The relationship between art and music is a love-hate patch. At any one period, they sing along the same tune; while in the other, you find them tearing each other's hairs out. The very fact that our music needs to wear clothes designed by some of the finest graphics gurus that this world has to offer may seem like an inconspicuous detail we all like to overlook. But the truth remains that album art, in itself is an industry without which our music may have lacked that kick of art that flirts with our eyes.
History of Album Art
Although Alex Steinweiss is often hailed for pioneering the very concept of album art, its origin dates back to 1910 when 78 rpm records replaced phonograph cylinder as the medium for recorded sound. The 78 rpm records were issued in both 10 and 12 inches diameter sizes and were usually sold separately in brown paper or cardboard sleeves that were sometimes plain and sometimes printed to show the producer or the retailer's name. German record company Odeon pioneered the 'album' in 1909 when it released the "Nutcracker Suite" by Tchaikovsky on 4 double-sided discs in a specially-designed package.
Beginning in the 1920s, bound collections of empty sleeves with a plain cardboard or leather cover, similar to a photograph album, were sold as 'record albums' that customers could use to store their records. In 1938, Columbia records hired Steinweiss as its first art director. After his initial efforts at Columbia, other record companies followed his lead. By the late 1940s, record albums for all the major companies featured their own colorful paper covers in both 10-inch and 12-inch sizes. Some featured reproductions of classic art while others utilized original designs.
In today's world, album art consumes of an important ritual in music culture. As a marketing tool and an expression of artistic intent, gatefold covers and inserts (often with lyrics) have made the album cover a desirable artifact in its own right.
When the Brush Strokes Cash
It is no jaw-dropping surprise when one hears of names of famous artists who have gained international accolade through designing album sleeves. The designer company, 'Hipgnosis' with its sleeve genius Storm Thorgerson is a brand amongst many. Designing album covers for Pink Floyd, AC/DC and other 'gods of music', Thorgerson has been on the field for nearly three decades. Bands don't always agree with his ideas. Notably, Pink Floyd picked the prism design for “Dark Side of The Moon” over a much more ambitious concept involving a silver surfer riding the tube of a huge wave. The album has sold more than 40 million copies, so the band must have had a point. Thorgerson was paid a flat fee of 600 pounds, but insists he has no regrets. At an interview with The Sydney Morning Herald, the 64-year old designer says, “Being a graphic designer is not exactly a passport to financial riches. My satisfaction is from working with bands and the fans when I meet them.”
While many may conclude his words as a flattering modesty with references from the likes of Roger Dean (famous for his Yes and Greenslade covers) and Cal Schenkel (known for Captain Beefheart's “Trout Mask Replica” and Frank Zappa's “We're only in it for the Money”), one cannot help but wonder whether making music look good as opposed to sounding good is indeed an understated art. Whether listeners and customers truly look at the sleeves before picking out a record or whether it's just another bonus that comes unappreciated.
The debate is often left to the music buffs, but international media and orthodox masses have often reacted violently to many album sleeve designs. The noted few would be Jimi Hendrix's “Electric Ladyland”, Scorpions' “Lovedrive”, Guns N Roses' “Appetite for Destruction”, Nirvana's “Nevermind” and Aerosmith's 'Nine Lives”. Many designs have often been replaced by plain white paper to avoid controversies and Matchbox Twenty was even sued by Frank Torres for using his photo on their album cover. Surprisingly, labels and bands are also accused of promoting the wrong message through offensive portrayals of different things through album art.
Album Art in Bangladesh
While raising hailstorms in first-world countries across the globe, album art has also raised eyebrows within our local masses over the past decade. After the multifaceted musician Ornob designed the sleeve of his second release, “Hok Kolorob” himself, album art has held an esteemed proportion of thought amongst ardent listeners and new age artists. Be it a classy portrait of the voice inside, random group photos spaced out irregularly or a simple artwork in vibrant orange; album sleeves do catch attention amongst critics and buyers equally. Whether it influences them on picking a particular album from many is undecided, but it certainly creates a buzz amongst the fans.
“It feels good when you see an album that comes with a design you want to keep on your desk,” says 19-year old Ekram. “The fact that the band has put attention to details like creating a sleeve that catches eyes shows that the band has also put a decent effort in its music. The album is then definitely worth a few minutes of play time!”
So, what is it about a cover that makes it memorable? The Watson Brothers' debut release “Ohom” came with a simple design on a light brown background. Yet, it is hailed as one of the classics of sleeve designing by youths who think more about music that just letting it beat their eardrums. Notably, the most anticipated releases of 2008, Black's “Abar” and Authorhin's “Aushampto” have both come with unique art on their cover. “Abar” came with a sleek red-and-black layout with awareness against music piracy while the latter took a chalkboard formula, haphazardly arranged in style.
“If I'm a fan as such, I will purchase that artist's releases, even if it comes with a poor album art,” argues out 21-year old Ayesha. “However, the good design does work like a bonus. It doesn't decide what I'm going to buy, but if it's from a new artist I've not heard before with a fancy album art, I think I will be influenced enough to give that guy a shot! In a way, it tells me the artist comes with a taste!”
Thus, whether it's the design that at all helps an artist make his or her way to your play list is a 360 degree debate that will eat up an entire issue of RS. It perhaps doesn't help one decide, but it certainly plays a role when it comes to newbie in the music field. One of my personal favorites in sleeve designing comes from Sayan's pitch-black album cover. Its simplicity was so striking that I picked it up from the many records that were in front of me and gave it a shot. I have not been disappointed by her soulful voice either. Endorsing Ayesha's remark, a good album cover indicates an artist who has an equal understanding of music as well as art, and will leave our heart thumping to the beats of both.
Sources: Wikipedia, The Sydney Morning Herald
Published in Rising Stars on: 01/01/2009
Link: http://thedailystar.net/rising/2009/01/01/center.htm
Friday, May 8, 2009
Tuesday, February 24, 2009
Trapped in the Groove
It is believed that our generation has a small audience for funk. It is further emphasized how today’s musicians don’t cater to the genre and therefore, the audience suffers from a lack of exposure. We are prone of fall into the stereotypes because there are few who choose to be different. Well, not in this case. Allow me to introduce you to a group of musicians who go by the name ‘Groovetrap’ and are indeed, struggling to create something different.
GT, short for ‘Groovetrap’ recently released their self-titled debut album and has caught the attention of many listeners and musicians already. The album is a pure breed of funk with jazz and rock thrown in awkward places. Experimentation at its core, what is most remarkable about the compilation is how daring the ternary has been in order to produce and record numbers as such that have yet to be proven commercially successful. This only goes to testify that we still have musicians amongst who us choose to be different and will stick with their own originality, irrespective of what the mass audience demands for.
The album opens with a vibrant combination of instruments and words in ‘Ek Ochena’. It is taken from the song ‘I Heard it through the Grapevine’, co-written by Norman Whitfield and Barrett Strong, and tuned by The Funk Brothers. The number is said to be popularized by Marvin Gaye. Followed shortly by ‘Keno Bolona’ that begins with playful piano notes and flows smoothly into the vocals of Simin and Jasper. One of my personal favourites, the second track from the album is tuned and arranged by Saif Quadir. Incidentally, Quadir is the recording, mixing and mastering maestro behind the album and has done a splendid job out of it.
With soulful sax from Andrew Morris and commingling of various instruments, the songs uplift the listeners to another level of sensuousness. Different with each of their presentations; Saif, Simin and Jasper have managed to blend in their individual styles into a collective effort that reflects in all the numbers. The 9th and 10th tracks are in English with slap of rock, fast riffing, piano on the run and a hit of jazz; must favourites for anyone and everyone. Jasper’s vocals shape into that of an early ‘70s entertainer and leave the listeners begging for more. The album closes with an instrumental titled ‘Aphrodisiac’, a 4-minute blend of funk and rock, smoothly thrown in the right places.
GT’s self-titled debut comes in a sleek brass-metal coloured sleeve, redolent of the time of classics played in gramophones and smoky jazz clubs. With the trends diminishing, it is applaudable to listen to music that resonates experimentations from the early ‘70s. Released under Rage Records, ‘Groovetrap’ has indeed lived up to its name of bringing a groove to fall for.
GT, short for ‘Groovetrap’ recently released their self-titled debut album and has caught the attention of many listeners and musicians already. The album is a pure breed of funk with jazz and rock thrown in awkward places. Experimentation at its core, what is most remarkable about the compilation is how daring the ternary has been in order to produce and record numbers as such that have yet to be proven commercially successful. This only goes to testify that we still have musicians amongst who us choose to be different and will stick with their own originality, irrespective of what the mass audience demands for.
The album opens with a vibrant combination of instruments and words in ‘Ek Ochena’. It is taken from the song ‘I Heard it through the Grapevine’, co-written by Norman Whitfield and Barrett Strong, and tuned by The Funk Brothers. The number is said to be popularized by Marvin Gaye. Followed shortly by ‘Keno Bolona’ that begins with playful piano notes and flows smoothly into the vocals of Simin and Jasper. One of my personal favourites, the second track from the album is tuned and arranged by Saif Quadir. Incidentally, Quadir is the recording, mixing and mastering maestro behind the album and has done a splendid job out of it.
With soulful sax from Andrew Morris and commingling of various instruments, the songs uplift the listeners to another level of sensuousness. Different with each of their presentations; Saif, Simin and Jasper have managed to blend in their individual styles into a collective effort that reflects in all the numbers. The 9th and 10th tracks are in English with slap of rock, fast riffing, piano on the run and a hit of jazz; must favourites for anyone and everyone. Jasper’s vocals shape into that of an early ‘70s entertainer and leave the listeners begging for more. The album closes with an instrumental titled ‘Aphrodisiac’, a 4-minute blend of funk and rock, smoothly thrown in the right places.
GT’s self-titled debut comes in a sleek brass-metal coloured sleeve, redolent of the time of classics played in gramophones and smoky jazz clubs. With the trends diminishing, it is applaudable to listen to music that resonates experimentations from the early ‘70s. Released under Rage Records, ‘Groovetrap’ has indeed lived up to its name of bringing a groove to fall for.
Bangla to My Ears
It hasn’t been long since that dreadful noise. We were at the St. Martins beach, underneath the tinted blue and selfish rainbow of colours. Everything struck more than they were; in absence of the typical metropolitan traffic, we had found heaven on Earth. I suppose our overwhelming joy of escaping the city was too much for others to handle. The dreadful, high pitch vocal of Balam stalked us wherever we went. He was the new hunk in the block and everyone wanted a slice of his voice on their boom boxes. Today, that high pitch vocal has found a ménage in every nook and corner of the city. We’re all echoing the same tunes from that day. Does that mean we have come a long way?
The Bangladeshi or precisely, Bangla pop music has crept its way back into our lives once again. Courtesy of artists like Habib, Balam, Mila, Hridoy Khan, Fuad and innumerable others we can’t remember the names of, there is a sound in Bangla everywhere we go. Be it on the FM stations, funk new Xpress music sets or inexpensive myPods, the slow drug of pop and remix has got us all hooked.
Yet, it wasn’t too long ago when we went to picnics to the beats of the latest Bollywood tracks. Our weddings resonated the sounds of Hrithik’s twisted arm movements, our lonesome nights accompanied by the melancholy Indian pop notes. We didn’t know what the lyrics exactly meant and even if it screamed, “I’ll eat your head and cook you soup”, our vulnerable, Bollywood infatuated neurons would translate that too, “I’ll be there and pull you through.” We would nod to the unnecessary lengths of music and stretched out, desperate attempts of hip hop, and imitate the blown out styles of a culture not our own.
But, times changed. From the grooves of a fast paced underground scene to a struggling rock industry, our local music began seeing the rays of a new sun. We were evolving as listeners and musicians, and we needed a new sound in our lives. Roughly around this era, a long haired, sunken eyed rebel named Ornob entered our lives. His songs combined the lost souls of traditional instruments and gave them a fresh voice in our hearts. He was different and gave us the feelings we also, were different as a culture from that of Bollywood. Ornob’s fusion experimentation was shortly followed by playful musicians who sang from the soul. Topu, Dipto, Laura, Shojib Khan, Krishnokali and Sahana Bajpaie all gave us a new tune to sing to. They were the new breed of musicians, who not only sang, but composed and wrote their harmonies.
Soon, and before we knew it, our compact disc drives were playing a different song, and thankfully, one that was truly our own. The fusion and pop industries together gave our music scene a fresh start and our cultural functions began to dance to it. The quality of music saw a rapid change and the very meaning of Bangladeshi pop was redefined. The songs saw a new face, the classics accorded to a modern, indigenous raga and the teens found a new beat to imitate.
The Bangladeshi music industry has indeed come a long way. There was always a small part of us that would headbang to Nirvana and System of a Down, and lose ourselves at the underground concerts. There will always be a small part of us that would know when Nemesis’ next album is coming out and miss Sellout’s electric stage performances. However, the truth remains there was always a large part of us that once settled for the mediocre, ultrasonic Bollywood numbers. Over the past couple of years, that large number has shifted its eardrums to the local beats. We have Fuad featuring countless upcoming artists, Mila and Balam at the Water Kingdom circuits, Habib and Topu in our playlists and Hridoy Khan at the tip of our tongues. On the other end, we have Ornob, Punam, Sahana and Krishnokali who are striving to give our lyrics a brand new heartbeat and fusing with our souls. So, be it a set of high pitched vocals, blown out distortions or overdone voice modifications, or maybe a playlist of subtle, soul-searching compositions; they are finally Bangla to our ears.
By: Sabhanaz Rashid Diya and Zabir Hasan
Published in Rising Stars on February 19 2009
The Bangladeshi or precisely, Bangla pop music has crept its way back into our lives once again. Courtesy of artists like Habib, Balam, Mila, Hridoy Khan, Fuad and innumerable others we can’t remember the names of, there is a sound in Bangla everywhere we go. Be it on the FM stations, funk new Xpress music sets or inexpensive myPods, the slow drug of pop and remix has got us all hooked.
Yet, it wasn’t too long ago when we went to picnics to the beats of the latest Bollywood tracks. Our weddings resonated the sounds of Hrithik’s twisted arm movements, our lonesome nights accompanied by the melancholy Indian pop notes. We didn’t know what the lyrics exactly meant and even if it screamed, “I’ll eat your head and cook you soup”, our vulnerable, Bollywood infatuated neurons would translate that too, “I’ll be there and pull you through.” We would nod to the unnecessary lengths of music and stretched out, desperate attempts of hip hop, and imitate the blown out styles of a culture not our own.
But, times changed. From the grooves of a fast paced underground scene to a struggling rock industry, our local music began seeing the rays of a new sun. We were evolving as listeners and musicians, and we needed a new sound in our lives. Roughly around this era, a long haired, sunken eyed rebel named Ornob entered our lives. His songs combined the lost souls of traditional instruments and gave them a fresh voice in our hearts. He was different and gave us the feelings we also, were different as a culture from that of Bollywood. Ornob’s fusion experimentation was shortly followed by playful musicians who sang from the soul. Topu, Dipto, Laura, Shojib Khan, Krishnokali and Sahana Bajpaie all gave us a new tune to sing to. They were the new breed of musicians, who not only sang, but composed and wrote their harmonies.
Soon, and before we knew it, our compact disc drives were playing a different song, and thankfully, one that was truly our own. The fusion and pop industries together gave our music scene a fresh start and our cultural functions began to dance to it. The quality of music saw a rapid change and the very meaning of Bangladeshi pop was redefined. The songs saw a new face, the classics accorded to a modern, indigenous raga and the teens found a new beat to imitate.
The Bangladeshi music industry has indeed come a long way. There was always a small part of us that would headbang to Nirvana and System of a Down, and lose ourselves at the underground concerts. There will always be a small part of us that would know when Nemesis’ next album is coming out and miss Sellout’s electric stage performances. However, the truth remains there was always a large part of us that once settled for the mediocre, ultrasonic Bollywood numbers. Over the past couple of years, that large number has shifted its eardrums to the local beats. We have Fuad featuring countless upcoming artists, Mila and Balam at the Water Kingdom circuits, Habib and Topu in our playlists and Hridoy Khan at the tip of our tongues. On the other end, we have Ornob, Punam, Sahana and Krishnokali who are striving to give our lyrics a brand new heartbeat and fusing with our souls. So, be it a set of high pitched vocals, blown out distortions or overdone voice modifications, or maybe a playlist of subtle, soul-searching compositions; they are finally Bangla to our ears.
By: Sabhanaz Rashid Diya and Zabir Hasan
Published in Rising Stars on February 19 2009
Monday, December 8, 2008
HowCow
In the cosmopolitan world of the cosmopolitan man parade, cows have little honour. Around the year, 360 degrees round the clock, these harmless yet extremely useful creatures are left ignored and unloved. Yet, a certain time every year, man lets down his guard and allows the cow to restore its dignity. Ladies and gentlemen, presenting to you the showcase of the season, a brilliant exposition of man’s most loved compatriot and a saga of pride and prejudice: this is where you get to watch cows and goats stampede mankind’s pride.
Well technically, many of you will disagree with us. The flaunting of the sharpest horns or the smelliest dung is quite a ramp dance during Qurbani Eid. We take pride in our buys, so whether it’s the cows who’re overruling us or us using the cows to flaunt a flashy grin is an international debate. The cows are decked out in garlands of flowers and metallic streamers of every shiny color imaginable, while some are even lucky enough to have brightly colored scarves around their neck or jari embroidered ornas on their back. This is truly a beauty pageant for these cows, who have come here from the little villages outside Dhaka and some even as far as the exotic land of India. They have to walk, moo and look pretty so our pompous selves feel more pompous with every pricey purchase. It’s a difficult choice, given the variety of options and the pressure from the media to avoid racism (black cows equal more meat); our models stand quietly in stalls with Vermillion on their foreheads and kajol lined eyes full of hopes and dreams to be picked by the customer who’ll prove his (or her) ultimate love by eating the poor thing. We spank, spit and yell our bargains, and finally, a lucky cow gets crowned with a shiny green paper necklace and wins our hearts.
Our love for cows is so much that not only do we eat its meat (grilled, minced, stewed or curried), we also take pride in devouring its lungs, kidneys, liver, brain, tail, stomach lining, bone (marrow comes complimentary depending on where it came from) and for the truly adventurous the tongue (Yum! But I’ll pass). And why not? As a hugely carnivorous nation, we pride ourselves in eating anything that walks, swims or flies (as long as it’s Halal of course!)
Which brings us to another animal which is never highlighted as much the cow. We are speaking on behalf of the goats. For years goats have only been a minor (yet pivotal) character in the sacrificial rituals. The cow always seems to hog the spotlight with the goat in the supporting role. The goats are never as much decked out as the cows; they mostly rely on their shiny coat of luxurious fur and mischievous eyes full of love and curiosity of how they would taste in a rezala. Yet, despite the lack of ornamentations, our love for them blossom like flowers shown in BTV. Sometimes, our affection for them affects us so vastly that our younger siblings come home smelling like goats and refuse to take shower in fear of losing that special attachment.
We would also like to suggest some other quadrupeds for this occasion that never even get an honorable mention. The camel with its lovely hump(s) and extra long eye lashes that can only be attained using Revlon’s mascara, the sheep (which honestly are way cuter than goats) and of course, deer (check for legalities of it not being a protected species under the law). Although some may be mistakenly wondering whether these participants in the race for mankind’s attention get lagged behind, be sure to acknowledge you’re wandering along the wrong lines. They may get purchased less, but they come with sky high prices that can buy an entire chhagol haat. Man’s lesson of quality over quantity supersedes over humanity once again.
On a more serious note, a little request from us squeamish folks; try and not to have the streets and public spaces splattered with blood, guts and fragments of what it once used to be. We are aware of how the excess bloodshed is another opportunity to show off and bring that toothy grin back and the crows and dogs certainly appreciate your donations. But the stench and mess left behind is enough to give nightmares to even the most dedicated carnivores. So be nice (for a change) and pick up after yourselves (including the food and dung left from the days of having that gorgeous thing in your garage).
This Eid, throw your diets and calories charts out and have fun feasting on your choice of animal. Show those Vegans, Vegetarians and pesky PETA folks that we mean business. We shall no longer be profiled as a nation that only eats rice and fish! We have canines and we’re not afraid to use them!
By: Sabhanaz Rashid Diya and Tanvir Hassan
Published in Rising Stars on December 4 2008.
Well technically, many of you will disagree with us. The flaunting of the sharpest horns or the smelliest dung is quite a ramp dance during Qurbani Eid. We take pride in our buys, so whether it’s the cows who’re overruling us or us using the cows to flaunt a flashy grin is an international debate. The cows are decked out in garlands of flowers and metallic streamers of every shiny color imaginable, while some are even lucky enough to have brightly colored scarves around their neck or jari embroidered ornas on their back. This is truly a beauty pageant for these cows, who have come here from the little villages outside Dhaka and some even as far as the exotic land of India. They have to walk, moo and look pretty so our pompous selves feel more pompous with every pricey purchase. It’s a difficult choice, given the variety of options and the pressure from the media to avoid racism (black cows equal more meat); our models stand quietly in stalls with Vermillion on their foreheads and kajol lined eyes full of hopes and dreams to be picked by the customer who’ll prove his (or her) ultimate love by eating the poor thing. We spank, spit and yell our bargains, and finally, a lucky cow gets crowned with a shiny green paper necklace and wins our hearts.
Our love for cows is so much that not only do we eat its meat (grilled, minced, stewed or curried), we also take pride in devouring its lungs, kidneys, liver, brain, tail, stomach lining, bone (marrow comes complimentary depending on where it came from) and for the truly adventurous the tongue (Yum! But I’ll pass). And why not? As a hugely carnivorous nation, we pride ourselves in eating anything that walks, swims or flies (as long as it’s Halal of course!)
Which brings us to another animal which is never highlighted as much the cow. We are speaking on behalf of the goats. For years goats have only been a minor (yet pivotal) character in the sacrificial rituals. The cow always seems to hog the spotlight with the goat in the supporting role. The goats are never as much decked out as the cows; they mostly rely on their shiny coat of luxurious fur and mischievous eyes full of love and curiosity of how they would taste in a rezala. Yet, despite the lack of ornamentations, our love for them blossom like flowers shown in BTV. Sometimes, our affection for them affects us so vastly that our younger siblings come home smelling like goats and refuse to take shower in fear of losing that special attachment.
We would also like to suggest some other quadrupeds for this occasion that never even get an honorable mention. The camel with its lovely hump(s) and extra long eye lashes that can only be attained using Revlon’s mascara, the sheep (which honestly are way cuter than goats) and of course, deer (check for legalities of it not being a protected species under the law). Although some may be mistakenly wondering whether these participants in the race for mankind’s attention get lagged behind, be sure to acknowledge you’re wandering along the wrong lines. They may get purchased less, but they come with sky high prices that can buy an entire chhagol haat. Man’s lesson of quality over quantity supersedes over humanity once again.
On a more serious note, a little request from us squeamish folks; try and not to have the streets and public spaces splattered with blood, guts and fragments of what it once used to be. We are aware of how the excess bloodshed is another opportunity to show off and bring that toothy grin back and the crows and dogs certainly appreciate your donations. But the stench and mess left behind is enough to give nightmares to even the most dedicated carnivores. So be nice (for a change) and pick up after yourselves (including the food and dung left from the days of having that gorgeous thing in your garage).
This Eid, throw your diets and calories charts out and have fun feasting on your choice of animal. Show those Vegans, Vegetarians and pesky PETA folks that we mean business. We shall no longer be profiled as a nation that only eats rice and fish! We have canines and we’re not afraid to use them!
By: Sabhanaz Rashid Diya and Tanvir Hassan
Published in Rising Stars on December 4 2008.
Watch the Watches
In a world of fast paced glitz and glamour, making a fashion statement becomes an indomitable task. Be it with the new pair of Ray Bans or a spit of flaring red on your converse, your wardrobe and accessories demand priggishness to the heights. If there’s one item on your checklist that is equally stylish, stuffs you with pompousness and is undoubtedly useful, it’s got to be your watch. Strapped around the wrist with a kick of attitude, watches are the ultimate flaunt de élan in the crowd.
More Flash for Less Cash
Unfortunately, watches that actually survive underwater diving and are genuinely heat resistant cost a mini fortune. Of course, on such occasions, it really becomes a debate whether it’s feasible to sell your kidney to tell time with style; but we would rather not go into that argument. If you want to keep it cheap yet appear high-ticket, this article is your Bible.
A pretty Rado or Rolex can be bought at prices less than Taka 1000 if you know the right bargains. They look exactly like the real Rado or Rolex, only less shiny and less durable. The metal feels light and it’s probably going to stop working after a while. However, they still appear pretty neat and if attitude comes with a smaller price tag; it’s a dandy reason to grab it. Fake ‘brand’ watches can be bought within a range of 350 to 1200 taka in a range of designs and colours. Nobody will know the difference unless they are wearing the exact same brand bought of the exact same design purchased from the exact same shop. If you happen to venture into New Market, almost all fake ‘brand’ watches will be available below 600 taka.
Besides sporting rip-off brand names, these watches also have their own names. Variations of Quartz include Wurtz and Qarts, next to Phillip and Fust Track. These are found in virtually every mushroom headed mall in your area and have a similar price tag. Bigger malls prefer charging 550 taka unnecessarily (just because they have a shop in a bigger place) for each watch, but accurate bargaining can bring the price down to as low as 350 taka.
The Fashion Scene
On a personal note, the female counterpart amongst the two reporters behind this mayhem is a big fan of big, black dials and leather straps. Fortunately for her, that’s near to what’s ‘in’ these days. Call your shots for a huge leather strap teamed with small clock faces (or vice verse). With the recent free-spirited cosmopolitan vibe, these watches are ubiquitous and flaunt no particular brand. Local dealers have taken the liberty to label these ‘in-things’ Bulgy Bags, a name that can be reshuffled to form Ugly Hags, which we believe is a more suitable claim.
If you’re too upbeat to dance to leather straps, opt for bands made out of jeans-type material with nifty graffiti drawn all over. Take a stroll down the alleys of Bashundhara City and New Market. Although BC takes pride in selling these between 700 to 800 taka, New Market makes customers happier with prices as low as 450 bucks. Bulgy Bags are direct results of hip Bollywood releases and casual parties.
“I think it’s more masculine and uncommon than regular chain watches,” says 23 year old Azad while twisting his wrist in strange manners to show off his Ugly Hag.
The Big Buy
However, if you’re seriously into watches and don’t want to settle for a makeshift prototype, make sure you’re carrying a thick wallet and have very generous parents.
“Although finding a good bargain is easier, it’s also calls for a compromise in quality. It stops working in a short while, the colour wears off and you eventually realize it wasn’t worth the flashing after all,” concludes Saleem, a 19-year old who claims to have the largest collection of bargain watches in town.
For the many who love watches and cannot virtually afford the real deal even when they sell their kidneys, Fast Track is the newest toys in the city. Insanely popular in India and now hitting the teen team in Bangladesh, Fast Track watches have it all. Sporty, trendy, versatile and yet, sophisticated with durability, it’s no common surprise that the brand has stolen hearts already. Available at prices between 1200 to 5000 taka, these watches sometimes surface at Almas Super Shop and Priyo.
If you can afford 5000 bucks to tell time, gather up your cash and scoop a gorgeous Swatch. Swatch watches are known for their superior quality and is a big buy worth the price tag. Notwithstanding, prying around can also yield lower priced Swatches, but unfortunately we couldn’t find anything below 3 grand. Time Zone has a few Swatch watches on display and can be a prime spot to hit on.
However, if you’re in for the traditional elegance on your wrist, Citizen and Quartz watches should be your picks. The originals can start with a price of 1000 bucks and raise pretty high; although if bargained properly, can be carried home at an expense below 3000 bucks.
If nothing we’ve ranted about is within your budget bracket, we suggest you get a plastic watch with a plastic like strap around it. Otherwise, feel free to paint a watch on your wrist and watch the watch. You can always put your head up and claim that your superiority has stopped time on your fingertips. Meanwhile, for the rest of us who don’t want to call it a day without the best buy, hop around and look for what suits you the best. It’s not just a timepiece, but a bit of glamour tied around your personality.
By: Sabhanaz Rashid Diya and Osama Rahman
Photos: Sabhanaz Rashid Diya
Published in Rising Stars in November 2008
More Flash for Less Cash
Unfortunately, watches that actually survive underwater diving and are genuinely heat resistant cost a mini fortune. Of course, on such occasions, it really becomes a debate whether it’s feasible to sell your kidney to tell time with style; but we would rather not go into that argument. If you want to keep it cheap yet appear high-ticket, this article is your Bible.
A pretty Rado or Rolex can be bought at prices less than Taka 1000 if you know the right bargains. They look exactly like the real Rado or Rolex, only less shiny and less durable. The metal feels light and it’s probably going to stop working after a while. However, they still appear pretty neat and if attitude comes with a smaller price tag; it’s a dandy reason to grab it. Fake ‘brand’ watches can be bought within a range of 350 to 1200 taka in a range of designs and colours. Nobody will know the difference unless they are wearing the exact same brand bought of the exact same design purchased from the exact same shop. If you happen to venture into New Market, almost all fake ‘brand’ watches will be available below 600 taka.
Besides sporting rip-off brand names, these watches also have their own names. Variations of Quartz include Wurtz and Qarts, next to Phillip and Fust Track. These are found in virtually every mushroom headed mall in your area and have a similar price tag. Bigger malls prefer charging 550 taka unnecessarily (just because they have a shop in a bigger place) for each watch, but accurate bargaining can bring the price down to as low as 350 taka.
The Fashion SceneOn a personal note, the female counterpart amongst the two reporters behind this mayhem is a big fan of big, black dials and leather straps. Fortunately for her, that’s near to what’s ‘in’ these days. Call your shots for a huge leather strap teamed with small clock faces (or vice verse). With the recent free-spirited cosmopolitan vibe, these watches are ubiquitous and flaunt no particular brand. Local dealers have taken the liberty to label these ‘in-things’ Bulgy Bags, a name that can be reshuffled to form Ugly Hags, which we believe is a more suitable claim.
If you’re too upbeat to dance to leather straps, opt for bands made out of jeans-type material with nifty graffiti drawn all over. Take a stroll down the alleys of Bashundhara City and New Market. Although BC takes pride in selling these between 700 to 800 taka, New Market makes customers happier with prices as low as 450 bucks. Bulgy Bags are direct results of hip Bollywood releases and casual parties.
“I think it’s more masculine and uncommon than regular chain watches,” says 23 year old Azad while twisting his wrist in strange manners to show off his Ugly Hag.
The Big Buy
However, if you’re seriously into watches and don’t want to settle for a makeshift prototype, make sure you’re carrying a thick wallet and have very generous parents.
“Although finding a good bargain is easier, it’s also calls for a compromise in quality. It stops working in a short while, the colour wears off and you eventually realize it wasn’t worth the flashing after all,” concludes Saleem, a 19-year old who claims to have the largest collection of bargain watches in town.
For the many who love watches and cannot virtually afford the real deal even when they sell their kidneys, Fast Track is the newest toys in the city. Insanely popular in India and now hitting the teen team in Bangladesh, Fast Track watches have it all. Sporty, trendy, versatile and yet, sophisticated with durability, it’s no common surprise that the brand has stolen hearts already. Available at prices between 1200 to 5000 taka, these watches sometimes surface at Almas Super Shop and Priyo.
If you can afford 5000 bucks to tell time, gather up your cash and scoop a gorgeous Swatch. Swatch watches are known for their superior quality and is a big buy worth the price tag. Notwithstanding, prying around can also yield lower priced Swatches, but unfortunately we couldn’t find anything below 3 grand. Time Zone has a few Swatch watches on display and can be a prime spot to hit on.
However, if you’re in for the traditional elegance on your wrist, Citizen and Quartz watches should be your picks. The originals can start with a price of 1000 bucks and raise pretty high; although if bargained properly, can be carried home at an expense below 3000 bucks.
If nothing we’ve ranted about is within your budget bracket, we suggest you get a plastic watch with a plastic like strap around it. Otherwise, feel free to paint a watch on your wrist and watch the watch. You can always put your head up and claim that your superiority has stopped time on your fingertips. Meanwhile, for the rest of us who don’t want to call it a day without the best buy, hop around and look for what suits you the best. It’s not just a timepiece, but a bit of glamour tied around your personality.
By: Sabhanaz Rashid Diya and Osama Rahman
Photos: Sabhanaz Rashid Diya
Published in Rising Stars in November 2008
Saturday, June 21, 2008
A Fitting Misfit
Meet a Welsh sax player who’s working as an education consultant, a bearded multi-dimensional drama magnet from Prachhanat, a ruggedly handsome guitarist and a smiling bassist, both involved in advertising and a playful dhol-baadok. Imagine a room where we put these five individuals together. Imagine a situation where you hand them out their respective instruments and tell them to play. Expecting an awful mismatch?
Ladies and gentlemen, allow me to introduce you to The MisFits. With Onom on guitars, Shafiq on dhol, Miraj on bass, Andrew on sax and flute, and Rahul on every other sound you hear; these noisemakers are a steaming cup of coffee for a drizzling night. Allow me to introduce a very new sound that has just hit this busy town.
Their debut performance on a Friday evening was just the perfect end-of-exam treat for this unpretentious critic. Watching a couple of guys mingling Celtic jazz with the strumming of rhythm guitars, throwing in an occasional local pitch was a mesmerizing experience. Their music carried an easy going essence, synchronized in beats with an uplifting intensity that demanded any soulful romantic to hold his/her breath. Hitting it off with a simplistic fusion of sax, guitars and flute; their melodies eventually delivered the avid listeners to a different level of dhol, bass and dialogues.
Interestingly, the history of The MisFits doesn’t stretch beyond a couple of months. A common friend and photographer, Rudro Shehzad (a.k.a band manager) conjured up a wicked plan of mixing different sets of sound. What begun as experimental jam evolved into a set of recognizable tunes tossing into diverse mood grooves. Their fusions of the East and West, classical with modern beats have created an ambiance of breathtakingly refreshing instrumentals.
The most noticeable feature about this fusion is the variation the band has incorporated, both musically and instrumentally. As Rahul plays buffalo horn to a Mongolian number or lets the nupur on his ankles add to the resonance of his voice and flute-playing, and Onom vocals an acoustic opus; the uniqueness of the echoes generated is a new found face for the common listeners. Improvising and intermingling instrumental reverberations from different cultures is something that hasn’t been practiced at this end of the world before, and watching it unfold in one’s ears leaves a strange sense of satisfaction for moments to follow.
A personal favourite from the group is a composition that combines sounds of a Brazilian instrument called ‘rainmaker’ (played by Rahul) to that of deshi tunes. The ‘rainmaker’ is a tube with lots of seeds or bits of bark passing through the tube, hitting inner obstacles as they move. It brought in elements of nature like sounds of rain and water that complimented the concentration reflected off a flute and the contrasting bouncing of dhol. Simply an indulgence to lose one’s soul for!
With their music will stealing your heart and leaving you to beg for more, The MisFits have certainly hit a goldmine.
“Although much work is needed to get things tighter, the whole concept is of a pot-pourri of musical styles, experimentation, dialogues and change of mood works. There's not much instrumental music going on here. The only one band I know of is Purbo Poschim, which sets out to do fusion stuff. However, they have a lot of synthesized noises too. I personally think one selling point for our sound is that it's all authentic instruments, so a simpler, folksier sound. Besides, Rahul's energy and various antics have its visual aspect too!” replies Andrew Morris when I asked him about the band’s future plans.
This critic could not have agreed more. Though the band tends to lose its audience sometimes with repetitive sets of tunes; in a nutshell, they have managed to define their own genre. With more experimentation than most local sounds I’ve come across, The Misfits – contrary to their title – have crafted a beautiful eclectic something that I will be eagerly looking forward to experiencing in days to come.
Photo By: Fahmim Ferdous
Ladies and gentlemen, allow me to introduce you to The MisFits. With Onom on guitars, Shafiq on dhol, Miraj on bass, Andrew on sax and flute, and Rahul on every other sound you hear; these noisemakers are a steaming cup of coffee for a drizzling night. Allow me to introduce a very new sound that has just hit this busy town.
Their debut performance on a Friday evening was just the perfect end-of-exam treat for this unpretentious critic. Watching a couple of guys mingling Celtic jazz with the strumming of rhythm guitars, throwing in an occasional local pitch was a mesmerizing experience. Their music carried an easy going essence, synchronized in beats with an uplifting intensity that demanded any soulful romantic to hold his/her breath. Hitting it off with a simplistic fusion of sax, guitars and flute; their melodies eventually delivered the avid listeners to a different level of dhol, bass and dialogues.
Interestingly, the history of The MisFits doesn’t stretch beyond a couple of months. A common friend and photographer, Rudro Shehzad (a.k.a band manager) conjured up a wicked plan of mixing different sets of sound. What begun as experimental jam evolved into a set of recognizable tunes tossing into diverse mood grooves. Their fusions of the East and West, classical with modern beats have created an ambiance of breathtakingly refreshing instrumentals.
The most noticeable feature about this fusion is the variation the band has incorporated, both musically and instrumentally. As Rahul plays buffalo horn to a Mongolian number or lets the nupur on his ankles add to the resonance of his voice and flute-playing, and Onom vocals an acoustic opus; the uniqueness of the echoes generated is a new found face for the common listeners. Improvising and intermingling instrumental reverberations from different cultures is something that hasn’t been practiced at this end of the world before, and watching it unfold in one’s ears leaves a strange sense of satisfaction for moments to follow.A personal favourite from the group is a composition that combines sounds of a Brazilian instrument called ‘rainmaker’ (played by Rahul) to that of deshi tunes. The ‘rainmaker’ is a tube with lots of seeds or bits of bark passing through the tube, hitting inner obstacles as they move. It brought in elements of nature like sounds of rain and water that complimented the concentration reflected off a flute and the contrasting bouncing of dhol. Simply an indulgence to lose one’s soul for!
With their music will stealing your heart and leaving you to beg for more, The MisFits have certainly hit a goldmine.
“Although much work is needed to get things tighter, the whole concept is of a pot-pourri of musical styles, experimentation, dialogues and change of mood works. There's not much instrumental music going on here. The only one band I know of is Purbo Poschim, which sets out to do fusion stuff. However, they have a lot of synthesized noises too. I personally think one selling point for our sound is that it's all authentic instruments, so a simpler, folksier sound. Besides, Rahul's energy and various antics have its visual aspect too!” replies Andrew Morris when I asked him about the band’s future plans.
This critic could not have agreed more. Though the band tends to lose its audience sometimes with repetitive sets of tunes; in a nutshell, they have managed to define their own genre. With more experimentation than most local sounds I’ve come across, The Misfits – contrary to their title – have crafted a beautiful eclectic something that I will be eagerly looking forward to experiencing in days to come.
Photo By: Fahmim Ferdous
Saturday, May 3, 2008
"Aye Ghum Bhangai"
Armeen Musa is not a new face at the underground circuit. With two bands underlining her name and a single in the very popular mixed album Jhalmuri, as well as her hit number, the remake of Radha Raman’s ‘Bhromor Koio Giya’; AM has managed to create a niche for her music over the years. Her debut solo release, ‘Aye Ghum Bhangai’ from G-Series, is an easy listening 12-track treat for the avid listeners, 8 written and 11 tuned by the singer herself.
A deeply personal album compiling her musical endeavours from early years at school till now, ‘Aye Ghum Bhangai’ is a walk through her life and mind. ‘Pakhi’, a composition from her days as the blue haired, head banging, restless fifteen-years old, is a soulful blend of acoustic and electric guitars with soft drumming done by her band, The Grasshoppers. Followed by ‘A Minor’, mixed by Buno from Bangla and Adil from The Grasshopper, carries a funk, electronic ambience that beautifully balances its flow of words, written by Farhan Sajjad. The title track opens with catchy guitar strumming, eventually throwing into a set of verses complimented by the humming of drums. One of my personal favourites, owing to Farhan Sajjad’s lyrical brilliance, ‘Aye Ghum Bhangai’ is a simple soulful number that demands and deserves fast paced popularity.
Contrary to most solo albums, AM’s debut compilation comprise of a cover of Sachin Deb Burman’s ‘Ghum Bhulechi’. Although much doubts and anticipation were cast over its perfection, ‘Ghum’ is a poignant number, adding to the emotional awakening that characterizes this album. The ninth track of the collection, ‘Na Ki Aar’ incorporates a very different set of beats (done by Ornob). Another personal favourite, the song is the harmonious intermingling of a haunted state of mind contrasting to a lover’s romantic pleadings.
‘Jaa Urre Jaa’ is a track featuring Mercury Award winning jazz pianist from England, Zoe Rahman and her brother Idris Rahman on the clarinet. Arranged by Buno with orchestral elements, the number embodies a beautiful solo by Idris and very traditional Bengali percussions. The most heart-rending and delicate song, ‘Ei Shondhaye’ is dedicated to AM’s late stepfather, Dr. Anis Waiz. Slow guitar strumming (by Saif Quadir) aching to a drift of emotions flowing to her voice; this number speaks of accepting one’s loss of someone precious, and realising pain cannot be healed, but is rather resided with forever.
Although I personally feel the album carries a single set of sounds with few noticeable variations, it builds up to one’s emotions and weakens the listener in an interesting way. Being an intimate production of AM’s own dwellings dedicated to her mother Dr Nashid Kamal and her sister Aashna Musa, the album is something you can hum along to at the darkest hours of night. As mentioned in the inscription of the cover, ‘Aye Ghum Bhangai’ is a self-awakening journey towards embracing one’s truest potentials outside the norms of life.
Published on 08/05/2008 in Rising Stars
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