Shezi

Oriental Sounds

Tina Sani

Singer: Zara Madani
Featuring: Muazzam Ali Khan
Language: Braj

Finding the union of eastern classical inspiration and deep, encompassing electronic vibes is Zara Madani’s ‘Neer Bharan’. The song is the product of an experiment that took the pattern of an electronic track and placed the layers of an age old classically based bandish within the fold to create a story that’s almost cinematic. With the elements of Teen Taal, the song finds its driving inspiration in the nighttime raag Baageshri stirring up a feeling of dark, delicate longing. The song in its carnal nature is a whirlwind of female sensuality and haunting temptation. The wordings derive from folklore of the subcontinent painting the moment of yearning set against the backdrop of the night’s enchantment. As the lyrics flow, the song’s progression is almost prowling in its search for the song’s object of obsession – the alluring peeve Nand Laal – a character thematically portrayed in the vocals of Muazzam Ali Khan towards the song’s resolution. A song that has an almost theatrical feel in its tale, the Eastern chant like rhythm is brought to life with the constant electronic groove by the Serbian house band and the percussive elements of the Dhol while the String Orchestra encircles the storm layering the depths of human angst in the face of Separation.

Neer Bharan - Zara Madani featuring Muazzam Ali Khan

Singer: Alamgir and Fariha Pervez
Language: Bengali & Braj

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.

Alamgir and Fariha Pervez AAMAY BHASHAILI REY

Singer: Rostam Mirlashari
Language: Balochi

Upon the journey of tracing one’s roots, Coke Studio had the pleasure of connecting with music from across the border – in bridging the great tradition of Balochi music with its family across the border in Iran. In walks Rostam Mirlashari, a Balochi from Iran with his rendition of the folk song ‘Laila O Laila’ – a song found in our part of Balochistan as well, demonstrating that while borders may have been put in place, cultures, traditions and heritages remain intact. The song itself is a simple, happy, love song in the pursuit of meeting with the object of one’s Love, in this case, Laila. The instrumentation is reminiscent of folklore and simpler times where music was used in the form of oral tradition, which is complemented by instruments such as the Accordion as well as the Balochi Dumboora. In connecting the elements of the music, one cannot help but notice just how instruments such as Norway’s Hardanger Fiddle find their place within the flow of the song indicating that the sounds that we hear across the globe are harmonious in the subtlest of ways. ‘Laila O Laila’ is a song that finds its home where there are those to connect with it. Past all borders, it begs for us to look deeper when understanding the idea of what is ours.

Rostam Mirlashari LAILA O LAILA

Singer: Ali Azmat & Muazzam Ali Khan
Language: Urdu & Punjabi

Throwing the mind into the ultimate universal spiral of existence is Ali Azmat’s ‘Sawaal.’ According to Ali, a substantial amount of the thought process behind his album Klashinfolk went into ‘Sawaal’ as it is a representation of the different stages of Life and the corresponding psychological and spiritual tangents that shoot into the eternal abyss of questions. The feel is that of human anguish as the vocals wail asking about the transient state of mankind. In asking the questions, there are more questions as mankind looks on into the world. It is within this State that the song is met with ‘Kande Utte’ in the vocals of Muazzam Ali Khan accompanied by his Qawwal Group. The Qawwali here reflects on the edge of human struggle. The verses refer to folklore in the tale of Sohni-Mahiwal, which thematically yearn for the union with the Source of true Love. A composition based on Sufi tradition, the state is one of extreme longing at the point of reaching one’s limits, and therefore the most desperate of spaces. However in the Qawwali, the answers are found within the Soul. Therefore the transition between Sawaal and Kande Utte is through a doorway inward, wherein the Soul’s anguish resides due to the eternal wait to be reunited with Truth. The verses speak to each other, being two sides of the same coin, wherein the conviction remains that while the Spirit is in a state of constant turmoil, so will the world reflect this inner chaos. The only real peace manifested in the physical world is mirrored by the peace that is found within upon connecting with the Source. And therein lies the Answers to the Questions. Musically, the song was able to connect due to similar scales, and with the thematic connect, the organic union of the songs goes to show just how things fall into place in harmony. The essence of the piece finds its freedom in knowing that nothing is in one’s control – an expression in the universal story of mortal human life.

Sawaal - Kande Utte

Singer: Ayesha Omar – Fariha Pervez – Zara Madani – Rustam Fateh Ali Khan
Language: Braj

Bringing Nature’s intricacies to the mix this Season, is the story of Miyan Ki Malhaar. A raag that is based on the rainy season, in this presentation of the raag, the song sees the flow of the oncoming rain first heard from afar, flowing into the drizzle and finally into the crash of lightning and thunder in its full downpour. Ayesha Omar opens the song with her presentation of the raag, reminiscing about the beauty of the raag that is known to actually cause rain in classical tradition. The underlying tone of the verses’ cyclic chants is one of imminent release – an almost looming feel that is felt in the instrumentation by the band in Serbia and distinctly felt in the groove of the bass line. The song’s flow further transitions into the calm before the storm – vocally portrayed by Fariha Pervez’s rendition of the raag and musically flowing into an ambient space of lingering frequencies accentuated by percussive elements by Turkey’s Burhan Hasdemir and Nepal’s Siddharta Maharjan. As the song reaches its brim, the downpour follows in all its glory as the vocals fall into Zara Madani bringing the clap and thunder of the storm in the song’s freefall into Rock as seen through the guitar accents by Asad Ahmed and Faraz Anwar. Rustam Fateh Ali Khan – an avid believer in the raag’s connection with Nature - completes the story’s composition in downpour in his Sargam. The overall composition is the result of various faces of the same raag that fall into place to tell the story of the life of Rain through the life of a Raag.

Miyan Ki Malhaar

Shreya - Akele Na Jana

Mori Araj Suno | Tina Sani & Arieb Azhar | Season 3

Mori Araj Suno

Akhan Chham Chham Wassiyan Tina Sani

I OWN NO RIGHTS, THIS IS JUST FOR EDUCATIONAL PURPOSES.

tujko kitno ka lahoo chahiye ae arz e watan - Tina Sani

Download/Stream: http://maddecent.fm/afterhours
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Watch the official music video here: smarturl.it/AfterhoursVideo

London’s Music maestro, TroyBoi, brings his signature sound on “Afterhours” with Diplo’s sensibility and Nina Sky’s entrancing vocals. “Afterhours’” versatile vibe captures the calm after the party storm and builds up to a drop that will have you back on the dance floor. This debut is the first of TroyBoi's additional releases coming on Mad Decent later this Fall! 

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Twitter: https://twitter.com/troyboimusic
Soundcloud: https://soundcloud.com/troyboi

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Facebook: http://www.facebook.com/diplo
Twitter: http://twitter.com/DIPLO
Soundcloud: https://soundcloud.com/diplo

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Soundcloud: https://soundcloud.com/nina_sky

Afterhours (feat. Diplo & Nina Sky) - Single

Afterhours (feat. Diplo & Nina Sky) 

Download/Stream

TroyBoi - Afterhours (feat. Diplo & Nina Sky)

BOHEMIA Zamana Jali  || Skull & Bones ||

Voice and Composition: Arooj Aftab
Lyrics: Dagh Delvi
Tabla and Frame Drum: Adam Maalouf
Violin: Arun Ramamurthy
Synth: Yusuke Yamamoto
Mixed and Mastered: Jeremy Loucas

OST Devi - a film by Karishma Dube 
http://www.imdb.com/title/tt5958170/

Rasm-e-Ulfat (OST Devi)

Translation:

The sun is setting against the wings of the birds, flying back home
I stand at the threshold of the village 
And look at the vast desert that burns my eyes with your absence
This land, this fertile land, through which my beloved had passed by
I cannot say much except that even walking on this path, which you had treaded 
not so long ago, fills me with enormous love. 
Just as women winnow and chaff of husks from rice, 
Your love, too, is winnowing the dusts off my soul 
They have woven stories about my love, 
to all of which you smiled gently and continued towards destiny that beckons you
You have been long gone, my darling
And yet, every word I utter quiver with your melody

Pakhi Pardes - The Sketches - You

Translation:

A dream, In a little boat of sleep
Who sails me to the other world. 
The world, so faraway….
I hold the mane of wind to gently sail to your doors
Carrying the bowl of the moon with love in it. 
After you drink from the bowl, I sail back 
I decorate the walls of heart with the garlands of your breath
That sails me to the otherworld,
The world so faraway….
Let me weave the rainbeads on my ankle
And dance like monsoon
Let me break all walls of separation 
And dance into oblivion 
Let me fill the poison on my each cell 
And dance like the lovelorn nagin. 
Some Jogi has come to this wilderness 
playing the tune so melodious 
Sailing me to the otherworld,
The world so faraway

Neend Ki Naiya - The Sketches - You

Translation:

O my heart! 
Love like a bird, I did not,
Who flies away when the water dries!
Love like a fish, I did, 
Who perishes with the water!
O peacock! O peacock! 
What words did you utter in the midnight
That I lost all my sleep! 
This bride of yours, 
On her head is a yellow dupatta, 
And there lies a white flower
O peacock! O peacock! 
Heart is a bird, it is a butterfly! 
A roaring thunder, the heart be! 
If the restraints of the body are broken, 
Then the clouds above, the heart is!
From the bough of the blue heavens above
The heart fetches many stars! 
From the strong waves of the sea,
Heart, turns, and brings the currents hither!
A fisher, my heart is, 
Whose abode is in the water
It is a performer of the spoken word,
A shadow in quiet desolation, it is
The heart comes before the nation, religion and faith
It is the form and essence of 'Kun Faya Kun'
Inside, outside, apparent, real and Sufi, the heart is!

Mann Moriya - The Sketches - You

Translation:

None else must have suffered like me
Embellished from head to toe, I tread the land of love alone
Ranjha! Ranjha!! 
Sadiq (the poet) wanders everywhere singing the song of your name 
And yet my prayer remains unanswered, my longing remains untamed 
This tragedy that eats my heart cannot be understood
Unless you too, have been through the cruel test of love 
O my darling! My heart! You alone can bring peace to me
For I have already avowed to Love and traded my life for it
They tell me Ranjha is just another herdsman 
But I see the holy shrine in Him, my only destiny 
And to this shrine have I surrendered myself,
Seeking nothing except to yield to Him
Perhaps it was my destiny to be drunk on Love
Call me a sinner, if you please but I am no more afraid of your hell
For my faith belongs to my beloved, 
I cannot be chastised by the fear of hell
Because I am not lured by your heaven
If I were to choose between the hell and the heaven and my beloved
I would readily let go of both the heaven and hell
For my heaven lies at my beloved’s feet
And His pursuit my only pilgrimage.

Ishq Da Kalma - The Sketches - You

Translation:

The mortal I was and you breathed the life in me
Wove the fine threads of attachment around me 
Showed me the different shades of truth 
And taught me the language of fearless ecstasy  
You showed me the unity, the eternal oneness 
And just when I was starting to believe in One
You revealed yourself in a beloved, mirroring yourself in many 
But for all my understanding, I am still faraway from the truth
Mistaking shadows for reality
This shadow-hunting revolts my soul, leaving me breathless
And my being howls and weeps in the agony of separation
We all were idols made up of the dust and dirt
Into whom you breathed life
And sowed the seeds of desire and unity
And yet I do not know the art of loving
For all your grace, I seem to have learnt to condemn only. 
I walk around pretending to be a holy man, 
While the vileness of my heart spills all around me, smearing even the clothes that I wear
You made me dance in abandon, intoxicating my being with love
You taught me to differentiate the right from the wrong 
You taught me unity and you taught me separation
And with this came the abandonment, the myriad differences in the name of 
Religion and caste
The mortal I was and you breathed the life in me
Wove the fine threads of attachment around me

Rasm-e-Ulfat (OST Devi)

aroojaftab