In episode two, Coke Studio 11 continues to defy traditions set by the series in previous years with a sense of longing emerging as a theme.
If the season opener, followed by the first episode was about diversity and inclusion, even as it drew criticism for reasons both valid and not, the second episode is where the gloves come off with the show returning to experimentation of a different sort while presenting both established artists and several who are making their debut for the very first time.
Our story begins with Attaullah Khan Esakhelvi - who has appeared on the show multiple times – but is back to weave a newer, more experimental magic, the kind he made in season four for the first time.
Joined on ‘Gaddiye’ by Asrar Shah, who is your contemporary folk musician, the two artists together mark an inspired collaboration as they present an original folktale that draws from Sufi ideas of longing.
While they present it in a balancing manner, a collaboration of voices and ideas that actually works, it is the overall sound that is full of ideas not explored before.
With a much more reduced house-band, (thankfully) such as Babar Khanna (Dholak), Kami Paul (Drums), Kamran ‘Mannu’ Zafar (Bass), Omran ‘Momo’ Shafique (Guitars) and Rufus Shahzad (Keyboards), the sound too is laced in minimalism even as it featured distorted guitars and sonic effects.
On ‘Gaddiye’, this effective house-band is joined by Haniya Aslam (guitars) and given how good she is, it remains yet another inspired choice.
Even as the lyrical material speaks of longing, dancing and the desires of the beloved, ‘Gaddiye’ (Motorcar), is wild proof that both the house-band and the producers - who had hoped to break what had been deemed a monotonous sound – have succeeded in their mission. It is a weird concoction, one that works on all counts, from the distorted guitars to the slick, modernized instrumentation to the modern folk take.
On ‘Rasha Mama’, a dream team of sorts has been put together. Of those, two separate acts (Khumariyaan and Zarsanga) are making their debut on the series, and are joined by Gul Panra. They collectively represent KPK, a province that has been through far too much death. And to see them together is a light-filled moment.
Their collective presentation, ‘Rasha Mama’, an original composed by Ustaad Gulzaman from Afghanistan is given a soundscape, courtesy of Khumariyaan (Aamer Shafiq, Farhan Bogra, Shiraz Khan, Sparlay Rawail) and it sounds beautiful, not overdone. As for the lyrics, they feature traditional folk poetry and note at one point: “But your eyes, they make me weep even in my dreams.”
It is a folktale with lyrics that make you return to them again and again. And the presentation led by Zarsanga, the legend of a singer who sings it in Pashto, joined by the younger Gul Panra, takes you to another land while Khumariyaan remind you of how the past is meeting the present.
‘Rasha Mama’, which translates to “Look Uncle”, I feel is perhaps from the female perspective and that does make it just a bit more special.
As the house-band enters, it adds layers of sonic groove you don’t see coming and that’s the other surprise in this collective performance. It is telling us a story we may not fully understand on the first hear but may be curious enough to learn more about.
Adding international flavor to the series is the collaboration between Krewella (an EDM duo featuring sisters Jahan Yousaf and Yasmine Yousaf who count America home) and Riaz Qadri and (son) Ghulam Ali Qadri, who come together on ‘Runaway’.
Exploring their Pakistani roots, Krewella present a song with lyrical material by Ed (Diskord), Logan (Diskord), Cody Tarpley, Jahan Yousaf, Yasmine Yousaf, Dan Henig, Ghulam Fareed, Khwaja Mohammad Yaar and join Riaz and Ghulam Ali Qadri performing a song about a beloved. The sense of longing in people seems to be a common theme in this episode, either consciously or unconsciously. As Qadri sings: “There are thousands of grievances in my heart, it’s been far too long.”
For Krewella, it is their first fusion track about hijr (separation from a beloved) and they nail it while Qadri (father and son) duo sounds equally sublime.
The fourth and final track on the episode features two giants – Ali Azmat and Abida Parveen – both of whom come together for ‘Ghoom Charakra’ (The spinning wheel spins).
Both spearhead compositional duties as well as sing the song. With a tinge of hope, divinity, the song has trance-inducing effect as it opens and builds into a cathartic anthem, to a point you do not see coming.
The longest song on the episode, it neither underuses Ali Azmat nor disrespects the sheer power of Abida Parveen. Drawn from the works of Hazrat Shah Hussain, it’s underlying message is provoking and not one to be taken lightly. At one point, goes the song: “From the five waters, choose (the right) one/Follow it and see where it takes you” and later: “Get up (Ghulam) Fareed, go out and see the world/If you find the forgiven one, perhaps you will be too” and you know there’s much more than what meets the eye.
We also hear verses from old classics in brief splits such as ‘Gharoli’ and ‘Saeein’.
The house-band is in excellent form as it pushes itself to the maximum with instruments both new and old to them throughout the season so far. All in all, a dynamic doze of music.
