Musicians keep sprouting up out of nowhere with a few compositions in their pouch, waiting for the right moment to release themselves via a video or two, which is somehow considered a prerequisite for survival in modern day music in Pakistan. Unfortunately, most artistes have failed at this game. But there are a few exceptions and one of them is Mizmaar.
Literally meaning a star, Mizmaar consists of Kashan Admani on guitars and compositions, Daniyal Badshah on vocals and Alfred D'Mello on drums. The blokes have tried to reach for the stars, a bold effort indeed but they are not there just yet.
For a band like Mizmaar, that has nothing to lose and everything to gain, hiccups from their first album, where lack of exposure and professionalism kept their musical identity closed and untapped, the band now stands on the verge of a new beginning.
What strikes one about Mizmaar is their sense of the music business. Before coming out with “Sitara”, the band not only signed up with a relatively reliable record label here but also teamed up with Universal Music for overseas spread.
With their new album, one thing is clear: Mizmaar men have grown up as musicians. And their latest album, “Sitara” is definitely an ode to full-grown vocals by Daniyal and Kashan's maturity as a songwriter. And even though this trio still lacks a bevy of steady hits, it is nonetheless a commendable effort when compared to their debut.
Mizmaar has returned after five years. And for quite some time, “Sitara” has stayed in the walls of Dreamstation studio, the production house of Kashan Admani, the band's guitarist, where it was recorded, mixed and mastered.
But Kashan has been under fire. And mostly it has been because of his involvement with other bands, the most recent being Raeth, who went onto pick up a Lux Style Award Best Music Album nomination earlier this year. But Kashan brushes away all such allegations.
A considerable amount of time has passed since Mizmaar's debut “Kash” came out. And between now and then, a string of bands have come out. But that hasn't scared this trio away. They are back to remind people of what Mizmaar is all about.
A smart move that Mizmaar employed was the use of lyricist Sabir Zafar. The man has worked with some of Pakistan's most well-known artists and with “Sitara”, it is clear why Sabir is still one of the best in the field of lyrics in Pakistan.
Thought-provoking wordplay is his forte and here he does an ace job. And even though “Sitara” is filled with tragic lyrics, fortunately, they don't sound mundane or immature.
Coming to the album, one finds a cover that features the musician's close up snaps in surprisingly good print. In the past we have witnessed that impressive cover inlays and artworks are impaired due to printing and they usually end up looking like fallible marketing tactics but in this album, it works.
The musical story begins with “Barson”, a melodic tune that starts with keyboard work and works its way through drum beats and bass guitars. While both instruments are known for their strident noise and bass, the song however, is kept to an urbane touch. Kashan's vivid guitaring puts an end to the song. A decent beginning indeed!
Another high note on the album is the title track, “Sitara”. Daniyal's poignant vocals fuse in with electric guitars making “Sitara” a focused track. The video for the same has been on air and goes on the lines of remembering a beloved one that has gone missing. While the video is nothing to write home about, it is the song that catches one by surprise.
Next up is “Hai Pyar Kia”, one of Mizmaar's finest tracks to date. Slow and rhythmic, surely there is an aura of sophisticated cool here, where beats and sequences make this a soulful track of hope. However, very superfluous repetition of the chorus might bore the listener. “Pal” comes next, now a seasoned track as the video has been out for quite some time and people have heard and seen its video for a while now. The version is a reworked sketch of the older version of “Pal” but still lacks the substance and remains quite average.
From loud and upbeat melodies, the album slows down again with “Ajnabi” where low keyed music fuses with vocals that speak tragedy in romanticized tone.
The loud numbers don't fit in the best of ratings, same goes with another thrilling number “Logon Ko Rehne Do”, which can be skipped without giving a second thought. After that, one finds an acoustic version of “Sitara”. The lyrics sound as relevant as ever with a bluesy guitar solo, another forte of Kashan to put in more than one version of a hit track. The album shoots up again with “Sajna”, a trendy yet customary funky piece where guitar chimes but it's nothing more than that.
Following up is “Pani Pe Tasweer”, another song with quizzical lyrics that somehow manages to retain the woozily intimate quality as its predecessors. The fading conclusion which draws curtains for the track is also interesting.
On “Dil Ki Tarah”, Kashan unleashes electronic strings. This one's for the fans who want Mizmaar of the first album, loud and hardcore.
And then follow the remixes that have become a rage in the music scene these days. Another version of “Sitara” comes hopping along which is a club mix of the original and is average at best.
Another strong reminder of Mizmaar's debut album comes with “Barson (Remix)”. But this remix is lighter in sound and wraps the musical journey of “Sitara” on a high note, giving the listener much to remember.
With all said and done, Mizmaar has come back into mainstream music with “Sitara” and, this album is proof that Mizmaar has made a solid effort.
Tahir Yahya
The News International, Pakistan
Junoon, at some point became "The U2 of Asia" and "The Best Rock Act of South Asia" among many other things. Unfortunately, the man behind U2 of Pakistan has finally lost that energy and creativity to a more commercially viable album in "Infiniti". There is no Sufism here, despite lyrics from Baba Bulleh Shah, no "Saeein" or "Mitti", just tracks that sound repetitive, almost like the new rock acts of the 21st century. After the absolute disaster that was "Ishq" and the experimental "Dewaar", one did not know what to expect from the guitar maestro Salman Ahmad. Salman Ahmad singing on his own album. Didn't see that coming. Solo album, now that was still expected especially after Ali Azmat came out with his "Social Circus".
Salman has gone for a more heavier and beefier sound as far as the music (by music, I mean guitars) is concerned with many solos thrown in the middle of the songs.
The clear winner on the album is "Tu Lung Ja", which has strong lead guitaring, and tabla and drums usage in the background with Punjabi lyrics, making it a classic Salman track. This is the Salman Ahmad we all know and love and even though, "Tu Lung Ja" is far away from gems like "Heeray" or "Mera Mahi", the way Salman says "Khud Socho Kaisey Bujhey Pyaas/Ab Aa Bhi Jao Merey Pass," with a hint of sarcasm, it makes the song worth a second and a third listen. "Nazar" is different; it's more ambitious and chaotic than any other track on the album. Salman easily shows off his talented guitaring and drummer Jay Dittamo provides just the right momentum that makes this track quite catchy and somewhat worth a hum. On the track "Do Dil", Salman absurdly moans, "Do Dil Itnay Kareeb/Dekho Phir Bhi Hain Ajnabee," with weak vocals. The track sounds more like a dance number with predominance from drums and seems out of place on an album that has nothing to do with beats for the dance floor. "Al–Vida", whose video is very first of its kind in Pakistan is again a better number on the album. Clear acoustics and lyrics that compliment the music, "Al–Vida" is one of those songs that will stay in your head and grow on you, very slowly. "Yun Hi Rahey Tu Meray Baad Bhi/Tujhe Sukh Dey Meri Yaad Bhi," these lyrics will form a place in your head. The vocals here aren't too great but then again, after listening to the whole album, they aren't that bad. One other winner on this album is "Ghoom Tana" and that has nothing to do with the music or the vocals but everything to do with the classically trained voice of Shubha Mudgal who steals the limelight from Salman with "Dil Sey Dilon Ko Jeetna, Mushkil Sey Na Darna." The remix of this song, however, well, even Shubha couldn't save it. With guitars taking a backseat and drums taking the forefront, the remix was just a mistake. The most interesting song on the album is "Terey Liye". The meticulously arranged riffs remind one of Jet's "Are you gonna be my girl". It's not a copy, though. A fast–paced number, only problem is the drumming which falls short. "Masjid Mandir", which has lyrics by Bulleh Shah is a song of less than two minutes with a dark, haunting feel to it. It is the only song where bass is fantastic. Now comes the shortcomings.: "Tanha", "Sagar","Munn Gum Sum", "Nachoon Gi" and "Mein Tum Sey Door" are huge disappointments. They sound redundant and without a cause.
Infiniti doesn't shy away from studio slickness. In fact, the quality of production speaks for itself. Being produced in New York and Hi Fidelity Studios in Lahore, nothing less was expected.
"Infiniti" fails to make a mark because it lacks originality and Sabir Zafar's inborn lyrics don't help. Most songs remind one of many artists starting from Jimi Hendrix' riffs to Nickelback to Staind, Foo Fighters and all those, whose end product is making a rock album. The subject matter on "Infiniti" is without a proper theme. It's loneliness, love, hope, loss, and romance – all thrown into one incoherent album that is been done to death my many rock acts of the west. It is very difficult for the listener to make out what was the point of this album. Perhaps, there really was no point. Salman Ahmad is Pakistan's most legendary guitarist and songwriter and has given us gems like no one else. That being said, "Infiniti" is a disappointing album from a man who stood his ground at a time when sufi/rock music did not exist in the land of the pure.
Maheen Sabeeh
The News International, Pakistan
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