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MUSICBOX: The mystic mantra
The year 2005 has brought instant (read ‘more’) success to Faakhir who, three years ago, displayed his skills both as a vocalist and a musician with his debut album Aatish. Mantra — a sacred utterance in Hinduism — has been aptly titled since the album was produced in Mumbai. It takes off with the charismatic Tauba Hai, which is an ideal start for any album. It not only brings the magical Arabic touch to the record but is made special due to the masterful use of accordion (the trademark of ’70s filmi pop) and flute. The melodious and soothing Mahi Ve, which, in its music video, features Aaminah Haq and a couple of dancers from India, comes next. The video is no doubt well shot and watchable because of the excellent direction of Asim Reza, but is an ‘inspiration’ from the Catherine Zeta-Jones/Renée Zellweger/Richard Gere starrer Chicago. Kaash is where Faakhir gives his vocal chords a chance to prove their mettle. This well-composed, tuneful song needed good vocals and Faakhir gave it just that. Impressive with a capital ‘I.’
If you liked Dilruba from Aatish, you will probably fall for Din Main Teri, which is as good as the former, consisting of Spanish guitar playing, chorus and amazing lyrics. An adoring sitar starts Jiya Na Jaye beautifully and Sunidhi Chauhan, the Indian playback singer with numerous hits to her name, teams up with Faakhir and makes the romantic song the best of the album. The Indian release features the duet only while the Pakistani release has Sunidhi reduced to backing vocals. But not all songs in Mantra are priceless gems. Chal Uth, Preetan, Mantra and Kurri might only go well with fans of Abrar-ul-Haq. Only Kadi Haan Kehndi and Luk Luk (with partially Pushto lyrics) manage to carve a niche as solid regional-targeted numbers with touches of both ’70s and modern music.
The former composer and keyboardist of Awaz exceeds all expectations by giving an all-round performance. Mantra has been composed well, sung brilliantly with first-rate lyrics while the gleaming ‘live sessions’ by an orchestra comprising of maestros from Pakistan and India give it the R. D. Burman touch Faakhir always dreamt of. Not since Junaid Jamshed’s Us Rah Par in 1999 has an album managed to do this well. By coming up with Mantra at the right time, Faakhir has mystified all!—Omair Alavi
Siblingrivalry
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Nothing new, nothing spectacular. Yet Ashlee Simpson’s Autobiography soared to the top of the charts just like that. It’s not the first time a debutante has done it and it certainly won’t be the last. But spare a thought: it isn’t easy getting to the top up with groundbreaking stuff, and with hackneyed matter, it is all the more difficult.She’s a bit of Avril Lavigne, a few glimpses of Pink, and all of a sudden, she’s all that. Nothing conspicuous in the instrumentation department. It’s the same run-of-the-mill sound you get to hear from every other wannabe rock diva with glimpses of brilliance interspersed in between. The title track kicks off with the hallmark rockish feel of the album backed by heavy percussion throughout. Love Me For Me follows the same formula to the hilt and its lyrics, coupled with a cocksure tone of voice, try to exude the persona of a confident being.
Shadow can be safely termed as the venomous sink of the album where Ashley spews out bucketsful of bile directed mainly at her famous older blonde sister Jessica Simpson, probably a knee-jerk adolescent reaction to growing up with a celebrity. Although the song ends on an appeasing note, those bitter memories are etched on to her mind and she has done everything possible to distance herself from her sibling, for instance dyeing her blonde hair jet black and opting for a darker rock sound rather than her sister’s sugary pop. But she hasn’t been able to escape the clichéd mould of her contemporaries. All she can be given credit for is a good enough voice to make it big. Apart from that she’s one lucky dame to get the response she did. And it all started with Pieces of Me, the hit single which shot her into the limelight.
Better Off would have been better off with a toned down instrumental track to allow the singer to take centre stage. Giving it All Away rides high on a handful of lyrics recurring periodically along with nifty bass lines. The finale, Undiscovered, the quietest of the lot, showcases Ashley’s cathartic vocals in its entirety and is deeply meditative.
Her music is definitely fit to ride the radio waves and that’s probably the reason for her smash success, though Simpson still has to create an indelible niche for herself lest she be swept away in the vast sea of showbiz oblivion.—Saqib Khan
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