (a local instrument) as his orchestra, Fakir gave shape to loss and longing. His voice trails from mountains and echoes through abandoned palaces. One of those rarities where the artist’s emotions transcend limitations of language.
17, Qudrata ni Rab – By Mureed Buledi
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Folk music is often slave to linguistic barriers. And this song is an excellent example of why Pakistan needs to embrace the diversity of its provincial cultures. A Balochi Folk song about hope, and written in appraisal of God, it is a treat. The folk instruments of suroz and tambura (local instruments) allow the formation of vibes that are distinct, organic and euphoric. This is just one of the masterpieces of the less discovered Baluchistan. Again one doesn’t always need to understand the language to appreciate the song.
18, Aitebaar – By Zeb and Haniya
There is a lot of politics surrounding women today and rules exist for everything from what women should wear to what they should think. And it is refreshing to see unique female artists do their own thing in the face of rigidity. Enter Zeb and Haniya. The cousins represent Pakistan and particularly Peshawar so well because they shatter stereotypes just by being themselves.
And while their explosive ‘Rona Chor Diya’ became an anthem for brown girls everywhere, we’d just like to point out that their breakthrough song was a game changer in its own right. But this is a slow song, so you have to listen to it. ‘Aitebaar’ proved that ethnic poetry could fuse with blues without being confusing or confused. The video also shifted the focus from meet-cute story lines to more complex and avant-garde expressions of a union. The interpretive dance, the idyllic mood, the complimenting duet, really this is the stuff legends are made of.
19, All that Collides – By Waleed Ahmed
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If you haven’t heard this before, then know this: you have just stumbled upon an artist who is a one man band. ‘All that Collides’ is an experimental and Post Rock instrumental from the album ‘Waterfort’. This underrated track alone reflects the multi-talented genius behind it.
20, 1947 – By Mehdi Maloof
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National songs swing between romanticism and melodrama. So when a talented albeit unknown artist released ‘1947’, few expected it to be relatable, effortless or even original. Needless to say it was all three. Hailing from Karachi, Mehdi dabbled in singing long before a local talent competition scooped him out of the masses and helped him release his calling card. The song is unadulterated, youthful and vibrant, much like the man behind it. The composition relies almost entirely on Mehdi’s guitar skills and vocals allowing the powerful poetry to really take centre stage. The simple video adds a serene depth the credit for which rests squarely on Syed Fazal Hussain’s slight shoulders (who has moved us to tears in ‘Ramchand Pakistani’ and ‘Slumdog Millionaire’) if there is an actor in the country, it is this boy. The song best represents Pakistan’s youth; there is no pretense, it comes from a young mind and represents a young generation.
21, Beero Binjaro – By Asif Hussain Samraat
Another Coke Studio triumph. This time it is so innocent, so sweet, so gentle that it wanders into a part of your heart that you’d forgotten about and pulls at those strings you didn’t know you had. Asif Hussain Samraat’s voice is a gift to any song, but paired with a language that is honey for the ears and poetry that is food for the soul; he really shines as an artist. A conversation between brother and sister, the song recounts the journey to meet family and the inevitable hour of separation in a most original way. If there is just one song that you listen to today, let it be this one. If there is just one artist who you choose to support today, let it be him.
22, Chaap Tilak – By Ustad Zafar Ali Khan
When I met Ustad Zafar Ali Khan for the first time, I understood why he’d threaten aspiring and established musicians alike. His voice had a gravitational pull that had been harnessed over the years. Ustad Sahib was understood by few people, but fascinated everyone. I have raw footage of his; shot with a lacklustre camcorder in an empty classroom, where his tonal quality outshines professional recordings. Few have been able to capture that power; one who did was that eccentric diamond in the rough Sabeen Mehmud who invited him to perform at T2F.
This is that performance; a little snapshot of Karachi as its inhabitants see it. A talented musician, a fearless crusader and an audience entranced. This one is particularly dear to me because it combines Ustad Sahib whose talent was never given its due, with Sabeen who was taken much too soon. Two irreplaceable treasures forever lost.
23, Moomal Rano – By Asrar
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Asrar has an interesting story, born in Azad Jammu Kashmir he moved to Hyderabad, Sindh where he trained with Ustad Sultan Ahmed Khan. He then went on to Lahore to try his luck in the music business and started a production house with friends. His first song ‘Ni Saiyo’ saw early success. But it is his rendition of folklore in ‘Moomal Rano’ that catches ones attention. Folk music has been altered to happy tunes in the past, perhaps to achieve commercial successes. But indigenous stories are often dark, and Asrar’s take on the classic saga of love and loss is somber yet powerful. The composition uses ethnic instruments and he has one of the most unique voices as far as young artists are concerned; like folklore itself, it comes from the earth. He’ll have you entranced in seconds!
24, Insha Ji Utho – By Asad Amanat Ali
This song should be remembered for its story if nothing else.
Post partition, a gifted poet named Sher Muhammad Khan adopted the penname ‘Ibn e Insha’ and began a career that would shape Urdu literature the world over. A prominent figure in Pakistan’s literary circles, Insha spent his days penning down an insatiable appetite into poetry. His masterpiece “Insha Ji Utho” (get up and go Insha ji) was a call for the poet to forsake a place that did not want him. When classical maestro Amanat Ali Khan read it, he knew that it deserved a composition and performance. ‘Insha Ji utho’ became Amanat Ali Khan’s triumph, mesmerizing audiences in its wake. Viewers bombarded Pakistan Television (PTV) with letters and phone calls, demanding that the song be played over and over again. But months after the height of his success, Amanat Ali Khan died suddenly. He was just fifty-two years old.
Four years later on a hospital bed in London, the poet responsible for those words that bewitched everyone lay battling cancer. From his sick bed, Ibn Insha wrote a letter to his friend ending with,
“Yeh manhoos ghazal kitno ki jaan ley gi …?” (how many lives will this accursed poem take?) The next day at just fifty years of age, with the blush of his genius still ripe on his career, Ibn Insha was dead.
Sometime later, Amanat Ali Khan’s older son Asad walked into the PTV office. Classically trained in his father’s legacy and with a face carved out of porcelain, the producers could see that he was perfect for the camera. But a mere debut would not suffice. Instead, they surrounded Asad with his father’s friends and family and had the beautiful young man sing those infamous words that could lift spirits and break hearts. It was PR genius; Asad’s voice radiated into drawing rooms and tea-stalls, and a people who hadn’t recovered from the loss of one soprano welcomed the new muse. Overtime Asad would make a name for himself, albeit not to the same lengths as his brother Shafqat whose stint with Fusion continues to be a yardstick.
Years later, he was performing in London when the audience cheered and cajoled him into performing ‘Insha Ji Utho’. A swansong if ever there was one, because the next day Asad died, he too was fifty-two years old.
Under oath from his family, Shafqat Amanat Ali has never performed the song, and refuses to do so to date.
25, Aah Meda Dhola – By Masooma Anwar
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So we all know that no one can compare to Abida Parveen. But we may have found someone who came really, really close and not just because of her genre. Masooma’s deep, husky voice reverberates through the arid landscapes of Makli. The simple composition of this track lets the unique power of the words and the charm of her voice shine. The classic poetry, which many have attempted before but none have been able to capture with such finesse, rings through your heart like a gong. We can’t believe more people haven’t heard it.
26, Tere Ishq main Jo bhi – Nescafe Basement version by Rizwan Butt and Asfar Hussain
There were comparisons with Coke Studio when Nescafe Basement first started. But this rendition of a classic is proof that the series is determined to carve out its own identity. The original was much loved, but hardly stood the test of time. A new generation after all is entitled to fresh flavour, and the small team of budding artists successfully revamped a cultural behemoth without appearing to be mimicking or even trying to mimic Alan Fakir. Sufism for Generation Y.
Special thanks to team Patari whose online music library is truly the most comprehensive record of Pakistani music. For more pieces on art, culture and music follow Dissent Conclave.
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