Tag Archives: music

Year in review: Music Talk

By |
Reply
Left to right: Talha Wynne; Zoe Viccaji; Zeeshan Parwez

Left to right: Talha Wynne; Zoe Viccaji; Zeeshan Parwez

With all the sound and fury surrounding social media as the platform for introducing new talent to the Pakistani music world, for music as an industry, is the phenomenon boon or bane? The Herald invited three industry insiders to debate the issue: Zeeshan Parwez, band member with Sajid and Zeeshan, has performed on Coke Studio (fusion music platform) and has toured with the band noori; Zoe Viccaji who released her debut single earlier this year, has also performed on Coke Studio; and Talha Wynne, vocalist and guitarist of the underground band //orangenoise in Karachi, has attracted attention mostly through using social media to promote his music. They were joined by readers who posed questions.

Herald. Is social media killing Pakistan’s music industry?
Zoe Viccaji. Can we start by clarifying if by the music industry we mean the entity that makes money off music? Do all musicians come under this umbrella, including underground artists, experimental musicians and non-mainstream people? Or are we just talking about formal record labels and commercial artists selling CDs?
Talha Wynne. Let’s consider it mainstream music.
Zeeshan Parwez. I think it would apply to the commercial or formal side of the equation much more, but let’s assume musicians are in it as well.
Viccaji. Social media platforms have changed the dynamics of the industry. Previously it existed as a group of artists with music on CDs, television channels, the radio. Now it seems that the music industry – or rather the breadth and kinds of music – has increased in the last ten years.
Parwez. There are pros and cons to social media usage with respect to music. You have to understand the added convenience of obtaining music on a daily basis from an audience perspective. For the musician, it gets a
bit tricky.
Viccaji. I agree. But for the sake of making it interesting, I’m going to say that social media is making the music industry more alive.
Parwez. Given the security situation and the current objective of the industry that promotes only mainstream artists, social media definitely becomes useful. This is a time when all kinds of experimentation in music is happening, and when musicians are showcased through social media, and because that has never been done here before, you witness new and exciting bands making their entry.
Viccaji. At first I found the idea of approaching a label and preparing an entire album daunting. Social media allowed me that personal break into the industry, rather than having to be shaped by whoever deemed me fit or unfit to enter the industry.
Parwez. Because of the laidback structure attributed to social media, the commercial aspect of the business gets somewhat distorted. It works heavily in favour of those who believe in the promotional approach. Commercially, it will only work if record labels decide to integrate their operations with the internet. Another problem is the meagre number of internet users.

Viccaji. So you feel using social media platforms is a more laidback approach?
Parwez. We don’t take it as seriously as we should, because we take its potential for granted sometimes. Adding a merchant account to our website can work out for us, but we choose not to do that.
Viccaji. I think it’s getting serious. I receive several emails a month from vendors trying to sell me their services on Facebook and Twitter.

Trupti. Is being tech-savvy, as in knowing how to use the correct tags helpful in promoting your music through social media?
Parwez. It definitely helps.
Wynne. By using software and some production techniques, we managed to scratch the scene for paying to record an album. In the digital field, you have to be friendly with machines. There’s no other way out.
Viccaji. The tech-savvy man wins in the end. Through social media artists have way more control over what gets out there, everyone is heard, and, of course, those who are better get heard more. But then you have those who are way more tech-savvy, and they might not even be as talented, but because of their expertise at marketing and internet skills, they spread further.
Wynne. SoundCloud alone has changed the musicians’ game. You can maintain a portfolio of tracks online, share it with people and make all of it feel legitimate at the same time.

Zooropa. What is the ideal formula? Making a single and releasing it online? Following its success by signing up with a record label? And making a video and then doing shows?
Viccaji. That is the model I depend on. The last single I released got an okay amount of hits, but the real thing that allowed me to make more music was the fact that I was able to pick up corporate organisations who wanted me to make a jingle based on the song.
Parwez. I will say that there was a formula once, which also works to some extent now. An artist comes up with two to three songs, records them in a studio and makes a video for the one that he or she thinks will be a hit. After it has been broadcast, the artist becomes known and further promotes him or herself via a manager who makes him or her known in corporate circles. Gigs and other below-the-line marketing activities follow from there. The circle continues, and eventually an album is released.

KS. So if the Pakistani music industry is outdated and not keeping up with the times, isn’t it a good thing that social media is ‘killing’ it?
Parwez. You could say that social media enhances it further.
Wynne. The music industry of Pakistan is very fragile. There’s only a group of us who keep it alive. The internet has opened up a path for young musicians.

Do you think social media is killing Pakistan’s  music industry?*

Yes 25%
No 75%

*The above question was posed to online readers during the two-hour live discussion

Arsalan. If all music is now sold on social media platforms, what will happen to record labels and distribution companies?
Parwez. Record labels can design a model that supports musicians on a social media basis, give them their due promotion – the kind that also projects the artist internationally, and does not merely subject him to morning shows on television – and integrate all their services through social media.
Viccaji. Record labels and distribution companies have to change their tune.
Parwez. For them, it’s a business being done in a country with a lot of problems already. To some extent, it’s also because they don’t really believe in the music they’re investing in. They think of it only from a commercial angle. They don’t realise that if they pick up some of the music being done in Pakistan, and introduce it internationally, they’ll be helping the artist or band, as well as the country itself.
Wynne. Recorded music has been around for a while in Pakistan, and it is where it is today because that’s how things work out here. Does the internet and social media affect this established industry? I don’t think so.
Parwez. Well, we don’t and never have had a functioning music industry that supports the arts in Pakistan.
Viccaji. Where do you think we would be without the social media phenomenon?
Wynne. We’d be pushing CDs after concerts.
Viccaji. I agree that social media has made me what I am today … well, at least, made me happier with where I am.

Herald. But there are no concerts happening either, Talha.
Wynne. That’s the thing, before we can establish a music industry; we need to establish an audience. People whose idea of going out means attending a concert, rather than hitting up the closest restaurant. We don’t have venues where people can go and expect to see a live band play.
Aalia. Does Pakistan lack an audience for concerts?
Wynne. We need festivals, brand promoters and financiers to explore this side of things. Someone should really look into opening up a few clubs in Pakistan.

Herald. There used to be a fair number of concerts up until 2005, but they have been dwindling since then. Security issues could be the reason. What else?
Parwez. Besides security, content on all media platforms did not develop the way it should have. In the first few years with the media boom, we saw interesting things happen, and then it started to stagnate.

Herald. So we have an audience for music now on social media?
Viccaji. I think we do. Look at the number of people on Facebook. In fact, many say social media has killed the industry, because people no longer
buy CDs.
Parwez. Most of the CDs in the market are pirated anyway. It would be wiser for record labels to integrate audio sales through social media or telecommunication companies, which is doable.

Herald. But what do artists do for money if there are no albums or shows or concerts, with people downloading free music?
Parwez. The world over, revenue models are now based on two things: shows and merchandise. Royalty track downs are not working out as such.
Viccaji. The big problem is that Pakistanis do not have the ability to buy online. No one can buy from iTunes, even if they wanted to. I have lots of kids writing in, saying they would buy my music and support it if they could use iTunes and they can’t because they don’t have credit cards. So even if I do put my stuff up for sale…
Parwez. Also, if you’re looking at the masses, it doesn’t work, because many people just don’t have access to the internet.
Wynne. If you look at the masses, the only thing that’s worth getting out there is a tape.

Zooropa. All three of you and most other underground bands, follow select genres. What about folk or traditional music?
Wynne. That music is still alive in the area where it is being played. And that’s the beauty of it: I would go on an adventure to the interior of Sindh to find that one guy who plays the bansuri so well that it hypnotises you.
Parwez. In all fairness, classical musicians also need to realise that everyone is looking out for themselves these days. I’ve heard many such musicians complain that things are bad. But at the same time, I think the approach to business needs to change. Studio sounds need to change. This goes for every musician in the country.

Mazhar. For that matter, is it okay for the youth of Rahimyar Khan not to know who //orangenoise is or Viccaji?
Viccaji. I think I’d only get to the shops, once I am in the masses. I don’t think my music is masses music.
Wynne. The music we make finds its way to the listener. If someone from Rahimyar Khan seeks out sounds like us, he’ll find it.

Herald. People go to the theatre and to the cinema. They want entertainment. Are concerts the way to go forward?
Wynne. Shows are the thing to do. Recorded music is just a little snapshot of it all.
Viccaji. I make all my money back from shows. I spent close to 1.5 million rupees on my album this year. I know I shouldn’t give figures, but I think it’s good to give people a picture of real amounts. I recovered that money through shows and commercial work. And funnily enough, social media acted as my marketing tool.
Parwez. A musician (I won’t take his name) recently said that one way to make money is to bring all your fans together for a show that is not generally for the public, and then give them access to exclusive material.
Wynne. We launched an album in September. It was an online release, set as ‘name-your-price’ on Bandcamp, which is a wonderful feature for independent musicians.
Viccaji. And what are the results?
Wynne. We had some generous people buying the album online :) Out of the total over 1600 downloads for the album, we managed to sell around 30-35 copies, all at varying prices.

Astaghfar Khan. Do you believe in ‘clean’, immaculate production, or do you believe that even those who make low quality stuff should put it out?
Wynne. We do what we can do and what we’re able to do. And there’s no harm in hoping for some ‘record uncle’ to come and shower you with money.
Parwez. The vocals of our song King of Self were recorded in a bathroom :) No studio at that time.
Viccaji. I believe that social media affords everyone the opportunity of putting their stuff out there for some one to listen to.


Herald’s Music picks for 2012

Waderay Ka Baita
Ali Gul Pir

Ishq Aap Bhi Awalla
Chakwal Group ft. Meesha Shafi on Coke Studio, Season 5

Gangnam Style
Psy

Call Me Maybe
Carly Rae Jepsen

Skyfall
Adele

Born to Die
Lana Del Ray

Live at The Rock Musicarium
noori

Wrecking Ball
Bruce Springsteen

Tempest
Bob Dylan

Battle Born
The Killers

Babel
Mumford & Sons

50
Rolling Stones celebrate their 50th anniversary by launching a book to mark the occasion as well playing five concerts in UK and USA. 

Noori

By |
Reply

Noori has been off the radar for about a year but that didn’t stop them from doing what they do best: making a comeback with a new song. From lyrics to composition, Taaron Say Aagay has Noori stamped all over it, even though Ali Noor, the elder of the two brothers in the band, says that Noori fans should no longer confine them to one genre.

Indeed, Noori has much more to offer than the new single: they have also launched their own record label, BIY records, which is releasing Qayaas’ album soon. But their most exciting venture is a live album, recorded as the band performed at Islamabad’s Rock Musicarium on February 25 this year.

Noori has survived a decade in an industry which is ironically bursting at the seams with talent while simultaneously struggling to sustain itself. Between jam sessions and concerts, the band that won thousands of hearts when they released Suno Key Main Hoon Jawan in 2003, caught up with the Herald to discuss their music.

Q. Until 2006, Noori was all the rage and in 2009 you guys made a ‘comeback’ with Coke Studio. What happened in between?

Ali Noor. Well, at the end of 2008, we released two singles. But for about two years before that we didn’t create much music. In March 2006, Noori parted ways with Gumby and then at the end of 2006, Ali Hamza ran away from home two days before we were supposed to go on tour to Canada. And he ran away in such a way that we thought he was dead … I mean who runs away just before a tour?

Ali Hamza. Everything except for music was happening. It was the ‘dark ages’ for Noori.

Q. Most bands that got together at the same time as Noori have fallen apart. Has Noori survived because you believe in comebacks and new beginnings?

AH. I think that is what will define us when we die. We really like starting afresh. Maybe that’s why we have moved 11 houses in five years and 22 houses in 25 years.

AN. To tell you very frankly, the ‘comeback’ for me is necessary. Let’s put it this way, my favourite activity is reformatting computers. A new beginning is always fresh. Having said that, I feel this time round it will be different as the three of us are developing musical chemistry.

Q. How were you able to achieve this chemistry?

Gumby. Initially, Ali Hamza was writing, composing and singing. Now Ali Noor is writing the songs and we have divided our responsibilities evenly; more importantly, we now have a policy of not fixing something which is not broken. Last time around we would keep trying to fix our music compositions even when all of us didn’t agree that there was a need to change them.

AN. Initially, Gumby would just play the drums and go to sleep; now he acts like part of the band.

AH. Look, when you start doing creative work, there is a journey you take. With time you start realising your responsibilities and whether there is room for improvement. You recognise that it is the music which is important and that is the common aesthetic we share this time. If it’s about music then the band will have chemistry. This time around we are all a lot more devoted. Previously, if we disagreed about something, we would have a cold war. This time, we fight straight out and resolve the issue immediately. Before, we had a value-based chemistry between us but we were not in sync with who was putting in how much effort to help the band grow.

Q. What helped you realise the importance of teamwork?

AH. It was Gumby. We realised it instantly when we saw him put together his production team [Uth records].

G. I saw teamwork at Coke Studio. Rohail [Hyatt] was running the show but he would let everyone do their job. He never imposed any kind of power on anyone except when there was chaos. And that worked so well. Starting from the technical guy and ending at the singer, it was like a smoothly functioning engine.

AN. This time, I’m learning how to be part of a team as opposed to just being a leader. I am now realising that I really enjoy being part of a team. Being the leader was never an ego issue — I just thought it was necessary for someone to lead us at that time. Now I can feel sparks of teamwork developing.

Q. You were all part of Coke Studio at one point or another. How did that help your music?

AN. Personally, Coke Studio helped us gain experience as musicians, as artists and as people.

G. When Rohail first spoke to me about the project, my reaction was very negative. I said, “That’s so clichéd. Fusion has been happening since the 1970s and people have been kicking a** at it. What will make this any different?” But by the time the second season came it was a huge success. I mean, how many people from the younger generation had appreciated Arif Lohar before Coke Studio? He released Jugni a while before Coke Studio and people laughed at him and he knows that. Post-Coke Studio, the same people are offering him thousands of dollars for shows.

AH. Very simply put, it was like the match that lit a huge fire of creativity across the country.

Q. Noori released Peeli Patti aur Raja Jani in 2005. You have made music since then, but you haven’t released an album. Why is that?

AN. For the last year we have been recording lots of songs and we have about 10 to 12 songs, but we are not sure if these can take the shape of an album. The public needs to reconsider the whole concept of an album. There is just so much pressure — putting together an album is like putting together a book about your life.

G. It also has a lot to do with circumstances. Right now inPakistanthere is no distribution network or proper record label that can help us launch an album. All the factories that used to manufacture CDs are either struggling or have shut down completely. The industry is dying. A lot of people who were earlier pursuing distribution have now stopped because people just download songs.

Q. Does this mean that hoping and waiting for Noori’s third album is futile?

G. Well, we have material for the album; it’s just that some detour always prevents us. We don’t get the time to focus on the album.

AH. All these songs are singles in their own right; we didn’t put any fillers in them. Plus they are so disconnected and diverse — to put them together is wrong. I wouldn’t even be able to decide which one of the songs I like the most. They would compete with each other. It’s like giving a child six toys at the same time, he won’t know which one to play with first.

Q. So when do you think you can release it?

AN. Gumby has this amazing date for everything:13th of never. You know what else is also scary? Musicians release albums, and sometimes they just slip through the cracks. If the album is not valid for that time period, it won’t work.

Q. What is the difference between problems that existed when you entered the industry and the issues encountered by musicians today?

G. A decade ago, the government messed it up for everybody. Now, the musicians have messed it up for themselves. The quality of music was much better earlier, which is what encouraged me to be a musician. There were places where musicians could showcase their talent. Everything was not about sponsorship or brand ambassadorship. Artists like Mehdi Hasan and Abida Parveen used to sing whether there was a sponsor or not. Now there is so much pettiness; we don’t realise that it’s a very small industry and we need to help it grow. The problem now for the youth is that they have nowhere to play and there is no one to help them play. They don’t know what to focus on. For example, I recently met a kid who is bursting with talent, but he is obsessed with how he is going to make money. For the first 10 years of my life I didn’t even care how much a gig was paying me. I just wanted to show off my skill.

AN. You can’t run after money in this industry; it’s fundamentally illogical. If you want to pursue money, become a businessman.

An interview with Gumby about the second season of Uth Records: