coke seasion 6

Rabba Ho, Coke Studio Pakistan, Season 6, Episode 1

Ayesha Omar connects with the basics this Season with ‘Laage Re Nain’. Based on the early evening raag Bhopali, the song’s composition has manifested in the form of an easy listening experience with a chilled out vibe and a catchy tune – making it a song that’s quick to bob your head to. A raag that she had learnt at the age of 9, Ayesha feels that this experience now transports her to her childhood, as this was one of the earliest raags she had learnt. Composed in the ancient sub-continental language of Poorbi, the verses speak of classic love, mirroring the restlessness that comes with being in love across distance. While the yearning does tug at the heart, the experience in this song is not one of sadness, it is a celebration of being in love and fully experiencing all the feelings associated with the state in true bliss. While the lyrics are reminiscent of folklore, the verses thematically express the perpetual state of search we find ourselves in while all along the way; the true voice of Love is within. While the overall composition stems from Eastern Classical origins, the feel of the song finds itself well placed with the mountain music of Nepal – a connect that begs to dive in further to discover the harmony with the Zen of Buddhist musical influences. The groovy sunshine feel of the song, performed by the band in Serbia, meets influences from Nepal such as the Flute coupled with the calming quality of bells.

Laage Re Nain - Ayesha Omar

Singer: Rustam Fateh Ali Khan and Sumru Ağıryürüyen
Language: Braj & Turkish

As we delve further into the layers of the world’s many cultures to experience its hidden connect points, this Season, Coke Studio sees the union of what would appear to be sounds from different parts of the globe – but with the ever inherent Universality found in the theme of Love. The song itself begins with an expression of the rare South Indian raag known as Abhogi Kangra – a raag rooted in a 5000 year old history and is unique due to its structure. Due to its scale being so different, very little work has been done with the ancient raag, something that Rustam Fateh Ali Khan now feels is something worth presenting to exhibit a feel that is one of a kind and thereby create a sound that, with the accompaniment of contemporary sounds, cements the raag’s influence in modern day music. As the song progresses, we travel to Turkey to connect with a rendition by Sumru Ağıryürüyen of the traditional Anatolian classic that is ‘Kalenin Burcu Muyam’. Lyrically, the verses of both pieces talk of Love demonstrating the similarities in culture not just in theme but also in words. ‘Tori Chab – Kalenin Burcu Muyam’ is an experience of a multitude of influences as demonstrated through the instrumentation of the Serbian House Band and String Orchestra coupled with the enchanting African harp – the Kora and the Oud in Morocco alongside what some consider as the ancestor of the piano – the Kanun in Turkey.

Tori Chab And Kalenin Burcu Muyam - Rustam Fateh Ali Khan And Sumru Ağıryürüyen

Singer: Abrar-ul-Haq
Language: Punjabi

This Season Abrar-ul-Haq presents a composition rooted in folk rhythm which when brought onto the Western scale of music finds itself comfortably placed in shades of Jazz and Funk. The overall song demonstrates conflicting sentiments in that the wordings express a prayer in the name of self-actualization bordering between happy musical accents and the eternally present sad undertone. Lyrically the song as written by Abrar speaks of inner growth and the process accompanied on the journey within beginning with Intent. As the song progresses, he uses verses by Sufi poets to symbolize the link between this world and the next asking what it really is that we carry with us into the oblivion. Thematically, the verses speak of the gift of true self-actualization lying in the idea of self-negation. The song is one that is personal to Abrar as he feels it demonstrates his relationship with God, the world and his own existence. Musically, the song’s conflicting tones find a form of whimsical harmony between the instrumental elements by the Serbian House Band alongside the Dhol beat of the Dhol Group and the percussive accents of Morocco while the Serbian String Orchestra, in true subtlety, bring the underlying melancholy of the song to the foreground all the while staying true to the scale presenting a rich mix of fusion.

Ishq Di Booti - Abrar - Ul - Haq

Singer: Atif Aslam
Language: Punjabi

Atif Aslam returns to Coke Studio this Season with ‘Channa’ a song that is a declaration of Love thrown into a canvas of mixed instrumentation encapsulating the true state of Contentment. The song was conceptualized by Atif; its melodic inspiration stemmed from a rhythm that finds its base in the beat of the Dhol. This rhythm was transferred into the instrumentation of the song giving the overall pulsing groove adorned with the subtle picks at the African Harp – the Kora which coupled with the Brass Section makes for an almost funky disco feel from the 70’s. A song that Atif feels quite connected with musically, ‘Channa’ which means ‘Darling’, is a song that sees a progression of deep, almost heart tugging waves stringed by the Orchestra in Serbia that finds its calm in the ever present pulse that takes the song to its climactic transition into the world of disco funk – highlighting the sense of satisfaction felt in the state of true love.

Channa - Atif Aslam

Singer: Sanam Marvi
Language: Punjabi

Sanam Marvi returns to Coke Studio this Season with the soulfully poignant ‘Yaar Vekho’. Based on the raag Bhopali, the song is a reflection of a moment in time that contains a message that remains as relevant and powerful today as it was in the years it was conceived. The song is an amalgamation of observations by the Sufi poets Sultan Bahu and Sachchal Sarmast – from different times yet with views and themes that have spanned almost 600 years worth of human thought. Thematically, the song focuses on the eternal idea of being within the world but not of it – to aspire for a higher understanding of the concept of Mercy within the various faces and trials of the world. The verses mention that while in the world of custom and ritual, in the search of true freedom and enlightenment, one must look inside and find Mercy. The song’s tone is solemn yet with a tinge of hope that is demonstrated through the instrumentation and arrangement of the String Orchestra and the melancholic beauty of the Piano. With the acoustic guitar feel, the song becomes a listening experience that is almost nostalgic.

The song’s overall flow emphasizes on the simplicity of forlorn thought that accompanies the process of inner realization and hopes for a semblance of peace. Ultimately, the song urges for Resolution to be found within.

Yaar Vekho - Sanam Marvi

Singer: Zoe Viccaji
Language: Urdu

Set in today’s world, Zoe Viccaji addresses the everlasting existential nature of life through the voice of a woman in search of answers in the night. A song that is theatrical in tone and reminisces of a time where Noir met Jazz, Zoe had originally penned the lyrics down in English as the song was titled ‘Quarter to Three’. Upon her musical journey, Zoe feels this song was a tipping point for her, as it reflected a time where she herself was unsure of her path and found the night on the receiving end of her questions. Being of a universal theme, the song was later translated into Urdu to become ‘Raat Gaey’ and the song’s musical arrangement was further worked upon by Vladimir Nikolov from Macedonia, lending the essential deep Jazz elements that the song required, as performed by the musicians in Belgrade, Serbia. ‘Raat Gaey’ presents a pure jazz song sung in Urdu with an almost anachronistic feel as one imagines the song being sung onstage in what could be the 50’s or 60’s demonstrating that not only does a genre such as Jazz remain timeless but can also be boundless in its expression.

Raat Gaey - Zoe Viccaji

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: Zoe Viccaji
Featuring: Sumru Ağıryürüyen
Language: Urdu & Turkish

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.

Ishq Kinara - Üsküdar'a Gider Iken, Coke Studio Pakistan, Season 6, Episode 4

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: Saieen Zahoor
Featuring: Abrar-ul-Haq
Language: Punjabi

A song that retains the purity of those sung in Sufi Folklore, ‘Allah Hu’ belongs to the world of the Fakir. With a basic rhythm, the song is presented in the vocals of Sufi-devout Saieen Zahoor as an ode to the likes of Shah Latif Bhitai with the message of Love and Spiritual devotion through Music. The Sufi composition is met with Abrar-ul-Haq’s references to folklore’s Heer – finding itself within the song’s setting of finding true love in the face of worldly manifestations. The instrumentation blends the Mazaar feel of the rhythm’s simplicity with a western sweet vibe found in Country music and western Folk. Musically, while the tone suggests a feel-good, easy listening experience, the essence feels the weight of its substance. In keeping with the mix of old and new, the instrumentation is varied – from the Ek Tara and Dumboora to the simple keys of the Piano. The overall composition reminds of old songs as sung in the everyday practices within the world, yet holding true to the values of true liberation through spiritual submission amongst the blur of daily ritual.

ALLAH HU

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.

coke seasion 6

Sharjeel Javed