Don’t get surprised if you spot the most stunning model of the town at the modest interior of PIVIC Saddar arguing at the absence of Roshan Ara Begum rather than rocking in frenzy at some lazy number of Beyonce Knowles at a trendy elite party. The popular Nawab Sultan of Umrao Jaan Ada, IMRAN ABBAS in person too seems to belong more to the oriental Moghul era with a refined sense of aesthetics rather than today. Don’t get surprised; just reaffirm your faith in the age old maxim that appearances are deceptive.
EP’s first release was reputed to be filled with weird electronic sounds, synthesizer magic and the poppish guitar-driven anthems, long before the album saw the light of day or the introspective title Irtiqa was associated with this ambitious effort. With all the hype surrounding the album, Irtiqa is certainly one of the albums that Pakistani aficionados have anxiously been waiting for. Now, living up to all the hype and expectations, I imagine, is probably one of the band’s prime concerns. The album does deliver. Ambition and dedication is clearly visible or audible, rather, amidst the rising and falling of synthesized crescendos, aggressive alternative rock guitars and the meticulously crafted and programmed drums.
The music boom of 2002 lived up to its hype and exceeded expectations in 2003. All it needed was the steely resolve of underground musicians, the mushrooming of local music channels, and the dependency of drama oriented TV channels to fill their empty time slots with music videos. All in all, the stage was set for the emergence of the third generation of artists in 2003 such as Fuzon, Noori, Ahmad Jehanzeb, Aaroh, EP and Ali Zafar, all of whom have helped drag the industry through its latest phase of evolution.